What Really Changed in Publishing

Writing advice abounds online, in books, and magazines. An entire industry has been built around the craft and art of writing (and another industry around how to market that writing) so why do we on Novel Matters keep talking about this stuff?

You can Goggle "how to write a novel" and choose from hundreds of thousands of sites with advice, tips, and know how. Why, oh why, do we keep showing up every week to toss our pebbles into the writing ocean?

Maybe because we're delusional. I'm willing to at least consider the idea. Delusional people often make great artists. So, maybe it's that.

I think when we started this blog back in 2007/08 our reasons were different from today's. It was exciting back then, we were all published and writing for publication. We had daily conversations with industry people, agents, editors, publishers. The future was uncertain, but it looked bright in terms of our writing lives.

Things changed.

There are six of us writing Novel Matters and I don't speak for the other five.

I'm going to talk about what changed for me.

One the surface, it appears what changed was something pretty bad. I haven't published a novel since 2009. That's bad. Publishing novels was the whole point of getting into this gig, right?

That's what I believed when I stepped into the arena. I was here to write and be published.

Things changed.

I've written four (and a half) novels since Talking to the Dead. Good ones, too, though you'll have to take my word for it because none of them are published. Am I bitter? Not even a little. Tempted a few times, sure, but I managed not to fall into that pit. Because things changed.

I changed.

I'm not juggling fluffy puppies in the air, here. I'm not blowing sunshine and trying to tell you I've turned into a writer uninterested in my work being published. That's not the part of me that changed. What changed was when I started the writing journey I was convinced I knew what I was doing. Years later, I've arrived at the place that awaits everyone who journeys this far in pursuit of art. I arrived at myself.

Once, I thought because I read Ibsen, and Chekov, Dostoyevsky, and Hardy, because I read Alice Munro before reading Alice Munro was cool, because I took seriously the three hundred years of literature that came before our time, I had what it took to be a writer, maybe even a good one someday.

 Failing to publish for five years, brought me to the place of being completely honest about who I was as a person. Not as a writer. A person. To shed the layers and arrive at a place where I was forced to be completely honest about the stories I am uniquely qualified to write.

It was difficult for me to admit.

I'm not Alice Monro. I'm not Marilynne Robinson. Or any number of writers whose work has changed me. That was hard to face, but it wasn't the really difficult bit. The hardest part was accepting the fact that the truest stories I write--Bonnie Novels--terrified me. Because I realized the novel I started (and am currently working on) is the very best and most true thing I have in me.

And it's kind of dorky.

It's not high literature. It aspires to little more than entertainment. Its main theme is simple, the premise can be easily stated in thirty-five words or less. And I'm having the time of my life.

I changed.

Maybe that's the reason the six of us show up here three times a week and talk about writing. Because things are changing and we need to talk about them.

We're changing and we need to talk about that, too.

Grand Openings

There are as many ways to begin a story as there are stories to begin. But they are tricky things. Where to begin? Where best to focus the reader's attention? What needs to be accomplished? Today's Novel Matters Roundtable is about opening paragraphs. What do we each look for in an opening, and we will each share the openings from our books.
The bonus of this roundtable is that we are holding a mini-contest! In the comments section, post the opening paragraph from ONE of your novels. All six of us will read the comments and offer our thoughts as we are able. One winner will be chosen to receive a Teeth and Bones edit of their first chapter. The winner will be drawn randomly from the comments section. Please ensure you post ONLY the opening PARAGRAPH of your novel.

For me, there are three things I look for in a beginning (things that capture my attention), 1) Story world--you could call this setting. But it's the way the writer was able to plant my feet

inside the place and time where the story takes place. 2) Narrator--Who is telling this story and why does it need to be told now? and 3) Movement and/or promise of plot--I like to see a little something up front that tells me this story is going somewhere, it has movement. I don't read much genre fiction, so I don't need my plot served hot in the first lines, but I do like some inkling of plot near the beginning.

Here are openings from two of my works:

1) Talking to the Dead:

Kevin was dead and the people in my house wouldn't go home. They mingled after the funeral, eating sandwiches, drinking tea, and spoke in muffled tones. I didn't feel grateful for their presence. I felt exactly nothing.

2) A Girl Named Fish (the novel I completed a week ago):

The population of Picture Island, Maine is arranged in a horseshoe configuration around the open grave, one in back of the other four or five deep. It’s raining hard and they’re frozen to the bone under the black awning of umbrellas. Why does it always rain at funerals? It’s spring but the rain is as cold as if the clouds had scooped the freezing ocean waters and dumped it down their backs. The wind howls up the cliffs to where they are gathered—a cemetery on a high cliff overlooking the sea. The rain slants so it drives sideways into their faces. People try to look reverently miserable, as if it’s mortality they’re contemplating and not their warm houses and maybe some buttered toast with tea and the weekly paper by the fireplace.

If you find it striking that both these novels open with a funeral, well, so do I. My approach is to create miniatu

res inside the scenes and paragraphs of the novel, so that each piece tells part of the whole, and also tells a mini-story of it's own that explores a theme found in other places in the novel.

Let's hear from the others:

What I look for in an opening paragraph is A) Voice -- which tells me right off the bat how I'm going to feel about the character. I want to feel an affinity with either the words or thoughts of the speaker; B) Promise -- what the story holds in store for me. I'll invest several hours in reading the book, so I want to know it will be worth my while; and C) Tone -- is this a serious read or will there be some humor weaved in. I love a touch of humor, even in a serious novel.

Here is the opening from my novel, Unraveled, which I hope will be released in November:

I lost my faith at twenty-four. Well, that isn't true. I didn't lose it, I left it. On a mission field in Moldova, amidst the sunflowers. Just took it off like a vesture discarded. Not outgrown. Discarded. It left me feeling exposed, I'll admit, but I figure if God isn't capable of protecting the weakest among us, well I'd just reather work for someone else. Oh sure, he makes it plain as day that pure and undefiled religion is caring for the widows and orphans, as if it's my job and not his. and that was the thing, he let us down in the worst way. So, I tipped my hat and shook the dust off my feet.

And this is from my most recently completed novel, The Color of Sorrow Isn't Blue:

Grief, it is said, is a sea that ebbs and flows. Comes in waves that roll over the shore, then recedes in a dizzying, lose-your-footing-in-the-sand sensation, leaving you unsettled but standing. Well. Whoever said that never felt the tsunami effect, the drowing, sucking, tidal wave of grief. I know, because I haven't come up for air in five days short

of a year. A suffocating, black hole of a year, each day collapsing in on itself like sand too long unwatered.

As per my usual, I'm going to cheat. Stylistically, I usually start my novels with a one-sentence paragraph, a grabber. L

ike the others, I'm looking to establish voice and a tone. Here's my first paragraph+ for Like a Watered Garden:

I received a box of flowers from my dead husband.

That's a stretch. They weren't flowers at all but a dozen montbretia bulbs. They looked like

hazelnuts with ponytails. Blooms wouldn't show up until July, I figured, if they showed up at all. The UPS man had hidden the box under the welcome mat. His clumsy attempt at security amused me until I remembered I hadn’t ordered anything from a seed catalog last fall. Far from it. Within a heartbeat, I knew the flowers—because that was what he had intended them to be—were from Scott.

Here's an example of a very different voice from my novel, Seeing Things:

You’re talking to the queen of skepticism right here.

I roll my eyes over newspaper stories where teary-eyed folks report they’ve seen Jesus in a potato chip. That sort of hogwash sends me straight to the comics for a dose of reality. You don’t have to worry about me. I know Alley Oop doesn’t slide through time, but the inhabitants of Moo remind me of my friends in Ouray with their common sense and heave-ho attitudes, something sorely missing among the potato chip crowd. Honestly, someone isn’t rowing

with both oars in the water.

I look for deliciousness - a hard to define quality of voice or mood that tells me I'm going to lovespending time inthe three hundred pages or so to come. Here's my two:

The woman stood atop the cinnamon bluff, her arms stretched to the horizons, her face dry as sandstone, her silver hair blowing like the grass at her feet. "She thinks she's Moses," muttered Data, peering through a gap between drawn blinds.- From To Dance In the Desert

They're just decorations, these candles. You don't need anything to pray. Truly, it is best to come with nothing-only yourself. Just one of the things I've learned.
- From The Feast of Saint Bertie

When I open to the first chapter of a book, I hope to find something fresh - some indication that the story is different than others I've read. I also look for the tone in the first paragraph and for some indication of the plot. But, truthfully, what strikes me as promising can change with how I'm feeling when I pick up a book, whether I'm in the mood for a light, entertaining read or a more engrossing story.

Here is the first paragraph from Tuesday Night at the Blue Moon:
"We weren't strangers to this courtroom. The first time we came, it was to petition to have Ginger's hospital birth records opened. When you lose a child to a genetic disease that doesn't haunt your family, you want to know why."

Here is the first paragraph of an untitled WIP I'm toying around with right now:
"Grover is an ink blot on a Google map - a Rorschach's splatter of asphalt and advertising tucked into a fold of brown hills. At least, from May through September, between the rains. Otherwise, the hills are fuzzy and green as moldy bread."

Maybe because I love mysteries, I want an opening paragraph to create a big question mark in my mind, one that forces me to keep reading.

I've attempted to do that in the following opening to my first attempt at a type of Biblical speculative fiction:
Last night I dreamed the dream again, and for the only time I dreamed it, of all the times I dreamed it, it brought me the least fear last night.

Now it's your turn: All comments are allowed, of course. If you want to enter the Teeth and Bones contest for a chance to have your first chapter read and commented on by one of us, then enter your opening paragraph in the comments section. Otherwise: What kinds of things capture your attention in an opening? Have you flipped open a novel, read the first bit and felt, ahhh THIS is what I'm looking for! Tell us!

Write What You Know - A She Reads Guest Post by Marybeth Whalen

Please welcome Marybeth Whalen to Novel Matters. She is the co-founder of our sister blog She Reads, a wonderful connecting place between readers, writers, and book clubs.

I've heard this adage since I was in creative writing class in high school. And while it might be true, it's been repeated so often that I don't think we even hear it anymore. Like a favorite Bible verse, do we even stop to really ponder what it means?

What would it mean for you to write what you know?

I have found that writing what you know can be invaluable. The trick is to find that thing that you know that no one else knows about.

I had been visiting the mailbox on Sunset Beach, NC for years and years. So long, in fact, that I can't even remember when I first started going or how I first learned about it. I loved the mystique of the place, the folklore attached to it. I loved going there and reading the letters from people all over the world left for the Kindred Spirit-- the anonymous person who tends the mailbox. I loved leaving the occasional letter myself. But it wasn't until two years ago that the idea occurred to me that the mailbox would make a perfect centerpiece for a romance. It was already a romantic place. But surely someone else had already had the idea... right?

I searched Amazon, Barnes and Noble and the library. I went to the bookstore in Sunset Beach and asked the book mavens there if they'd ever heard of a book that focused on the mailbox. When they said no, I whispered a silent, "Yes!"

The mailbox-- at least as far as the subject in relation to a novel was concerned-- was mine. I had found something no one had done, about something I was uniquely aware of. This month my novel, The Mailbox, is being released. My unique angle on a beach romance paid off.

We all have things like this if we learn to look for them. That ring that was your grandmother's with the mysterious story attached to it. The family tall tales of your great grandfather, the horse-riding evangelist. That little out of the way vintage soda shoppe you've been going to for years with the sassy, gum-cracking waitress who must be 90 years old if she's a day.

Nicholas Sparks mined the story of his wife's grandparents to create The Notebook. Kathryn Stockett delved into her history with her family's maid to create The Help. In the same vein, Joy Jordan Lake wove bits and pieces of her adolescent experience with racism into the Christy Award winning Blue Hole, Back Home. Bonnie Grove used her counseling experience to tell the story of a woman who started hearing her dead husband talking to her in Talking To The Dead. The writer of Steel Magnolias created the play based on his sister's death as viewed through the friendships of the strong southern women he'd grown up around. He took something that was uniquely his and packaged it in such a way that it resonated profoundly. (Who hasn't cried during that funeral scene?)

The trick for all of us is to look around, to pay attention to what we've experienced, felt, thought or been piqued by and wrap a novel around it, focusing on the uniqueness of those experiences, feelings, and curiosity. My friend Ariel finds endless story ideas through the newspaper and magazine articles she reads. Her novel eye of the god was sparked by an article she read in Life Magazine in high school on the curse of the Hope Diamond. This article caused her to begin researching the curse, and over time a novel came out of the information she had acquired. She was passionate about it, and that passion lives and breathes on the pages of her novel. It became uniquely hers and she was able to uniquely share it.

Any of us can tell a story about friends or motherhood or WWII or a vacation. But can we set those stories somewhere interesting that most other people don't have access to? Can we have characters who do fascinating jobs that most people don't know about? Can we find a unique motif or object to center the novel on that is part of our culture or geography? Publishers will tell you that selling a novel does depend on the writing-- absolutely-- but it also depends on bringing something new to the table-- approaching a subject that's been done a million times in a way that is fresh and exciting.

What do you bring to the table? Start looking around, paying attention, and discovering how to write what you know... that no one else does.

How Do You Blow the Stink Off?

Last week, in Bonnie's post about Wielding Words with Wisdom, she used a phrase that I haven't yet gotten out of my mind. She said we writers need to step away from the keyboard and "blow the stink off," from time to time.

It made me wonder what other authors do to clear the air (so to speak) when they aren't writing. Do they really do all the things they think they want to do (clean the toilets, clip their toenails) when they are actually writing? Or do they find other ways to express their creativity?

I know Camy Tang is an Olympic-class knitter. Some authors travel: Diann Mills once journeyed near the war zone in Sudan - on her own, all 97 lbs of her - to research her next novel.

What do I do? I walk. I take pictures. And everywhere I go, I make a game of noticing things other people might not.

How about you?

~

You mean, besides take a daily shower, Katy?

Well, I walk miles each day with my dog, Tillie. Being out in the fresh air, where my mind can wander as well as my feet, gets blood flowing to my brain again. But to truly regenerate, I must draw deep into a forest or scritch along a desert trail or snowshoe to a lake shrouded with mist. No matter what, this happens once a week, weather permitting and sometimes not.

I also collect characters in airports. That's why God created cell phone cameras. I arrive home with a "wanted wall" of characters and notes scribbled on boarding passes.

I have noticed that the worse thing I can do for my creativity is spend too much time in front of the computer. When the computer crosses the line from being a tool to being a lifestyle, I know I must step back and into the arms of the people I love.
I sure am boring. Hope the rest of the girls come up with something more interesting.

~

I'm a chatterer - I love to yap with friends. There's nothing like lunch at McNally Robinson (our swanky bookstore complete with cozy restaurant serving London Fog tea, triple chocolate cake and, if you're so inclined, salads with bleu cheese and dried fruit in them). A good chat does wonders for the ol' pipes.

I also like to engage in a little extracurricular creativity. I love music, so I'll sing, or look up new music to download (legally! I pay for my music!). In summer, I'll tend my sad little garden in the backyard, play badminton with my hubby (I let him win), and ride bikes with the kids (which looks a great deal like me jumping off my bike every three feet to grab my daughter who is, assuredly, falling off her bike.) Sometimes the simple act of going outside is enough for me to recharge. In Talking to the Dead, my character Kate hasn't gone outside in several days. I wrote this passage:

"I felt the wind on my face for the first time in weeks. Its freshness, the joy of it, caught me by surprise."

Once, when I was very stuck for words, I took my daughter to the park and pushed her on the swings. After awhile she was playing on her own and I sat down and wrote an entire scene while I watched her push sand around. I've found it doesn't take a profound change or adventure to get my wheels turning again.

~

Sharon the hermit here. For me, there's no place I'd rather be than home. While I enjoy a fun get-together with friends or lunch with my girls, if I'm stuck on a scene or not sure where to go next, it'll be at home, alone, where I find my way, just not at my computer. I may take advantage of the need to think or clear my head by doing something around the house that I can do by rote, leaving my subconscious free to work on th eissue, Usually in no time at all I'm back to a productive writing session.

~

One other place where the creative juices flow, is riding in a car with my husband behind the wheel. For while I don't particularly like to travel, I do enjoy a road trip that takes us away from the masses. Both of us would rather take a 16-hour ride to Montana than a 2-hour ride to San Francisco. We can go, comfortably, for miles without saying a lot, and I find my mental wheels turn at a speed equal to our car wheels, so I'm usually scribbling as I go. (Patti, I love your "wanted wall of characters." I too love to people watch, but I've never taken their pictures. Don't they have a word for that?!?)

Oh man, I am the most boring of all. And predictable: I have a friend who calls me and asks what I'm doing and if I say, "moving furniture," she asks, "So what are you supposed to be writing?"

But hey, rearranging my house (or drawers or other smaller space) frees my mind.

The only other solution is to read or listen to a really, really well-written book. Recently I devoured both Liars' Club and Reservation Road. The first book jarred me out of a major writer's slump, and the second one kept the momentum going. But of course -- I listened to them on audio, while I was cleaning house and rearranging my pantry.

Works for me.

I enjoy s pending time out on the deck when I need a break from writing. We have one of those faux-rock fountains from Lowe's that simulates a soothing mountain stream, and there are finches and hummingbirds that fight for food, although it is plentiful. Nature refreshes me.









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Saturday Night at the Movies

Welcome to the monthly feature here on Novel Matters: Saturday Night at the Movies. In celebration of the release of Talking to the Dead, we present, for your viewing pleasure, the book trailer to Talking to the Dead!
(Pssst, it's not a scary book - I promise!)

When the Muse Strikes

I'm so excited about this month's give-away! Yes! Talking to the Dead has been unleashed! And in my giddy happiness, I'm likely to give away more than one copy of the book (hint, hint) - so keep those comments coming! We'll announce the winner(s) later in the month!

I admire sci-fi writers, fantasy writers too. They literally create other worlds - new languages, culture, ways to communicate. They invent religions and rites and often include maps of the lands they have created on the front flap of the book. Maps! I can't even draw an accurate map of the house I live in, never mind some place that doesn't even exist. And the names! How do they keep those strange names straight? No Bob and Sue for them - they choose mythical names dripping with historic meaning. Names like Oyrasa and Mabh.

I read those books and I think, where did all this come from? How did they invent all of this? And while I enjoy reading the books, the thought of inventing an entire world from the ground up (or in some cases several worlds), exhausts me. At least, that's what I used to think - before I starting writing novels.

Writing, like all art, is an uneven partnership between talent and tenacity, skill and sheer determination. It is the oil and water blending of spiraling creativity and 'pull up yer big boy pants and git 'er done' scheduling. I've learned that creating the inner life of a character is just as complex and perplexing as creating a new language for the inhabitants of planet XYZ to speak. At least, if I do it right.

It is the core of what makes the reading experience so enjoyable - the transmission of self into a world that is 'other'. It is not my world, but it is a world that I can navigate with ease because the author has placed all the landmarks exactly where I need them, and has crafted the path I will take through this land in such a way that it blends with the landscape, and I don't even think of myself as being on a predetermined path at all. The 'other' world becomes my world - at least for a time - and I accept the lie of fiction as a bearer of truth.

But when I began writing novels, I came to an understanding about creating fictional worlds. The answer to my question about fantasy and sci-fi books, "Where did this come from?" was answered as I grappled with my own imaginary worlds. It all comes from the foundations of literature, the traditions of art, history, religion, and philosophy. In other words, it all comes from us. The fictional worlds we love are really our world - no matter where the writer picks it up and moves it to. And the reason we love the places we travel when we read is because, in the end, they all feel like home.

From Prequel to Sequel

I loved Sharon's last post because it brought to mind all the wonderful fictional worlds in which I have been privileged to spend time with fascinating characters. It's a wonderful thing for an author to create something so real that people want to linger there long after the story is over. Sort of like picking at the bones of a Thanksgiving dinner, sitting with glazed eyes nursing a cup of coffee, relishing the sense of connectedness. Taking time to appreciate all the hard work and preparation that went into the planning and the purchasing and the mixing and the baking of it. It's so much more gratifying to a writer when, instead of inhaling the story and moving on, readers comment about how much they enjoyed spending time with the characters and didn't want to let them go.

We're all familiar with book and movie sequels and how rare it is for a sequel to surpass the original in quality. Sequels often lack the punch and surprise of meeting the characters for the first time and journeying down unknown roads alongside them. But for die-hard fans, any sequel is better than none because it allows them to return to the world they love and stay awhile. In response to Sharon's last post, I commented that Anne Shirley's world at Green Gables was memorable and as rich and diverse as any fantasy world. People couldn't get enough, so a TV series aired with stories about orphan Sarah Stanley's adventures which involved characters from the Green Gables books. It was a weekly fix for fans, and even though Anne wasn't featured, it was still her story world. Now a prequel is out, titled Before Green Gables by Budge Wilson, which offers fans a chance to reconnect with favorite characters and a familiar setting.

I checked out other prequels and wasn't at all surprised to find that a majority were connected to science fiction, such as Prelude to Foundation by Isaac Asimov, and the Dune and Star Wars books. Star Trek took us to strange new worlds, but the latest movie is a prequel to the show where it all began. Also well represented were fantasy worlds such as Marion Zimmer Bradley's Avalon and Narnia in The Magician's Nephew. I had forgotten that C.S. Lewis's book was a prequel to The Lion, the Witch and the Wardrobe. Wardrobe was written first, but it was necessary to write Nephew to explain a few things, such as why there was a lampost in Narnia, and other pertinent info that would tie things up in the end. And before we assume that an author's intentions for writing a prequel or sequel were entirely mercenary, we should consider that they might simply be missing some very old and dear friends.

Do you have a favorite story that you wish had a prequel or sequel so that you could revisit the characters and the setting? Share it with us and you'll be entering a chance to win Bonnie Grove's new release, Talking to the Dead.

The very real world of make believe

I'm thrilled to announce our June Giveaway is the newly released -- drumroll, please -- Talking to the Dead, by our very own lovely, talented, feisty, Canadian Bonnie Grove. Leave a comment for a chance to win her incredible debut novel.

Welcome to our new followers. We hope you enjoy the time you spend with us. Please join in on the conversations. We love to hear from you.

And don't forget our exclusive Audience With an Agent Contest. Agent Wendy Lawton of Books & Such will read the winning entry. Submission guidelines are under the "Promotions" tab. Please read and follow the guidelines carefully.

I've really enjoyed the last few posts here at Novel Matters, and the comments our visitors have made as well. Bonnie's post on 5/22 was very entertaining, caused us all to laugh. What's especially funny is, it wasn't far from the truth. As writers, we're never "off." We're working 24/7, our minds never quite shutting down. Inspiration can and does strike anywhere, at any time. Those who know us best recognize the moment of inspiration, and patiently wait as we scramble to preserve our thoughts on paper, or, uh, something close to it. Unlike Bonnie, I don't keep a notepad handy (note to self: you should), so in a restaurant or in the car I usually find a paper napkin to scribble on. At church it's the bulletin, in the restroom it's ... well, you get the idea.

Our stories are hard taskmasters -- they never give us a break. Even in our dreams, inspiration prances by like a butterfly looking for a net. I have learned to keep a notepad by my bed, for though I'm personally seldom inspired by dreams, I am terribly inspired in the time before I go to sleep. My mind in its relaxed state is a fertile ground of creativity. Scenes, dialogue, it's all there, like a movie playing just for me. That's when I hear my characters' voices the clearest, when my fictional world comes alive. I used to get up and run to my office to jot down my thoughts, because I've learned the hard way I will lose them if I don't. I was like popcorn, popping up time after time till the taskmaster finally let up enough for me to go to sleep. Then a friend, God bless her forever, gave me a pen that lights up. Now I don't have to get out of bed -- or wake my husband -- to capture the inspiration.

But while a free-wheeling imagination may produce the material for the novel, it takes disciplined time at the keyboard to write it. Latayne said it so well: "I absolutely must have extensive, uninterrupted blocks of time to first travel to, and then reside in, a fictional world. I can’t write a novel in short spurts." I heartily agree. Most of us can't just slip in to write a sentence or two, then slip back out to rejoin the real world. Interruptions can really mess up the flow of things. But neither can we turn off our fictional world just because we aren't at the keyboard. No, the life of a novelist is far more schizophrenic than that.

Our characters, their problems, and the world in which they live must first be real to us in order for them to be real to our readers. We have to know them well enough to tell their story, to make it believeable, otherwise who's going to care?

So I just have to wonder, what's it like to be Stephen King? If you could sit down and chat with any author, living or not, about one of their fictional worlds, who would it be and why?

The Face Behind the Name

I'd like to welcome our new followers, and remind everyone of our amazing, exclusive Audience With an Agent contest. Six winning fiction entries will be read by Wendy Lawton of Books & Such Literary Agency. Click on the "promotions" tab for submission guidelines. Please read and follow the guidelines carefully, and get your manuscripts to us by July 31.

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As I sit at my desk writing my latest novel, I have a collage of my main characters before me. When I create characters for a new book, their names have to be just right. I experiment with different names, as if they were a taste to be savored, until I hit on exactly the right one. I always know when I've found it, for it's as if someone has just introduced me to that "person."

~

But not until two books ago, when I wrote Lying on Sunday, did I spend as much time searching for the right faces to go with the names. Now as I develop my character profiles I spend a day or two navigating through "headshot" sites until I find the perfect image that correlates to the one in my mind for each of my main characters. The benefits are that I feel I know them better than ever before, and it's easier to keep track of their physical attributes, so I don't give someone green eyes in Chapter 1 and brown eyes in Chapter 12. For me it's added another dimension to the discovery process. And after all, that's what a novel is all about--for the reader and the writer: becoming acquainted with someone new and learning as much of her story as she's willing to share.

~

But that doesn't mean I have to paint a portrait for the reader. In fact, the more I write the less inclined I am to give details about physical appearance that aren't necessary to the story. It may be far more important to know that my protagonist has a scar on her ring finger than that she has blond hair or dimples. Here's a perfect example of germane description from Joy Jordan Lake's Blue Hole Back Home:

~

"I watched the new girl swing her leg out from under her red skirt--a brown leg, darker at the knee than the thigh, and darker still more at the calf. And I watched the boys watching the brown, or maybe the shape--I wouldn't know what boys see when they watch--of first one leg then the other, and not a one of them . . . able to talk . . . Me, I had a spasm of wanting to stay put myself, of fear that tripped up my feet and made me wish desperately I could miss this one trip to the Blue Hole with our mangy pack and the new girl. Because I was beginning to think what a bad, what a truly remarkably bad idea this whole thing might be." Trust me, it only gets better from there.

~

Here are some passages from my talented Novel Matters colleagues that tell us more than outright physical descriptions ever could:

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"Laura-Lea marched to the center of the room and, hands on her oh-so-slim hips, she planted her feet far apart on the floor. I wouldn't have been surprised if she'd produced pom-poms and broke out into a catchy cheer" from Bonnie Grove's Talking to the Dead.

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"But Jane isn't a paralytic, and she isn't a child at rest in my lap. I may lower her through the roof to Jesus' presence, but chances are she hops off the mat and elbows through the crowd toward the door" from Patti Hill's upcoming novel Seeing Things.

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"'I really didn't know I had an audience, or I might have spent more time on my costume . . . You know, something with veils. Orange and pink and red ones, I think. Maybe a belly button ring.' She lifted her shirt and tugged at her waistband to regard a freckled stomach. Like a sack of Jell-O, Dara thought" from Kathleen Popa's To Dance in the Desert.

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"Kirsten Young lay on her back, a serence Ophelia in her dusky pond of blood . . . No, no, she wasn't Ophelia at all, he thought. She was Eve, temptress and sinner cast from the garden of Utah, wearing a hasty apron of cottonwood leaves heaped around and across her plump belly" from Latayne C. Scott's Latter-Day Cipher.

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"If my life was a made-for-TV movie, it would start this same way, with the monster truck pulling up in front of Grandma's and this Barbie-wannabe getting out" from Debbie Thomas's Tuesday Night at the Blue Moon.

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As a writer, what methods do you use to create your characters? How detailed are you in their development? And as a reader, how much information do you want to know about a character's appearance? Does too much or too little affect your enjoyment of the story?