Category Archives: Ideas & Plotting

Real Characters

Like many of you, I read a lot. I love the new stuff and the classics. LOTR, Les Miserables, Moby Dick, all fantastic books. But there is no denying that they hold a different voice than novels of today. It’s not just words either. 

First Person POV like, “Call me Ishmael. Some years ago- never mind how long precisely- having little or no money in my purse, and nothing particular to interest me on shore, I thought…” has changed. Before it was like the telling of something that happened. But now, even though most First Person POVs are written in past tense, there is a closeness to them that makes it feel as if it is happening now. Present tense often has the effect of feeling like it is taking place in the near future.

First Person today or Close Third allow the reader to get inside the POV character’s head. This sets the medium apart from movies or television and I would propose that this is why the book is most often better than the movie.

For an author to do this effectively, the character needs to be alive with real thoughts and preferences and opinions. How else will they react to what comes their way? And isn’t this fantastic story telling? When the characters take hold and even argue with us the author.

I saw a documentary about the filming of Indiana Jones, Raiders of the Lost Ark. There is a scene where a samurai guy whips around his sword and taunts Jones. The documentary said that the original script called for an intricate fight scene where Jones eventually beats the Samurai. But Harrison Ford argued that his character had a gun and would simply shoot the Samurai dead. The story was rewritten.

Recently I have been writing a thriller involving a hitman, an FBI agent, a financial guru in witness protection, and I needed another character to round out the mix—a face of the evil corporate conglomerate. Fei. She is a middle-aged Chinese national and she runs a section of the corporation, laundering money made from sex trafficking and drugs.

I’m a discovery writer so often times I start with an idea and see where it goes with a distant idea in mind. I did not expect what Fei decided to do.

I needed her to ask the hitman to kill this guy, but Fei let me know that this was not an easy thing for her to do and that she’d developed feelings for this dude. I pushed it. She had her lover killed. Part of her was sad, and another felt power and control. She handled the death in a very interesting way. Two chapters later and Fei is now a serial killer. I did not expect that at all, but Fei, with her personality, her childhood issues, her lust and disgust for men, her struggling marriage with a husband who is reluctant to come out of the closet, all of these dynamics have formed and created Fei, a person, a character, someone that I would recognize if I bumped into her on the street (and then I’d run like hell in the opposite direction).

Real characters aren’t cliché. They aren’t faceless drones. They are a compilation of many people. They have wants and goals and dreams and they struggle and have weaknesses. And when they are real, we as readers recognize that and the story resonates with us.

I watch people. (Not in a creepy way). I observe their mannerisms. I listen to their word choices. I notice their posture and eye movements. These things make someone unique. And I ask them questions. I listen to how they respond. I strive to understand their ambitions and fears.

All of these mesh and mingle and come out in my writing.

I came up with Jared Sanderson about 7 years ago. He is very real to me. I could describe his physical features that are a mesh of three of my friends. But this little segment, which is his intro into the story, shows a bit of who he is as a character.

“Jared Sanderson gnawed on the side of his thumb as he waited for the attorney. He had forgotten to moisturize so his skin flaked and cracked at the sides of his fingers. By impulse, he chewed away the dead skin, especially when nervous.”

Jace Killan

I live in Arizona with my family, wife and five kids and a little dog. I write fiction, thrillers and soft sci-fi with a little short horror on the side. I hold an MBA and work in finance for a biotechnology firm.

I volunteer with the Boy Scouts, play and write music, and enjoy everything outdoors. I’m also a novice photographer.

You can check out my books here or at my website

Don’t Revise – Plot the Next Novel!

In my previous post, Know Your Story – 5 Simple Steps, I talked about creating a scene-by-scene outline from your first draft. The purpose of this exercise was to see the story’s structure. Structure included the shape of the plot itself and whether the scenes were structured in a balanced manner with a focus on exposition, action, dialogue, and reflection. I still recommend doing this to familiarize yourself with what you actually wrote as opposed to what you thought you wrote.

This is especially important if you’re writing a series because every book needs to build on the previous one. So, know what you wrote but don’t revise it just yet. PLOT your next book first before you begin revisions.

There is a theory out there not to write the next book in the series before the first one is accepted by a publisher. That’s silly, for so many reasons. Today, we have the option to self-publish. Even if a publisher accepts Book 1, that is not a guarantee that they’ll want Book 2. That depends on sales. But my main reasons for finishing a series, with or without a publisher are: a) I have momentum, a writing style and my characters and I understand each other well. There is no guarantee that I can pick up that vibe in the future; and b) the story is in my head, as is the character’s voice and a series is but one longer story to me. I have to write it; and c) I have publishing options and if a publisher publishes Book 1, and not the rest, I can build on whatever momentum I have and release the rest of the series.

But why plot the next novel before revising the finished one?

The future devils are in yesterday’s details!

I know an author who wrote the first book which was accepted by a publisher. In the throes of edits and final copy, the author set to work on the next book. Now, this author had ideas for the rest of the five book series and it was on that basis that the publisher bought the series. But, she didn’t have them plotted out. She didn’t need to because the concept and her writing were strong enough. The problems began when she created a more detailed outline for the next book. Details, information, actions, clues – all the things that could have foreshadowed and been used in the second book had not been included in the first book. She had written herself into corners or didn’t have the necessary tools for her characters in the second book. Creativity took on a new meaning and it was a challenge, albeit a doable one.

That is why I recommend outlining the next story before you revise the current story. Know the key plot points such as the beginning, the climax and the end. Jot down some ideas of how the protagonist and antagonist will arrive at the climax. What tools will they need? What characteristics will they require? Does the setting need to be described more richly so there aren’t any convenient contrivances? Are the subplots and relationships strong enough to sustain in the next story? Is this story’s world, and the characters rich enough to continue the melodramas and keep tension in the next novel?

When revising a story set in a series, the questions and story problems aren’t confined to the single novel. They affect the entire series and most importantly, the first book sets the stage, so make certain that the stage is set well, with enough detail, information and tools so that you don’t write yourself into a corner.

Always remember that the future devils are set in yesterday’s details!

This is Only the Beginning

What do I do once the first draft is finished?

Finishing a rough draft is no easy task, and it should be celebrated. So do something fun. Have a drink. Eat some cheesecake. Go to a movie. Go for a run. Whatever makes you happy. Give yourself the satisfaction of being finished for at least five minutes. Then you can move on to the real fun.

I’m an outliner. This does not mean that my first draft resembles the outline I made before I started. In general, things start to go off the rails at the midpoint of the story, and it often goes downhill from there. So by the time I’m finished, the last half of my book is a sometimes delightful, sometimes horrifying surprise.

If I’m not on a tight deadline, I’ll let the first draft sit for at least a week. Work on something else. Preferably something different. Some short fiction, or edit a different piece. Read a book from an author I love. Cleanse my pallet.

I don’t know about anyone else, but if I write a rough draft in a hurry (which I prefer, because creating is more difficult for me than editing so I use the rip-the-Band-Aid-off fast approach) I’ll actually forget things I wrote. So it’s kind of fun to go back a week or a month later and re-discover what happened to my poor characters that I hadn’t planned the first time around.

Once I’m ready to jump back in, I put a notebook in front of me and read through my first draft. You can also do this on the computer, but I still prefer paper and pen. I write down any number of things, including:

  • Things that pull me out of the story
  • What I think my theme is and what sticks with it and what doesn’t
  • Specifics on characters (eye color, height…because even if I have a wiki I don’t always look at it)
  • Parts that work
  • Parts that don’t work
  • Where the story slows down
  • Where the story is rushed

In the margins if the file (I use Word) I will make more specific notes. Things like:

  • How to fix a slow/rushed part
  • Where I might need humor
  • Plot ideas I have for revisions
  • Specifics on how to fix a scene
  • My most often typed note is: “Either use this or take it out.”

My first drafts are often bloated with little clues that lead nowhere, so I mark them as I go through so I can, as I said above, either use them or take them out. Because for some reason readers don’t love fruitless details.

Once I’m finished with the read through, I go back to my outline and change it to match what I have. Then I figure out what sort of hybrid I need to come up with between the original and what I have, and then I start again.

I prefer to use two monitors when possible, because I start with a blank document and then copy and paste from the original to the new one as I go.

While the process is less than perfect, it works for me. Does anyone else have a process they love that hasn’t been mentioned? Let us know!


The Long and Short of a Series

Guest post by Lauryn Christopher


I am a fan of short fiction. Most of the books on my nightstand are short-story collections, and I enjoy dashing off a short story whenever I can. There are many reasons for this, but for now I’d like to talk about short stories that connect to the larger world of an author’s novels, from the perspectives of a reader, a writer, and a businessperson.

As a reader, a short story is a great way to test the waters and see if I like a new-to-me writer’s work without the commitment of reading a full novel – and when that short story is set in the same world as the author’s longer world, so much the better. It’s like going to the store when they’re handing out free samples, knowing that if you like the little taste, you’re more likely to purchase the full-sized product.

As a writer, of all the things I like about writing short stories (which includes challenging myself, and using short stories to help me practice particular writing skills), I think my favorite is the opportunity they give me to wander the side-streets of a larger work. In a short story, I can:


  • get to know a secondary character in greater depth
  • explore a story idea that doesn’t require the complexity of a novel
  • explore an idea or character to see if it’s a world I want to play in at greater length

As an example, my short story, With Friends Like These (at 9,500 words/~40 pages) was written as the result of an intensive writing workshop assignment. But as I got to know the main character, she let me know in no uncertain terms that she had many more stories for me to tell, and I quickly went on to write the novel Conflict of Interest. And thus my “Hit Lady for Hire” series was born.

As a businessperson, I routinely look at each short story in my inventory to see how I can best leverage it. That’s not to say that I don’t go all creative-artist during the writing process – I do, even when writing on demand for a particular market or to a specific theme – but when the story is complete, and the act of artistic creation is finished, I now have a new piece of inventory, and it’s time to put on the business hat.

It’s a simple truth that every additional piece of inventory we create provides readers with one more point of contact for finding our work. Because discoverability is such a critical part of a successful writing career, one way to think of your short stories is like the magic breadcrumbs that lead your readers to the rest of your work. Remember my “As a reader” comment at the beginning of this article – the more of those “samples” you have out there, the more opportunities you create for readers to find you.

Selling your short fiction in to the magazine and anthology markets is another way of leveraging your short stories. Be aware: There are a lot of unpaid markets out there for short fiction, and rates in short fiction markets are typically in the pennies-per-word range, so writing short stories probably isn’t your best plan if you’re looking to get rich quick. However, because short fiction markets only hold onto the rights for a very limited time, when those rights revert, you can then sell reprint rights, put the short story up as an ebook at low or no-cost as a loss-leader, offer it as an audiobook, etc., and continue earning from it. The more you learn about ways to license your intellectual property rights, the more you can put your short fiction inventory to work for you.

It’s often been said that the best publicity for your book is your next book. Well, you can also leverage your short stories as advertising for your related novels. Whenever you sell a short story into a magazine or anthology, in many ways, it’s as if they are paying you to put a multi-page advertisement in their publication and then sending your advertisement (in the form of your short story) to their subscribers – and unless you’re exceptionally well-known, it’s likely that they have a much more extensive mailing list than you do. That short story publication helps you:


  • build name-recognition among readers
  • keep your name visible between related novels
  • give your new readers an introduction to your work and world
  • build a collection you can eventually sell/self-publish to accompany your full-length novels
  • gives you a “backlist” you can draw from (your previously published short stories). This is a great source of bonus, series-related material you can give to readers when they sign up for your mailing list!


As an example, working around the demands of everyday life (read: the day job), means my readers have to wait a while for the next book in my “Hit Lady for Hire” series of suspense novels. But rather than keep fans of the first book twiddling their thumbs and risk having them forget about me, I released Backstage Pass (at 8,000 words/~35 pages) in a mystery collection, and not only connected with my own readers, but also with the readers of all of the other authors in the collection.

In summary, short stories connected to the worlds of your full-length novels can be great workhorses:


  • They keep existing readers happy
  • They introduce new readers to your series
  • They help you expand your fictional worlds
  • They provide an additional income-stream
  • They keep your readers happy (it bears repeating!)


If you enjoy reading short stories, there’s a wealth of material out there for you to enjoy. And if you enjoy writing short stories, there’s plenty of readers waiting to read them.


– Lauryn


Lauryn Christopher has written marketing and technical material for the computer industry for too many years to admit. In her spare time, she writes mysteries, often from the criminal’s point of view – they’re not always who (or what) you might expect! You can find information and links to more of her work, and sign up for her newsletter at