Into the Fire

Style, Pace, Tension

Them thar are writin’ words. Yes, words we associate with types of writing in novels. Tension and pacing are of premium importance in thrillers. The pacing often slows in mysteries and suspense novels depending on the plots and characters. Styles are often more abrupt in thrillers, the language more stark, the characters in deeper peril. The action must snap, crackle, and pop for a story to qualify as a thriller. Even if it reads like a “noir” novel, there must be a pressure-cooked plot which takes a reader to the edge of emotion, tension, and possibly fear.

Murder mysteries can be laid back, depending upon who the protagonist is, how he works to solve the crime before him. The language can fluctuate, the pacing moving back and forth between suspenseful revelations. Really depends upon the individual author’s chosen style.

Think of a chase taking place down an elegant stairway in a prestigious office building. Hear it? Now listen to the sound of 4” high heels in the hallway of a court building in a business-like gait. The clamoring slamming down the stairs compared to the staccato beat . . . These are the effects of a writer’s style depending on the story he has to tell.

Now . . . “Summertime, and the livin’ is easy . . .” Think of hot and humid, sticky. The pace slows almost to a stop. You feel the sweat. You want a drink of ice cold water or to jump into some surf. Part of the tension can be built into the heat

Wherever your story takes place, whatever the temperature demands, the odors arouse, the sight perceives, whatever is happening in the moment can linger or jolt. It’s your writing that must accomplish this in us as the readers of your story. Where do you want to take us and how do you want to get us there?

I think the “tension on every page” is ill-defined and wishful thinking, although some thriller writers come the closest to managing such a demand. Put that terminology into a romance and you have a soap opera. It isn’t “tension” that keeps us turning the pages—it’s our interest and investment in the characters—and that isn’t always associated with a dilemma outside of the thrillers, mysteries, and suspense novels. That’s not to say there isn’t trouble somewhere, sometime, to make the story pulse. It’s just unfair to a story to assert that kind of angst must be present “on every page”.

Germ by Robert Liparulo has the fastest pacing I’ve ever encountered in a novel. Talk about masterfully zinging through a story. The tension never lets up. With Ted Dekker’s newest, Adam, the creepy fear-laced tension ebbs and flows as the characters become more deeply engaged in their pursuit of a killer while the reader learns of the horrors behind the killer’s motivations causing the fear factor to escalate to new levels.

If your preference is the “literary” style of writing, you will be more patient and tolerant of less tension. If your preferred flavor is action-packed stories, you’ll appreciate heightened activity and raised tension. Neither is wrong. It’s all a matter of what you like to read. And while each story needs to be told a certain way, the blanket instructions with one-size-fits-all directions don’t begin to effectively address the different styles, pacing, and kinds of tension that suit the unique brands of stories.

God, you are the great inspiration to continue to create. You supply, you instruct, you direct, and you meet us where we are. What a privilege and pleasure to fulfill your desires for us. Thank you, Lord. In the Name of Jesus, Amen.

*Please remember to pray for Kristy Dykes.*

Success . . .

In defining success . . . publishing people have to define success by the numbers. Big numbers. Big money. Big contracts. Big recognition. Big find. Big happy. Success.

Christians who write and seek publication must determine what “success” means to them. Is it simply about memorizing and applying the rules of writing to produce a novel which will have universal appeal and slip into the role of publishing success?

Some might answer a comprehensive “Yes” without thinking twice. Others might answer a less resounding “Yes” with certain qualifications. And still others could reply with a wily smirk and add “Define ‘success’.”

I think it’s safe to say that those who write with a message in their stories will want to explain their methodology for seeking publication. It’s logical to want to share the message, however it’s written, even whatever it is. Although many write simply to share a story, a lot of Christians are compelled to share a purpose, an ideal, the gospel, a particular element of their faith. The different genres often determine the unique intentions of a particular writer’s story, agenda, or impetus for telling the tale.

Christian writers aren’t the only ones with agendas. While there are secular writers with a contempt for anything related to the one true God and write accordingly, some of them are committed to new age philosophies in their fiction, hard-nosed legal thrillers heavy on the doses of erotic sex and foul language, female characters who are addicted to love or sex or power plays, and a general sense that humanity in all its base behaviors and raucous lifestyles is the all in all—the epitome of entertainment or the lowest dregs of the food chain. Any way one looks at it, there is a motive when writing a story.

Some of us view success in the most basic of ways, setting aside spirituality and looking plainly at the secular worldview. Success implicates a satisfactory income, a position of respect or status, some recognition for what we’ve done, mostly favorable, and even a name worthy of “dropping” at certain events.

When writing novels, it’s difficult to view success in a less common way.The push to become published is a strong motivation as well as a logical one. If we think we can write, then we certainly think we have a worthwhile story to tell, and if we have written that story, then we definitely want to share it with as many as possible, hoping our audience is broad and readers ever expanding. However, the reality of statistics pointing out how very few novels make it into the upper tier of successful sales smacks us up against a serious re-evaluation of what defines that elusive success factor in our writing lives.

There’s a reason I’ve written all my life, and there’s a reason I didn’t start my first novel until I was in my 40s. I’m not proud to admit it probably took God that long to convince me any of my “success” would be due to Him and not to my innate talent. Never have I understood more than I do now how any success is supplied by Him. For His glory. For His reasoning—and, yes, sometimes I have a troublesome time understanding it, but who am I to know things so much more vast and important than my abilities in the bigger scheme of things both now and to come?

And for His pleasure. And that brings me to the conclusion in my definition of success . . . Completion of His will, obedience to His call, surrender to His desires. Because the minute my intentions outweigh His, I have failed. I’ve missed the mark. I’m way off. There’s a course to follow, a plan designed. If I’m inclined not to embrace it and choose to ignore it, I declare my superiority to God’s map for my life. Although my discrepancies at sticking to the plan have been unintentional at times, He has come to my rescue, restoring me to that ordained path where He can watch my steps and lead me to the place He has for me. In that way, I will succeed in bringing Him pleasure and somehow the glory He deserves. And the mystery of His work in my life will keep the message moving forward in His timeline by His design.

And I thank you for that, Father, because you will do what is best, perfect, just, and right. And only by your ways working in me will I ever know “success”. In the Name of Jesus, Amen. 

The Lingering Effects . . .

The Writer’s Strike did a lot of damage to TV. And while I understand the commitment involved in workers who really believe their only option is to strike to get their needs met, I don’t agree that those who need and want to work should be scorned for crossing picket lines.

From nearly all accounts writers in the entertainment industry are underpaid. They got a settlement regarding the royalties paid to them when their material is used on the internet. I have no idea how this works, but I do know it was the money involved in this specific usage which was at the crux of the strike. Most of the writers were satisfied with the settlement when the strike ended.

I watch a good portion of television, very specific shows. Believe it or not, it’s an inspiring exercise for me. Watching my particular choices of shows spurs my creativity. One of those shows is “Shark” with James Woods. The dialogue in this series is second to none. So crisp and stark, stunning really. And the feature which makes it so incredible is that it fits each character. In a novel the dialogue must depict the core of the characters, snatching the personality from whatever means is used to introduce and define him/her and cement who they are by what they say and how they say it. I can usually hear and see them speaking when I write them.

Although I tend to watch shows outside of the genre in which I write, most of my shows feature an element of UST—“Unresolved Sexual Tension”—and that does pertain to a definite particle of what I write. It’s stimulating to watch when it’s well done, and it inspires me to do it well.

If you’re a proponent of throwing out the television, so be it. It’s a creative release and tool for me, and, although I’m very selective in a different way with TV as opposed to the novels I read, I benefit from watching it most of the time.

I’ve missed participating in the series I enjoy. Spending time with the sometimes original stories, not all of which I like, just like the books I read, causes me to dig deeper into the mindset of putting together fictional tales. Observing visual and verbal strengths and weaknesses in the storylines and actors’ performances helps me invent and/or perceive my characters in new and often unique ways.

I wonder if the pause in writing novel number eight has had anything to do with the lingering effects of the writer’s strike . . .

Father, please continue to lead me in my particular avenue of writing, according to what you have designed for me, not veering off course, not getting lazy, but pressing forward with your strength and encouragement. In the Name of Jesus, Amen.

*Please continue to pray for Kristy Dykes.*

Sunday's Offerings

Pray also for me, that whenever I open my mouth, words may be given me so that I will fearlessly make known the mystery of the gospel, for which I am an ambassador in chains. Pray that I may declare it fearlessly, as I should.

Ephesians 6:19-20 (NIV)

*Please pray for Kristy Dykes.*

In addition to . . .

Wow, now as it turns out, I have two books on Amazon.com. The covers of both my novels (Hope Of Glory and The Famous One) are up and books are for sale. You can't imagine how surprised I was to see Hope Of Glory offered there since I hold all the remaining copies of the book--and for $5 above the listed price. Apparently, someone who bought one or someone I gave a book to is selling their copy. I'm so curious as to who it is and hoping my inquiry will let me know who it's inscribed to . . . Used and like new except for the inscription. Anyway, if you haven't seen what the books look like, use my name to find them instead of the titles (Nicole Petrino-Salter). Weird.

Thank you, Lord.

Concession Speech

I am not a fan of or proponent for lean writing. I understand the necessity for applying the craft’s best rules in the overall and appropriate places in writing novels.

Tedium can result from too much rule bending. Bad habits can be formed. Excesses might be indulged.

Just don’t tell me because I enjoy some broken rules in reading and writing literature that it’s bad writing. Nearly every author when revisiting his book will find ways to change or improve it (referring to published pieces). However, who’s to say the changes will make it any better?

Almost all writers improve their work as they continue to write. Regardless of style, method and intent sharpen with the use of the skills applied in varying ways.

The interesting factor in the whole ordeal is that the average reader—with the exception of those who prefer the literary masterpieces—won’t even notice the presence or absence of passive verbs, speaker attributes, and the decorative adverbs. Not because they’re not intelligent or even that they’re uneducated, but because to them it’s all about the story. Had the author used more than his share of these foul tools, the reader would’ve taken them in stride if he was enthralled with the story. It seems we often overestimate as well as underestimate the readers of novels.

Have you ever heard a complaint from a reader about a novel declaring she didn’t like the book because there were too many “ly” adverbs? Usually the complaints range from “I didn’t like any of the characters” to “I couldn’t get into the plot”. And while it could be argued that the adverbs or SAs or passive verbs gave the story pacing problems, isn’t it really the guts of the story—its appeal and depth and captivating characters or its outrageous humor, irony, or drama that sustains a reader?

I realize it’s kind of like making a fine piece of clothing. When the inside of the piece is examined, every seam is neat and finished, no loose threads to unravel and fray. Some are hand sewn with meticulous, exacting strokes. This is an expensive piece of clothing where the workmanship is obvious and admirable. A writing craftsman wants to equal that kind of attention to detail and produce valuable results.

So what am I conceding, you ask? I’m conceding that the rules are important. I’m conceding that it’s worthwhile to write with them in the forefront of one’s mind, to be cautious and caring with words. If it’s crippling to do so in the first draft, write the story and then go back to clean up once you’ve got it all down. Some people revise as they go. Others prefer to get the story to the page first. Whatever works for you. I’m conceding that in some kinds of stories the rules matter more than in others. In suspense, mystery, thrillers— the pacing is more incumbent upon quick-hitting formats. I’m conceding that I made my share of mistakes in my early novels but have progressed with the later ones and have the opportunity to adjust words in books 3 through the current number 8 because they are not yet in print.

So there. Hope that works for ya.

Father, thank you for the craftsmen in any trade, for those who painstakingly tend to that which you’ve given them to do. May I be meticulous with the spiritual things, that those would flow into my earthly efforts because they’re all for you and should be given our full attention. Thank you for your patience—I’m sure the word “longsuffering” is used in my case. Please continue to direct my steps and help me to follow each one. In the Name of Jesus, Amen.

*Please don’t stop praying for Kristy Dykes.*

Finally . . . Echoes

There are innumerable authors who are able to write a series of books where each one carries its own mystique yet seamlessly connects to the next and to the next for however long the series takes to close. To me the marks of a successful series of novels are a sense of both completeness and anticipation when the first one comes to an end, the ability to sustain the level of involvement and appreciation in each of the following books, and an ending which causes both immense satisfaction and a succinct sense of loss. I have read some recent series where the first novel is a mere setup for the next with the main hook to continue coming at or near the end, and I resent that method of constructing a series. What should have been one book becomes two or more, and it feels like a ploy to extract my money. I stopped reading a series awhile back for that reason.

Author Kristen Heitzmann has given us a series of three novels which are each compelling stories in their own right. Secrets, Unforgotten, and Echoes display unforgettable major and minor characters. You might recall I mentioned how Tim Downs had created one of the most interesting characters in all of literature in the “Bug Man”. Kristen Heitzmann writes a cast of characters who are touching, valiant, endearing, bizarre, troubled, faithful, and unique. Her minor female character “Star” is a quirky yet sympathetic equal to any I’ve ever envisioned in fiction. The male and female protagonists throughout the series compel you to root for them, to stand with them in all their challenges, and to rejoice with them when all is said and done. The ribbon which ties these abundant individuals together within each story speaks of a genuine connection with supernatural dimensions.

You know there’s something special about a book when it ministers to you as a reader. I cannot tell you how much these three novels touched me. The undaunted passion of Lance Michelli, the main character, and his response to the things of God, whether understood or misguided in his attempts, betrayed my own heart. It was like reading about a male version of myself, his failures my failures. His reality lived inside my skin. I loved him for his passion, for his devotion to the Lord, for his romantic nature.

As a writer who includes significant romance in my novels, no one I’ve read captures romance more like me than Kristen. It pops and sizzles, and it screams—or whispers—of authenticity. I love the way she confronts the sensuality of a man and a woman from both points of view. And she, too, lets you see it from both sides of the spiritual fence. It’s just so good.

And as far as the spiritual and supernatural go, she writes with authority and ease, making them occur as naturally or unnaturally as they so often do in the lives of believers and unbelievers alike. There’s a genuine depth, reality, and knowledge of the spiritual realm.

Sometimes the superfluous praise for novels sours in the delivery. For me these novels deserve this praise and admiration. They’re full of good, but they show despair, gain and loss, sin and redemption, fear and faith, bitterness and forgiveness. It’s all there comprised in fascinating characters with hearts intermittently absorbing devastation but giving way to determination. It’s just real life.

These three aren’t Kristen’s only novels. Earlier novels A Rush of Wings followed by the sequel The Still of Night are two excellent reads. I’ve read her other contemporary stand alones, but these five are my favorites.

I will so miss Lance, Rese, and the others . . . but she ended it well. Satisfying but experiencing the loss of meaningful characters and their wonderful, heart-rending stories.

Father, you’ve given Kristen such an ability to communicate spiritual things in everyday ways in characters who seem real in all their flaws and oddities as well as their pain and kindnesses. Truly gifted. I pray you would continue to inspire her work with your anointing and wisdom. Bless her efforts done for you. In the Name of Jesus, Amen.

*Please continue to pray for Kristy Dykes.*

Alligator Hide

Along with the talk of writing rules circulating the various blogs is the discussion regarding rejections. Nearly every author you recognize will tell you they have been the victim of rejection—and most of them multiple times. They say these literary spurns run the gamut from dismissive to rude and insulting and all points in between. You, being a writer/author, are told to toughen up and develop thick skin in your preparation to deal with the inevitable R word.

I asked my friend Dayle if alligator hide is as tough as it looks, and he assured me it is. He shared that he got off what his friends termed a “miracle shot” on an encroaching alligator about to have his dog for lunch. He killed the beast with one shot just in time to save his pet.

Well, this writer has not acquired alligator hide—before the fashioning of it into boots or handbags. Rejection is not my best suit. Never has been. I recognize the place it plays in publishing. Certainly there must be rejections. I think the way a rejection is packaged has a lot to do with how they’re received or accepted.

Some anxious writers who haven’t learned “the system” submit their work before they should. It isn’t the “best” they can do, but they’re in a hurry to be published, and they’ve just completed a novel, for cyrin’ out loud! Most of us have to pass through the place of naiveté, and, unfortunately, agents or possibly editors are victimized by our impatience and unprofessional approach. Naturally, some are more patient than others. Some can spot the value of a story or the competency of a writer even in the immature manuscript and are willing to extend an encouragement or suggestion to help. But most of the pros are pelted with all kinds of manuscripts and have erected their own shields of protection and means of filtering the masses of material they have to sift through to find what they want. Almost all of them recommend writers’ conferences for two reasons that I know of: the classes offered on all aspects of writing and publishing and being able to put a name and face to material. Kind of like hoping for a spark maybe. Perhaps there are other reasons like seeing a writer willing to pay his dues—literally.

While I sympathize with professionals who strain the material through the colander of their preferences, rejection should be handled with some degree of respect if for no other reason than there is a human being at the other end of that piece of junk not even remotely close to what they’re looking for. Maybe the goofball who wouldn’t recognize good writing if he read it in red letters has a tender heart which might need some realignment in another career but doesn’t deserve to be crushed by concrete rhetoric heavy enough to send him to the depths. An exaggeration, I know, because most of the rejections come in stereotypical form letters which simply indicate a “No”.

Anyway, my skin is soft, and my heart is softer. No alligator hide on this girl. Rejection is a stepping stone, can be an indicator to look elsewhere, might mean a lack of talent or an unfinished product, but receiving one or twenty of them doesn’t get any easier. I think it’s possible for guys to rebound from them more quickly, less damaged (and I’m still speaking of writing here). Maybe it’s like a fresh challenge for them. But then I’ve known some fairly competitive women, too . . .

I’m just glad God has given me my own skin. Finally after all these years I’ve grown comfortable in it.

Father, thank you for my path. Wherever it leads, help me to follow you. In the Name of Jesus, Amen.

*Please continue to pray for Kristy Dykes.*

First-Timers

If you’re a first time author who has completed your first novel or you are working on your first novel, you might want to take a look at the rather impressive array of professionals addressing their thoughts/advice for first-timers over at C. J. Darlington’s blog (http://www.cjdarlington.blogspot.com/). Mixed in with an occasional blog tour post on a novel, several editors, a couple of agents, and a few authors have answered the inquiry about what they would say to aspiring authors. Interesting comments. Some ring true, others sound like the usual schlock—no offense intended, but how many times can you say, “Write the best story”, etc., or other such platitudes without incurring a smattering of resentment?

If you want to get in on a few teachings on the craft, Brandilyn Collins (http://www.forensicsandfaith.blogspot.com/) is doing a series on the rules of writing, and in keeping with the current trends/demands is in lock step with most of the accepted norms/suggestions for how to write that “best story”, giving examples and reasons for each opinion.

If you want to look at some statistics which document how successful book publishing really is, Chip MacGregor presents some computations under his post “The Hard Questions” on his blog (http://chipmacgregor.typepad.com/main/).

If you want some thoughtful posts on the craft from yet-to-be-published authors, you can visit Dayle James Arceneaux’ blog (http://www.daylejamesarceneaux.blogspot.com/) and get his take on it or Rebecca Luella Miller’s blog (http://rebeccaluellamiller.wordpress.com/) for a short series.

Either you will soak it all in and absorb it into your system or memory banks, or you will allow it all to seriously overwhelm you.

Here is my two-cents worth which in the greater scheme of all things publishing is reduced to a mere opinion . . . If you write solely to please man, you will never please them all and possibly not even the ones you intend to please. If you trust man’s wisdom to implicitly guide you in a God-given gift, the chance of reaching your full potential in the spiritual aspects of your life is limited at best. If you assume that every piece of instruction is absolute and infallible, you will be disappointed to learn of all the exceptions to said instructions. If you have yet to determine your aim or goal as a writer, the only plausible source for truthful evaluation is God. Spending time with Jesus, allowing the Holy Spirit to clarify the deepest intentions of the heart, often exposing those less than flattering motivations, and to provide solutions to those hurting, discouraged places we present to Him . . . If we don’t want to abide by the best for us, we can bull our way through the game, declaring our self-induced determination to conquer the publishing world with our sterling efforts of eye-popping literature. And then we can measure our success with our worldly wisdom and watch it turn to ash.

Father, for all those who write from their hearts and desire to please you in the process and to follow your leading in their lives, I ask your encouragement to rise up within them and give them peace and clarity. I pray for each one to take courage and gain patience in whatever process you are guiding them through. I pray they would seek after you with their whole hearts, devoted to discovering the exact path you’ve designed for them. I pray your ways would become their ways. For all of us, Lord, be close and made strong in our weaknesses. In the Name of Jesus, Amen.

*Please remember to pray for Kristy Dykes.*

As a sidenote . . .

Jesus Christ . . . is He or has He become just a sidenote to who you are and what you do?

I’ve read a lot of Christian fiction already this year, published by well known CBA publishers. In a few of the novels including the last two I read, the “gospel of Jesus Christ”, meaning establishing Him as the “way, truth, and life”, the only path to the One true God, has been noticeably absent. Though God in His mercy, wisdom, and forgiveness was present in some, the defining factor of making peace with God was implied, but clarity was not provided. In one of the books God Himself was not even hinted at except in one sentence which read something like this: “She prayed that . . .” Period. That was the one reference to an entity outside oneself.

The argument regularly roars around the blogosphere about labeling fiction “Christian”, what the contents and definitions of such literature should or does contain and/or entail, how some authors would prefer their novels to appear side by side secular literature of the same genre while other authors prefer theirs be allotted to the “inspirational” sections or the Christian bookstores.

Much of it is personal preference, association, and intent. In defense of what has been called “edgy” or “stark” or any number of other terminology to define and separate their writing from what a few have deemed “sappy”, as in romances in some cases, Christian authors have pointed out that proclaiming the gospel is not a must—often using the planting, watering, and harvesting theology and applying it to their writing. Other writers have not even attempted to apply theology or any other divine intent to their novels, simply acknowledging that their creativity and craftsmanship is evidence of God’s purpose in their writing.

It’s sensible to me to assume inserting the gospel into a story because it “should” be there is entirely the wrong reason. A story, be it a thriller or a romance, creates a snapshot or a rollicking “film” of a life situation. Whether it comes out comedic, dramatic, or ironic, it still speaks of life occurrences and issues. And in that realization comes a message of what life lived one way or another involves.

The “arguments” seem to take place when sides dispute what the label of “Christian” in fiction should necessitate. I’m not going to go another round in this department.

As a Christian, I’m only going to ask if you submit your writing to the Savior of your soul. Is His purpose for your writing your main concern? How you write to honor Him is between Him and you and not for me or any other individual outside of yourself to determine.

I only know Jesus Christ is the only One who laid down His life for this world full of individuals because God so loved the world . . . Personally, I like it when He’s expertly engaged in the story just like in real life. Because it doesn’t get any more real than Jesus.

“We talk of the Second Coming; half the world has never heard of the first.”
“No one has the right to hear the gospel twice, while there remains someone who has not heard it once.” Oswald J. Smith

I’ve “heard” Christians on different blogs or in comments refer to portraying the gospel in stories as “crappy”, “sappy”, and in other negative terms. Yet I have read contemporary literature that typifies the reality of the gospel in compelling, gut-wrenching situations, characters, and dialogue.

Each story is unique, and the storyteller must exercise his own method of telling the tale. I guess I just hate to see Jesus eliminated from story or mentioned as something less than a sidenote.

The lingering and final argument insists that if the Christian label exists, the lost will not pick up or read the book anyway. However, the multi-million in sales of Francine Rivers’ Redeeming Love, Frank Peretti’s This Present Darkness and Piercing the Darkness, plus the collection of the Left Behind series would definitely dispute that assertion.

Lord God, you give the talent and the increase. You direct those lives submitted to you. You are generous, kind, loving, and open to all whose hearts are set upon you. Help us all to do your will, to proclaim your Son, to share you, Jesus, with all whose hearts have been drawn by the Holy Spirit to listen, to hear, to respond to the greatest love of all and the salvation of their souls. In the Name of Jesus, Amen.

*Please remember to pray for Kristy Dykes.*

Sunday's Offerings

For this reason, since the day we heard about you, we have not stopped praying for you and asking God to fill you with the knowledge of his will through all spiritual wisdom and understanding. And we pray this in order that you may live a life worthy of the Lord and may please him in every way; bearing fruit in every good work, growing in the knowledge of God, being strengthened with all power according to his glorious might so that you may have great endurance and patience, and joyfully giving thanks to the Father, who has qualified you to share in the inheritance of the saints in the kingdom of light. For He has rescued us from the dominion of darkness and brought us into the kingdom of the Son He loves, in whom we have redemption, the forgivness of sins.

Colossians 1:9-14 (NIV)

*Please continue to pray for Kristy Dykes.*