Best Books for a Reading Binge

I remember one Christmas my husband and I watched the first season of 24 with Kiefer Sutherland in the space of two days. Then we rushed out and bought the second season.



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There's something to be said about instant gratification.

However, the only way to enjoy a full series so quickly is that you have to WAIT until the entire series is available.

And books are no different.

Nothing better than finishing a novel you've stayed up all night to read only to discover it's part of a series. And, oh my gosh, the last book in the series has just been released!

So, in honor of the binge, here are my top picks for novel serials that are perfect for binging.

Find a comfy chair, make some tea and have an assortment of treats within hands reach.

#1. Harry Potter (experience the magic again)

#2. Nancy Drew (love that convertible!)

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#3. The Hunger Games trilogy (still intense)

#4. Agatha Christie's Miss Marple series (there's a reason she's the best selling author of all time)

#5. The Little House on the Prairie books (Oh, that Nellie Oleson!)

#6. The No. 1 Ladies Detective Agency series (speed through as many as you can...and have a pot of tea in between each volume)

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BONUS!!

This isn't a series but it's always good for the heart and soul to binge on Jane Austen. May I suggest Pride and Prejudice, Sense and Sensibility and Northanger Abbey.

What are some of your favorite books to binge on?

Top Ten Book Scenes I'd LOOOOVE to Experience

Last week, I made a top ten list of favorite items I'd steal from books. Number one? Nancy Drew's blue convertible. Oh, yeah!

Now please enjoy...

Top Ten Scenes I'd Like LOOOOVE to Experience.

1. Mr. Darcy proposes to Elizabeth and she turns him down. BAM!

2. Every Christmas feast at Hogwarts.


3. When Anne hits Gilbert Blythe over the head with the slate. I'd holler from the back of the school house, "Go, redheads!"

4. The entire fifteenth chapter of THE PRISONER of AZKABAN when Harry wins the quidditch cup by beating Slytherin. AWESOME!!!


5. To be alongside Lucy when she walks through the wardrobe for the first time. Narnia!


6. Being rocked by Aunt Beast in A WRINKLE IN TIME. (I love a good nap in space.)

7. Front row at the Reaping Ceremony. When Primrose's name is called, I'd volunteer before Katniss, and therefore Peeta would fall in love with me....and Katniss can have Gale or whatever.


8. Go to the chocolate factory with Charlie and Grandpa Joe, then eat candy grass, mushrooms and tea cups with Willy Wonka.

 

9. When Elizabeth Bennet has the showdown with Lady Catherine de Bourgh in the garden.

"He is a gentleman and I'm a gentleman's daughter, therefore we are equal."

How Elizabeth kept her wits in this scene is beyond commendable.


10. When Laura Ingalls sees Almanzo Wilder for the first time in THE LONG WINTER. *heart swells* Even though she was more smitten with his friend, Cap Garland...still, I smile every time.

What are some of your favorite scenes?

How to Write a Synopsis

Most writers would gladly write another novel instead of a synopsis. But like flossing and dinner with the in-laws, it is unavoidable and essential.

First of all, keep it simple. It's like a query, but with an ending.

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Compare it to making soup; throw all the stuff in, let it simmer, reduce and keep reducing until it's done.

Step 1. Start by organizing your story in fifteen sentences. I like to use Blake Snyder's beat sheet.

Step 2. Trim it down. Be ruthless. Subplots can go. Focus on the main character's journey. They should learn something by the end of the novel. 

Step 3. Have someone who hasn't read your book go over the synopsis. It should make sense to them with a clear idea of the story. Surprisingly, a theme you never intended, will usually become obvious once you draw up your synopsis. 

As an example, here's a synopsis of Harry Potter and the Philosopher's Stone, which I trimmed down from the Plot Like a Pro post.


Ten-year-old Harry Potter lives with his spiteful Aunt and Uncle, and abusive cousin. He is repeatedly reminded how lucky he is to have a roof over his head, despite the fact his parents had the audacity to get killed in a car accident when he was an infant.

But when mysterious letters keep arriving for Harry, his Uncle isn't upset, he's downright terrified. One night, a massive man with a woolly coat and beard arrives to announce that Hogwarts School of Witchcraft and Wizardy is waiting for Harry's reply.

Harry is stunned to learn the true nature of his parent's death at the hands of an evil wizard named Lord Voldemort, and as a young wizard, he's due to start his magical education at Hogwarts.

Harry fears that he will not fit in, having never been exposed to magic. He is befriended by a stuttering, Professor Quirrell. During the sorting ceremony, Harry chooses to be in Gryffindor as opposed to Slytherin—the house which Lord Voldemort was placed as a student.

Harry learns a magical item that grants immortality, The Philosopher's Stone, has gone missing. After a Slytherin student tricks Harry into a midnight duel, he discovers a trap door guarded by a three headed dog and he speculates what's being protected.

Harry is pleased to discover he's a natural at Quidditch, a football style game played on broomsticks, and he enjoys the admiration from his classmates.

Having never been given presents, Harry has the best Christmas at Hogwarts with his new friends. He anonymously receives an invisibility cloak, which enables him to sneak around looking for clues about the trapdoor. Instead, he finds 'the mirror of erised'. In the reflection of the magical glass, Harry sees himself with his parents. He forgets about his real friends, choosing to spend all his time looking into the mirror.

While serving detention in the forbidden forest, Harry witnesses the murder of a unicorn and is saved by Firenze, one of the centaurs, who foretells that Lord Voldemort will once again rise to power. Harry realizes the man who murdered his parents will be coming for him next.

Fearing Snape, the head of Sytherin and the mean spirited potions master, is going to steal the Philosophers Stone to make the elixir of life for Lord Voldemort, Harry and his two best friends go down the trapdoor, hoping to grab it first.

After passing harrowing tests of skill through a series of chambers, Harry is the last one left to find the stone. With only a first year's knowledge of magic, he must face Snape alone. But Harry discovers Professor Quirrell is the real villain at Hogwarts who has been helping Lord Voldemort.

Knowing his parents died saving him, Harry feels overwhelming courage and finally believes in the power of their love. Harry defeats Quirrell (and Lord Voldemort) by using the mirror of erised.

Harry recuperates and accepts magic as his true destiny. The friends he's made at Hogwarts are his real family, and that he will never be alone again.

What are some of your tips to writing a synopsis?

Congratulations, you made it to the end of the post. Enjoy this link to a fabulous recipe for chicken stew with butternut squash.


 

 

 

BOO! Scariest Literary Characters You Can Be For Halloween

Looking for a costume to help you stand out? Search no further.

Here's a list of the top eight scariest literary characters you can be for Halloween. Skipping, of course, the obvious Dracula and Frankenstein choices...


1. Dolores Umbridge from Harry Potter and the Half-Blood Prince. All you need to wear is a pink wool suit and an expression of sweetness hidden behind pure evil.

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2. Bill Sykes from Oliver Twist. Toss on a ratty blazer, an ascot with a beer stain, a woolly top hat, grow out three days worth of beard and you're all set. Throw in a cocky accent for good measure.

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3. Cruella de Vil from One Hundred and One Dalmatians. Easy-peasy costume; half white and half black. What? You don't think a cartoon character is nasty enough? She makes clothing from the skin of cute little puppies. Enough said.

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4. Hannibal Lector from Silence of the Lambs. The straight jacket may make it tough to hold a drink, but I'm sure a straw will fit through the face mask.

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5. Annie Wilkes from Misery. Flowered peasant dress with deep pockets and a sledge hammer. FYI, this costume works best if you're actually Kathy Bates.

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6. Voldemort from Harry Potter and the Goblet of Fire. Tape down your nose, shave your head, and grow out your fingernails.

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7. Pennywise from It. A creepy clown with sharp teeth is guaranteed a scream or two. Please don't show up at my house dressed like this.

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8. White Witch from The Lion, The Witch, and The Wardrobe. Dress all in white and don't smile, a few icicles in your hair wouldn't hurt either. Make sure to carry a tin of Turkish delight.

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Who are some of your picks for scariest literary characters?

Five Books That Made Me Cry

Oh my, nothing better than a good cry over fictional characters, especially if you're on an airplane or waiting in the doctor's office....*ahem*

Anyway, if you're in need of a good emotional heart wrenching sob, check these titles out.

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#1. The Fault In Our Stars

It's not the fact that the kids have cancer, it's that they fall in love so beautifully. I knew it wouldn't end well, yet I kept reading...I HAD to! And even though I can go back and read it all over again, in my heart, that character is gone. *sobs*

#2. Harry Potter and the Prisoner of Azkaban

In particular Chapter 13 

Every frickin' time I read this I cry...tears of JOY! Harry saves the day and manages to look cook in front of Cho Chang when he catches the snitch during a particularly troublesome Quidditch match. Plus, he produces a patronus so strong Malfoy and his cronies end up in the infirmary. *fist pump*

#3. The Miraculous Journey of Edward Tulane

The ending...just stop. I can't. My kids and I cried together at bedtime reading this one.

#4. Anne of Green Gables

One word. Matthew. *sniff*

#5. A Fine Balance

So many heartbreaking moments. It's not necessarily a crying book, but more like the author reaches through your chest and twists your heart, squeezing it tightly. The ending scene with the chess set and the speeding train lingered with me for a long time after I closed the book.



Which books made you cry?  

Happily Ever After; Dating Service for Ficional Characters, Session Two

Voted as the number one dating service for fictional characters.

It doesn't matter if you're a hero or a zero on the pages, our on-line dating service will help you find your soul mate.

 

We'll have you picking out matching bookmarks before you can say, 'library late fees'.

Last week Katniss Everdeen and Victor Frankenstein had success in pairing together.

The chat room is about to get started! Let's see who's looking for love today.

Moderator: Hello, everyone. I see we have a whole new group! Splendid. Who would like to start the conversation tonight? Go ahead, don't by shy.



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Philip Pirrip: I suspect I should like to go first, sir. My story is a sad one, unfortunately. The girl I gave my heart to has but ripped it out of my chest and squeezed the life from it.

 

Scarlett O'Hara: How horrific, Mr. Pirrip. I can't imagine any lady worth keeping who is capable of such a massacre.

 

Philip Pirrip: Well, it wasn't a massacre...at least not literally. And please, call me Pip, everybody does.

Ponyboy Curtis: A broken heart? I've survived worse.

 



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 George Weasley: Tough break, blokes. I feels for ya. Sounds like you two are in need of a little pick me up. Maybe some 'Feel Rite Fizzy Bombs Bubblegum'... or maybe a 'Jovial Joker Jawbreaker?'

 

Lydia Bennet: I'll take ten Fizzy Bombs! The General is throwing a ball tomorrow night. And what a lark it will be!

 

Philip Pirrip: Do you need an escort, Miss Bennet?

 

George Weasley: Right, then. Ten Fizzy Bombs at ten knuts a piece...that will be one hundred knuts or three Sickles and four knuts.

 

Lydia Bennet: What's a sickle?

 

Scarlett O'Hara: It's a terrible infliction the Yankees brought with them. Since the war started all of my beaus have left Tara lonely and desolate.

 

Philip Pirrip: Is this Tara a nice girl? Is she looking for someone to love, too?

 

Ponyboy Curtis: Be careful what you wish for Pip. Sometimes certain groups just can't mix, you know? Sometimes all you got is the sun on your face and the street beneath your feet.

 

George Weasley: Whoa! Blimey, Ponyboy, you're killing the party. Tell ya what, I'll send you five Fizzy Bombs, on the house.

 

Lydia Bennet: Weasley! How generous. Wherever do you get your ideas? I suspect an evening dancing with you could have me laughing so hard I'd lose my breath.

 

George Weasley: I can think of a few things besides dancing that could leave us both breathless.
 

 Lydia Bennet: You're absolutely incorrigible! I love incorrigible young men!

 

Philip Pirrip: I'm incorrigable.

 

Scarlett O'Hara: You're also a lousy speller. But that's no matter, I like your desperation. I need more admirers. Tell me, do you ride?

 

Philip Pirrip: I mostly go on foot.

 

Scarlett O'Hara: I meant horses, silly. How about you, Ponyboy? Is that where you get your nickname?

 

Ponyboy Curtis: I'm from the wrong side of the tracks, Scarlett. I don't ride horses. I don't have fancy clothes. All I have are my two brothers.

 

Scarlett O'Hara: Fiddle dee dee! Older brothers? Are you Yankees?

 

Ponyboy Curtis: Well, we're American if that's what you mean.

 

Scarlett O'Hara: Perfect. You and your equally desperate brothers are expected at Tara next week. I'll have Mammy make sure cook does up her famous roast chicken.

 

Ponyboy Curtis: Um...okay.

 

Philip Pirrip: I'm studying! I'm going to be important some day!

 

Lydia Bennet: What are you studying?

Philip Pirrip: To be a gentleman.

 

Lydia Bennet: I see.

Scarlett O'Hara: Oh.
 

Ponyboy Curtis: Uh-huh.

 

George Weasley: I'm still in school. We have to wear uniforms and everything.

 

Lydia Bennet: I love a man in a uniform! Where is your school? Do you have dances?

 

George Weasley: I'll send an owl to you with all the particulars, my lovely...and an extra Fizzy Bomb. 

 

Lydia Bennet: *giggles*

 

Philip Pirrip: I'd appreciate an invitation too, Weasley.

 

George Weasley: Sorry, bloke. Only one Muggle per dance. Hogwarts rule.

 

Ponyboy Curtis: Muggle?

 

Phillip Pirrip: All right. Well, I guess this is good night. I've enjoyed meeting everyone and I hope we can continue this discussion in a fortnight.

 

Philip Pirrip: Good night...?

 

Lydia Bennet: Pip? I'll be visiting my uncle in Cheapsidenext week. May I call on you?

 

Philip Pirrip: YES!!!

 

Lydia Bennet: I dare suspect a few Fizzy Bombs will make for an enjoyable tea!

 

Moderator: This session is now closed. Until next time, everyone...and happily ever after.


Who would you like to see paired up next?

How To Stop The Middle Of Your Novel From Sagging.

Does this sound familiar?

Your novel opens with a scene that grips the reader by the shoulders and pulls them face first into the story. But then, around 40,000 words or so, things slow down. The story starts to drift along, bobbing aimlessly on meaningless dialogue. You can see the ending far on the horizon, but you're not sure how to reach it.

SOS is right, brother.
photo credit, 123rf.com

If this rings true for you, you may be suffering from SMS or Sagging Middle Syndrome. Stop looking down at your stomach—I was talking about your story.

The middle is often the most challenging. It has to bridge the awesome beginning and the spectacular climax. It. Can't. Be. Boring.

The middle shouldn't remind me of this.
photo credit, adjcreatvieblogspot.com

Here are some tips to help you chart a course through the current, back to the white-water, river raft ride.

Raise the stakes. Make your protagonist's original crisis more complicated.

In Harry Potter and the Philosopher's Stone, Harry's original goal was to survive Hogwarts (especially Potions class with that horrible Professor Snape) and prove he really belonged there. However, once we reach the middle of the book, Harry discovers the school is hiding The Philosopher's Stone and thinks Professor Snape is trying to steal it.

New Event. This should send your protagonist in the opposite direction of his original goal.

When Harry finds the Mirror of Erised, he forgets about Snape and the stone, and becomes consumed by images of his late parents.

Bring the Subplot to the Forefront. Use information from early chapters to throw another complication into the protagonist's way.

Hello, Norbert. Early in the book, Hagrid mentions always wanting a dragon. He tells a shocked Harry that he bought him in a pub from a mysterious stranger. This sets up two events. Firstly, Harry and Hermoine are caught with the dragon after hours and are given detention. Secondly, Hagrid ends up telling them information about a certain three-headed-dog they will need later in the lead up to the climax.

Unexpected Twist. Reveal just enough secrets to change the protagonist's course of action. This also creates more tension.

While Harry is in the forbidden forest as part of his earlier detention, he sees something drinking the dead unicorns blood. He is saved by Firenze who foreshadows Lord Voldemort's return to power. Now Harry believes Snape is planning to steal the stone not for his own immortality, but for The Dark Lord's instead.

This leads into the climax. Knowing none of the other professors will believe him, Harry takes matters into his owns hands when Dumbledore is suddenly summoned away from Hogwarts. With Ron and Hermoine following, he races to the trap door and...well you know the rest.

I hope these exercises will help you get the middle of your novel back in shape!

Do you have any suggestions for a taut, lean middle?

Cheers!

What Every Villain Needs

As writers we're sometimes so preoccupied with making our protagonist tangible enough to jump off the page that we forget about the antagonist. Villains create conflict, therefore they are essential to any good story, and deserve to be fleshed out as much as your hero.

There's nothing more unsatisfying than reading about a bad guy whose only purpose is to be...well bad. Even though he-who-must-not-be-named was truly evil, J.K. Rowling made sure to show how his past explained his cruelty.

So, does your evil doer have the right stuff? Scroll down to see what every villain needs.

1. A diabolical plan. There has to be a reason for their nastiness—being mean isn't enough.

Cruella de Vil from 101 Dalmatians
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2. A mysterious past. People aren't born evil, they're made.

Count Dracula
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3. A slimy sidekick. Usually with dependency issues. However, it's more interesting if their loyalty is from fear, and consequently unreliable.

Scabbers aka Peter Pettigrew with baby Lord Voldemort
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4. An arch nemesis. It's the hero of the story who represents what the villain secretly fears the most.

White Witch from The Lion The Witch and The Wardrobe
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5. High tech gadgets/special powers. Okay, not totally necessary. It's cool and it helps raise the stakes against the hero.

The Joker from Batman, The Dark Knight
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6. An irresistible charm. A cool demeanor coupled with a handsome figure always helps.

Mrs. Coulter from The Golden Compass
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There you have it, now go make some bad guys and watch your story explode!

Who are your favorite villains? Cheers!

Suspension of Disbelief

Originally posted November, 2011


Run away!
photo credit, villians.wikia.com

Ah, suspension of disbelief, or as I like to say, 'buying into anything Stephen King writes.' Quite simply, it's believing in a premise which you would never accept in the real world. No kidding. Try explaining the plot of IT to someone you meet at a party.

Me: "Okay, there's this clown-thing that climbs out of the sewer and terrorizes little kids in a small town in Maine."

Other person: "Riiiiight."
Stephen King does it much better than that, but you know what I mean. And if you were at that party, you'd run over, probably dripping chip dip down your shirt in all the excitement, and say something like, "Holy crap, I love that book. Remember the big spider? And that poor kid with asthma?!"

So, as writers, how can we make our readers believe in something that they know is impossible?

1. Describe the mundane parts of life in your fantasy world.

In Across The Universe, by Beth Revis, she concentrates on her protagonist eating bland stew served through a metal portal, jogging in a tunic instead of her sports bra and shorts, and how there isn't a real sun, but only lights high above. It is effective because it grounds the reader in that world by comparing the familiar with the fantasy.

2. Ease your reader into the world.

A good way to do this is by using a transitional scene, or down the rabbit hole, named for the beginning of Alice's adventure. It should involve your protagonist, be grounded in the familiar, and have a logical sequence.

We're all willing to board the Hogwarts Express, but if Harry looked at platform nine and three quarters, and then just waltzed through the brick wall, we'd all cry 'shame'. The charming appeal of that scene is that Harry is abandoned at the station, embarrassed to be pushing an owl around, clueless and pathetic looking. When Mrs. Wesley takes him aside and gently explains how it works, we all breathe a sigh of relief because at that point in the story, we're right beside him, feeling clueless and pathetic as well.

3. Make the rules consistent.

If your teenage superhero can only fly at night, then he can only fly at night—even if the girl he secretly loves is dangling from a runaway hot air balloon at high noon. Don't change his abilities near the end of the story to make the plot work.

Give suspension of disbelief a try. Let your characters experience something extraordinary, and see what happens.

What's your favorite writing example of suspension of disbelief?

Next Monday I'll be telling you how Justin Timberlake and myself have started a petition to get Sheriff Graham back on Once Upon A Time. Until then, enjoy the Oscars!

Cheers!

Drowning In Description

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Think of your favorite place described in a book. Mine is Honeydukes Sweet Shop in Harry Potter. I can still conjure images of glass jars filled with glistening magical treats; the colorful shelves and pyramids of candy displays.

But guess what? When I re-read the scene, none of what I have in my mind was actually written. What is written is a description of smells and the fantastic things the magical candy can do. We follow Harry under his invisibility cloak, breathless at the variety of wonders, wishing we could fall into the pages and sample some Fizzing Whizzbees.

Even now, reading this, you're envisioning your own version of Honeydukes. And that's okay, because we all have a slightly skewed image catered to our own ideals and life experience.

As a writer, it's easy to fall into the common mistake of putting too much description in your scenes. We want the reader to see in their mind exactly what we imagine, and we tend to overcompensate.

And why is that bad? Because loading down the page with adjective laden paragraphs slows down the pace and bores the reader.

Here's an example of bad description. Let's say I want to start my story with my main character having to spend the night in a haunted house.

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The old Jefferson Mansion was a dark, rambling Victorian house on the outskirts of town. Every window was boarded up, except for those that were broken. The front porch sagged under the four pillars, now rotten and threatening to collapse. As Janice walked closer, she saw how the black paint was peeling back. She opened the door, and it protested noisily.

She paused in the foyer, taking in the staircase that curved up the wall to the first and second floor, and then eventually the attic. She approached the door to her right and gripped the rusty door knob. After jiggling the suborn handle a few times, she decided it was locked.

Across the hall, Janice found a large room with ceilings much higher than her own modern home. The furniture placed around the room, was covered in sheets. Even though it was a full moon outside, the boarded up windows hardly let in any illumination. She got out her flashlight and turned it on.

Right away something caught her attention. On the far side, approximately in the middle of the wall, was a sooty old fireplace. Janice walked closer and inspected the portrait above the mantle. It was a picture of a beautiful girl, probably the same age as Janice. She squinted and leaned closer. There was something familiar that made a shiver run down her spine.

Holy smokes, hit the snooze alarm, right?

1. Remember your readers have a brain. Don't write the exact lay out of the haunted house. It's not the blueprints we're interested in.
2. Write what is important for the reader to remember. Give attention to objects that foreshadow what's going to happen in your story.
3. Have a character describe how the setting makes them feel.
4. Use all the senses, not only visual.
5. Dialogue creates a connection with the surroundings through your characters point of view.

Here's the same story, but with better description.

J
anice hugged her elbows, looking around the derelict parlour, careful not to brush against anything. The antique furniture was covered in sheets, gray and stiff with years of mildew. She made a face imagining the micro pores of mold she was taking in with each breath.

The cracked bay window was so thick with grime the full moon barely shone through. She dug into her backpack and pulled out the flashlight. Her finger paused on the switch, wishing she hadn't agreed to this stupid initiation. Being in the dark was way worse, but Janice wasn't exactly eager to see the inside of Jefferson County's 'Bloodiest Haunted House'.

She sneaked a glance through the archway to the front door, pretty sure the cheerleaders were waiting outside to make sure she didn't bolt. “Damn it,” she said. Biting her lip, Janice flicked on the light.

Her heart rose up and she swallowed it down. “This is where they film all the horror movies,” she whispered, expecting a corpse to rise from the broken floor boards. The shaky beam of light swept along the room, then stopped at the fireplace.

Resting on the mantel, in an ornate frame, a pale face smiled down at Janice. She took a few steps forward, making streaks in the dust with her sneakers. The girl in the painting looked to be around Janice's age. It was hard to tell though, since most teenagers today don't wear ball gowns and ruby necklaces. Janice stood on tip toe and squinted at the choker, wondering why it looked familiar.

See? We still get the feeling of being inside a creepy house, but we also have a clearer idea of who Janice is and why she's there. And hmm...what about that necklace?

Which scene would you want to keep reading?

How would you re-write the scene?

Next Monday I'll be blogging the latest episode of Once Upon A Time.

Cheers!