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How to Raise a Reader: Tips to Help Your Children Love Books

December 4, 2021 by Michael Santos

A different topic today, but an important one. If you’re an avid reader, you may worry if your child or children seem uninterested in books. Of course, you want to ensure that they can read and write at a high level, because there are numerous advantages in life to having those skills, whether or not they become involved in a literary profession.

As a self-proclaimed book nerd going back to my school days, I thought I’d offer my advice to parents who face this conundrum.

Do schools ruin reading? How to raise a reader in the education system.

Education professionals debate this question, and there are many opinions about how to improve the methods of teaching literature so that students love reading.

Ask many adults who do not read, and they’ll tell you that school turned them off of books. Some often cited reasons:

  • Homework, tests and essays on books made reading drudgery and misery
  • Classic literary styles are less accessible and therefore less appreciated by young, busy students
  • Characters and situations of classic literature are from bygone eras and are not relatable to modern adult readers, let alone young students

Even I, who took every English and Drama class I could, found it challenging to be engaged with most of the assigned books. Sure, there were my favorites even back then (Frankenstein, The Great Gatsby, To Kill a Mockingbird, Lord of the Flies, Jekyll & Hyde, Scarlett Letter, etc.).

But it was difficult to view school reading as pleasurable even when I enjoyed and appreciated a specific work, because the homework and testing ruined the reading experience.

It was still preferable to math, however.

Rather, I came to love the reading I did every night before bed. That was the reading experience that came to define my understanding of what books could give me.

I read David Baldacci novels like a football fan eats buffalo wings during the Super Bowl. I read the James Bond novels, Le Carre, and anything in the spy, espionage, and political thriller genres I could, then got into crime fiction.

Independent reading on my own time, with books I chose and genres that came to be part of my identity, then gave me a greater appreciation for the books we read in class. Not the other way around.

So yes, schools ruin reading. But a student who discovers a love of books on their own will also likely find books they love at school.

Create a reading culture in your home: how to raise a reader outside the education system.

How then do we foster independent reading at home?

A key factor for me was that my parents were not prescriptive or demanding in their approach to my reading ability. For instance, there was never a time when they sat me in a chair, handed me a book, and said something like, “You must read for an hour before you can go outside and play.”

Had they taken such an angle, they would have reinforced all of the negative effects of the education system’s handling of books.

It would have been one more assignment standing between me and the things I wanted to do as a kid. Namely, playing…a creative act with value that should not be underestimated in a growing human being’s potential to eventually love stories.

Instead, they fostered a culture of reading by doing the following:

  • Filling the house with books. There was a bookshelf in practically every room. Books were therefore a part of life, and when one day I decided to give it a shot, I had my pick and it was the most natural choice in the world.
  • Reading in front of me. Kids have a special talent for sniffing out hypocrisy, such as when their parents make them drink milk at dinner every night when the parents never have milk, but instead choose more fun drinks like wine, soda, coffee, etc. Well, it works the same with reading.
    • My parents read a lot, and let me see them reading a lot. Thus, when they said positive things about books and reading, I believed them. And eventually followed their example.
    • Again, this created an opportunity for me to willingly and independently come to books, rather than forcing me to do so.
  • Emphasizing the importance of books at a macro level. My mother, especially, would always tell me, “Books are the backbone of civilization.” Of course, this holds true when you study the progression of societies and human history. Writing was fundamental to the advancement of the human race. That argument had a lot of mileage with me.

That culture of reading in the home led me to pick up a book one day, and I have never looked back.

How to raise a reader: it’s not as hard as you think.

So my message to parents is this: don’t stress. You don’t have to force your child to read or devise a complex regimen of activities to help them along. Instead, make books a part of their home life. Surround them with reading, and let them come to love books naturally.

Take it from a book nerd who took it to the extreme and became a writer.

Looking for a new thriller?

Check out my supernatural thriller, The Nowhere Game!

The Nowhere Game

Check out my Queen City Crime Series, available on Amazon in Kindle Ebook and print paperback.

No Hard Feelings

No Hard Feelings

Mr. Moneybags

Mean Bones

Filed Under: On Writing Tagged With: how to raise a reader, how to write, parenting, reading, reading education, writing

How to Find Your Writing Style

August 25, 2019 by Michael Santos

How do you find your writing style? What is your author voice? These two questions are crucial for any writer to answer.

Style, to me, is like an author’s fingerprint. My favorite books tend to be written by my favorite stylists. When I buy a novel from one of those writers, I’m buying the way they (and only they) tell a story.

Give me a random passage and don’t tell me the author’s name – I’ll be able to identify if one of these writers penned it.

An author’s voice comes from elements like word choice, themes, and attitude.

I can’t stress that last point enough – you have to have an attitude.

Great Author Voices in Crime Fiction

Elmore Leonard – I’ve cited him as a major influence of mine both on this site and in books. Part of what drew me into his fiction was the iconic style and voice he brought to the page. It’s sleazy and grimy and goes down like good bourbon.

George Pelecanos – a contemporary author with a style that merges hard-boiled, clipped speech with literary poeticism.

Stephen King – a natural storyteller, King has a warm, familiar voice that pulls you in, builds empathy with the characters (good and horrific), and makes you want to keep reading.

There are many more, but I hope you see the idea. Each of these writers conveys emotion through the way they tell stories. They let you connect with their senses of humor, their attitudes, their outlooks on life.

Readers buy their books to hear more stories told in those voices.

Why your writing style is important for your career as an author.

The best scenario for a long-term career as an author is to allow readers to connect with you, the person behind the stories. Your style conveys who you are.

How you see the world. When a reader identifies you as a kindred spirit, through your style, they can become an engaged fan.

This is what happened when I first read the aforementioned authors. Beyond the entertainment, educational, and emotional value I found in their work, I knew they were my people.

I got to know them, which made me want to keep getting to know them. Now, I’m a diehard fan. Diehard enough to mention them over and over in articles like this.

The more people enjoy your writing style, the more they’ll read your books. The more they connect with you, the longer they’ll stay a reader.

Your writing style links your books to each other.

Genre authors will be used to writing series, in which a character or setting connects the stories. But voice can also accomplish that task, even for standalone books.

Here, we’ll return to Stephen King. Not all his titles are in a series (though he does connect them all in elaborate ways). But pick up any individual novel of his, and you’ll hear his author voice.

How do you find your writing style?

Read.

No, really. The best way to find your author voice is to read a lot. While you read, analyze the styles and storytelling techniques of the writers.

Do you like when they do x? Why? Do you hate when they do z? Why?

What creates the ideal reading experience for you?

I still haven’t read that long passage of description on page 2 of my copy of The Big Sleep. I skip it every time. But I really enjoy Dashiell Hammett’s sparse description, focusing on just the important bits and letting my imagination come up with the rest.

Then, try to write something. Emulate a writer whose style resonates with you. Learn their rhythms, their attitude. Likely, it is not so different from your own attitude.

You’ll find that your voice will develop from that exercise of reading, writing, and repeating. Let your own individuality come through the language. Make it yours.

Always, always begin with reading.

There’s no right and wrong in the arts. But there is right and wrong for you.

Subjectivity is everything in creative disciplines. Sure, there are best practices in the craft, standards of professionalism, all of that. But in terms of the “rules” of writing, every time someone prescribes one, a talented writer finds a way to successfully break it.

Don’t ask, “Is this right?” Ask, “Is this right for me?”

This is what I mean when I advise you to find the reading experience you prefer. Which writing techniques produce it? Who are the authors from whom you could learn those techniques? For that matter, who are some authors who do the opposite, and what effect do their approaches have on the reading experience?

That is your starting point. Your writing style and the way you enjoy telling stories can be found in that knowledge. Do your homework by reading and evaluating.

It’s the most fun you’ll ever have with homework. And I once had a physics assignment to drop buttered toast off the side of a table in the dining hall to see if it would land buttered side down. That was fun. Reading is more fun.

How I found my writing style.

I read those great stylists and studied my reactions to their work. Here is what I learned about the way I like to read:

  1. Dialogue over narration. I prefer authors who let the characters drive the story by acting and reacting to each other, the same way that stage play scenes are built from lines of speech.
  2. I like rotating third point of view, because it allows me to feel close to multiple characters, even supporting cast members. Often, I enjoy the supporting personalities the most.
  3. I like free indirect discourse, a method of close third narration that involves no separation between the character’s voice and the narrator’s voice. When you’re in the POV of one character, the narration is written in that person’s voice, not the authors. It sounds like dialogue. If you rotate POVs, then the next scene will be in a different character’s perspective and voice.
  4. All those previous points create more immersion for me, because the author is concealed behind the characters. As a reader, I’m left to be with the people in the story, experiencing their world in real time, with no middleman between us.
  5. A slightly irreverent, dry-humored wit never hurts with me.

That’s how I prefer to read stories, so I gravitated to authors who write that way. And, my own writing style accomplishes the same objectives.

I found my style by understanding how I like to read and then writing stories in kind.

You’ll also notice that my nonfiction voice (on display in these articles) is different from my approach to fiction. But that is a subject for another post.

This also isn’t to say you must write in the same style always and forever. People change, and our author voices change along with us. It’s best not to fight that.

But this is the best way I have found to get started.

Looking for a new thriller?

Check out my supernatural thriller, The Nowhere Game!

The Nowhere Game

 

Check out my Queen City Crime Series, available on Amazon in Kindle Ebook and print paperback.

No Hard Feelings

No Hard Feelings

Mr. Moneybags

Mean Bones

Get more writing and crime fiction content!

A FREE ebook copy of No Hard Feelings and even more great content is yours, when you join my email newsletter. Subscribe below!

Filed Under: On Writing Tagged With: crime fiction, how to write, how to write a book, how to write a story

Story Writing: Verb Tenses

January 2, 2019 by Michael Santos

In this article, we explore verb tenses in fiction writing.

A verb is what somebody or something does. The tense of a verb tells us when the action is taken. The person of a verb lets us know who is taking the action.

Which verb tense is right for your story? Read on to find out.

Verb tense (when the action happens).

You’ll have to choose between past tense and present tense. Both come with their advantages. Additionally, certain genres will have preferences toward one or the other. Of course, that doesn’t mean you have to follow those preferences, but you may wish to if you are a fan of the genre in which you’re writing.

Present tense.

Let’s start with present tense, because it is currently (as of this writing) trending in the crime genre, especially in murder mysteries featuring a detective or detective inspector protagonist.

Authors who prefer present tense often say that it creates high immediacy. Present tense makes it feel like the story is happening “right now.” The effect is magnified when you combine present tense with first person narration, which also heightens immediacy.

I take a shortcut down a dark alley, feel a gun against my spine. A voice says, “Give me your wallet.”

This can be ideal for any type of fiction, but it especially explains the appeal of this tense with today’s genre writers, who write novels that prioritize the external narrative and effects like suspense. For an excellent novel in first person present tense, read the classic legal thriller Presumed Innocent, by Scott Turow.

A personal note to snobs.

I have heard some authors (those who would debate the terms artist and storyteller) suggest that present tense is popular with commercial fiction writers today because it is simple. It keeps the timeline of events in a story streamlined and easy to manage. The implication is that commercial writers can’t handle more complicated narratives, so they deliberately “limit” themselves.

As a commercial author, I’m tempted to respond to that opinion using language favored by my criminal characters and their lowlife vocabularies.

But I won’t. I’ll just say that the assertion that present tense is for “simple” fiction and “simple” writers is ironic. Despite the current trends, in my market research I have discovered that a large number of crime readers find present tense inherently pretentious.

To be honest, I’ve always felt that way, myself. When I read present tense, it sounds too “writerly,” which reminds me that I’m reading and breaks my immersion.

Other commercial readers love present tense, however, and it falls to every writer to determine which tense is better for their project. Many acclaimed genre authors, such as Michael Connelly, have been known to use both of these verb tenses in the same novel. Perhaps the protagonist’s passages are in first person present tense, but the antagonist’s are in third person past. His novel The Poet makes use of that combination very well.

It’s your choice.

Don’t let snobs affect your decision.

Past tense.

While it’s true that present tense is enjoying a spike in appeal among today’s authors, past tense remains the more popular of the two.

Stories have traditionally been written in the past tense, going all the way back to the classics. As a result, it is the more natural tense for storytelling with the written word. For many readers, our mental ears have a kind of trained familiarity with past tense narration.

He took a shortcut down a dark alley, felt a gun against his spine. A voice said, “Give me your wallet.”

As a result, it actually has much the same immediacy as present tense. Despite the verb tense telling us that the events are past, we still feel them in the narrative present. This is especially true when you combine past tense with limited third person narration, which closes the distance to the characters and delivers even more immediacy.

Past tense also allows flexibility for the author to seamlessly play with the timeline. It’s easier to include flashback sections in a past tense narrative. In fact, for a novel that utilizes present tense in the main narrative, it is often optimal to switch to past for any sections that jump around in time.

My opinion, for what it’s worth.

Combine the natural, familiar feel of past tense with its ability to reach the same levels of immediacy as present tense and the additional flexibility it gives your narrative timeline.

That’s why I prefer past tense, not only as a writer, but as a reader too.

However, that’s only my opinion. Once again, choose the tense that will create the effect you desire.

Verb person.

For an extensive look into the options available for verb person, read my article, “Point of View in Stories”.

Summary.

To review:

  1. Choose between present and past tense.
  2. Present tense is trending right now, due to its immediacy and its focused approach to the narrative timeline.
  3. Past tense remains the more popular of the two, because of its familiar quality, a similar (if not the same) level of immediacy when combined with the most popular verb person (limited third), and the flexibility it lends to your story’s timeline.

If you enjoyed this article, please share it!

Looking for a new thriller?

Check out my supernatural thriller, The Nowhere Game!

The Nowhere Game

 

Check out my Queen City Crime Series, available on Amazon in Kindle Ebook and print paperback.

No Hard Feelings

No Hard Feelings

Mr. Moneybags

Mean Bones

Get more writing and crime fiction content!

A FREE ebook copy of No Hard Feelings and even more great content is yours, when you join my email newsletter. Subscribe below!

Filed Under: On Writing Tagged With: creative writing, how to write, how to write a book, writing tips

Story Writing: The Ultimate Guide to Great Scenes

December 28, 2018 by Michael Santos

There is nothing more critical to the success of a story, especially a long-form story like a novel, than the writer’s ability to create compelling scenes.

In this article, we’ll discuss scene structure, execution, and how to tell if you’ve written an effective scene or a dud.

Scenes either work or they don’t.

The truth is that the mechanics of scenes are specific and essential. If the writer ignores these mechanics or fails to learn them, their stories will fail to work at their most basic level.

This is because long-form stories are built on collections of scenes. Sometimes each chapter is a single scene, while other authors group multiple scenes together in one chapter.

Either way, the reader’s satisfaction with the story depends on how well these scenes advance the external and internal narratives.

For a scene to work, it needs the following…

Scene structure mirrors story structure.

Scene Structure

Remember the essential components of plot structure from my article on that topic? Here’s a brief refresher, but I recommend reading that post before continuing with this one.

The story opens with the inciting incident, which changes the status quo to the extent that the protagonist must take action. Complications arise in the middle build, giving us twists and turns and driving the story forward with continuous change and progressively rising stakes.

The crisis occurs when the stakes are so high that the protagonist faces a choice between two bad options. When they act on their decision, we have the climax, in which we see how their choice plays out. Finally, the resolution concludes the narrative and shows us how the character and/or circumstances have evolved.

Scenes are just mini-stories.

Every scene follows the same structure that your story does.

Each one should open with an action or a coincidence (as you’ll recall from the section on inciting incidents in the plot structure post). That incident should prompt the character(s) to do something, which will begin the events of the scene.

Complications in the middle should act as small turning points that gradually raise the stakes and the pressure on the characters.

The pressure builds until a character (your protagonist or point of view character) must make a choice at the end of the scene. This is the crisis.

We then see the climax, as they take action based on their choice.

For the vast majority of scenes, you’ll want the resolution to end on a cliffhanger that motivates the reader to continue to the next scene. This is most commonly associated with commercial page-turners, but it applies to all genres and styles of fiction.

Scenes must follow this structure in order to work. Without an inciting incident, middle complications, a crisis, a climax, and a resolution, your scenes won’t resonate with readers.

A question of polarity.

Scenes must also turn. That is, there must be a shift in your protagonist’s quest to get what they consciously want (the external narrative) or what they subconsciously need (the internal narrative).

This is also called a shift in polarity. If the overall state of your character’s journey is positive at the beginning of a scene, the polarity must shift to a negative or a double positive. If it is negative, it means the scene introduces a new setback that prevents the character from achieving their goals. A double positive does the opposite.

Likewise, if the scene opens on a negative polarity, it must shift to a positive or to a double negative. The state of the conflict must improve or get even worse.

If a scene does not include a change in polarity—a turn—it is not a scene. There is no advancement of the story in a passage that does not turn, making it ineffective.

To write an engaging scene, the external and/or internal narratives must progress in some way, either positively or negatively, from where they were at the beginning of the scene.

For more information on external and internal narratives, read my article on them.

Editing your scenes.

When I edit a manuscript (and before I send a manuscript to my editor) I spend most of my time analyzing every scene in the novel.

I ensure that they follow the structure that will make them engaging for the reader. I check that there is a polarity shift by writing a sign (+, -, ++, or –) at the beginning of the scene and a different sign at the end. Finally, I evaluate how the external and internal narratives develop in each one.

Once in awhile, I’ll come across a passage I’ve written that I can’t seem to fix. It won’t turn, I can’t find a polarity shift that leaves an impact on the story, and the scene is ultimately boring.

What do you do when that happens?

You cut the scene.

You wouldn’t build a castle out of stones that have massive cracks in them. The place would come crumbling down. Scenes are the building blocks of stories. They must be solid as well.

Summary.

Okay, let’s review:

  1. The success of a story depends on the writer’s ability to write great scenes.
  2. Scenes either work or they don’t, with little wiggle room. Writers MUST understand the mechanics of scenes.
  3. Scenes are mini-stories that follow the same structure as the overall plot.
  4. Scenes must turn, meaning that there must be a polarity shift from positive to negative, positive to double positive, negative to positive, or negative to double negative.
  5. When editing, cut any scene that you can’t fix. It likely isn’t important to the story if you can’t make it turn.

If you liked this article and found it helpful, please share it!

Looking for a new thriller?

Check out my supernatural thriller, The Nowhere Game!

The Nowhere Game

 

Check out my Queen City Crime Series, available on Amazon in Kindle Ebook and print paperback.

No Hard Feelings

No Hard Feelings

Mr. Moneybags

Mean Bones

Get more writing and crime fiction content!

A FREE ebook copy of No Hard Feelings and even more great content is yours, when you join my email newsletter. Subscribe below!

Filed Under: On Writing Tagged With: books, creative writing, how to write, how to write a book, writing

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