Author Archives: Leah Price

About Leah Price

After spending her life working with words in various roles in both government and the private sector, including a 10-year stint as a freelance line editor, lifelong grammar fanatic Leah Price is excited about putting her skills and knowledge to work in the publishing industry as senior editor for Edward Allen Publishing. An avid reader, she has been known to devour as many as three novels a week, at one point declaring she'd exhausted the local library's supply. She is actively seeking authors whose writing breathes life and passion into characters and whose stories take readers on a journey they won't want to end.

We’ve moved…please join us at our new site!

Good morning!  We recently moved our blog directly onto our website.  Please check us out over at EdwardAllenPublishing.com to continue the conversations!

My final (for now) posting about Voice can be found here.

Please note, this blog site will be deactivated in the next day or so.

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Honesty (in voice) really is the best policy

I know, I know…. Cliché , cliché, cliché! But sometimes the clichés best express exactly what we mean, which is the case for what I want to talk about today:  honesty in voice. It’s the next installment of what I believe are the components of compelling voice in writing and character development.

You know how mothers can tell when their kids are lying, or at least hiding something?  It doesn’t matter how many times little Suzie pinkie swears that she wasn’t in your make-up or little Joey cross-his-heart swears that the lamp busted all by itself, we know the truth! I think it’s the same with readers – they know instinctively when an author or character isn’t being real, when punches are pulled or words are minced. I think those omissions leave a reader with a sense of dissatisfaction, whether the reader can identify its source as “dishonesty” or not.

I’m not talking about those instances when  you deliberately temper words, whether in action or dialog, cases where you don’t want to ramp up the emotion or pace. I’m talking about those instances when you’re afraid to write what you really want to write. When your internal editor (or the imagined sound of your spouse’s, mother’s or best friend’s scolding) cautions you to hold back, to use watered-down phrasing so your readers don’t come away feeling seasick from all the waves you’ve created. I’m talking about those times when you let the PC police tell you what to say and how to say it.

Here’s how I feel: There’s no place for political correctness in fiction writing. Don’t get me wrong. I am in no way advocating deliberate attacks on a person or groups of people (outside of the story plot, of course). What I am advocating is honesty in the story-telling process, and fearlessness to express truth, as the writer or character knows it. Again, it’s the writer’s job to know how and when to use those truths to achieve the story’s goals.

Some people probably wouldn’t consider honesty or fearlessness to be elements of voice, but to me, they are. To me, so much of voice is that unfiltered monolog running through your head, and letting it loose, in measured doses, to blend character into your writing. Because it’s that reality, the truth of the situation, that will resonate with readers.

Debut novelist Elvy Howard (Love on a Half Shell) shows an amazing skill for using honesty in voice.  (Speaking of truth and honesty, full disclosure time:  Edward Allen Publishing is releasing this book sometime in the early spring. Since one of the goals of this blog is to examine what we feel is solid writing, I think it’s acceptable to use one of our upcoming releases as a demonstration. The main reason I’m using this, however, is that it perfectly illustrates what I mean by “honesty” in voice.)

Love on a Half Shell is the story of a 30-something Rae Green who takes custody of her sister’s daughters, ages 5 and 12, and the struggles they go through to form a family. Rae is single and unencumbered by responsibility for any other living being when she’s called in the middle of the night to pick up these two girls whom she hasn’t seen in several years. The girls have a troubled background (thanks to a drug-addicted mother), so the three go through some rocky times.

At one point, the older girl (Torey) pulls a particularly stupid and dangerous stunt – as children often do. In this snippet, Rae is trying to recover after a period of paralyzing fear.

How could she do this? How could she put me, Melissa, and herself, through this? … I push numbers into the microwave and hit Start. I watch the plate begin to spin and try to figure out what I should do next. But the more I think, the angrier I get. I hate Torey in so many ways it overpowers me. I can’t fit that much anger in a sentence, and there’s nowhere to begin, so I leave and go to bed. …

I don’t turn on the light, just let my clothes drop to the floor, and get in bed. My entire body quivers with emotions I’m unable to decipher. Eventually I understand I’m suspended somewhere between rage and fear. I hadn’t been able to consider the possibility she might be dead.

Rae’s reaction is intense, the kind of intense that only comes from a foundation of deep emotion. It might have shocked you, but if you’re a parent (or acting as one), you might recognize these feelings.  Of course Rae doesn’t hate Torey, but she does hate that Torey put her family through an ordeal, and in that instant, the feeling of hatred is too strong to be rationalized; it’s too strong to be anything but felt.

I think many authors would have been afraid to write that, afraid to admit that deep-down truth that for that brief blip in time, Rae actually did feel hatred toward someone she loves so much.

That’s what I mean by honesty in voice.  I can feel what Rae is feeling, and I get it.

Here’s my message:  Don’t be afraid to use your unique voice to tell the truth, to express emotions that we human beings all share. Not everyone will love your story, or your voice, but those universal truths will always be recognized.

Happy writing! Have a great week!

_______________________________

After spending her life working with words in various roles in both government and the private sector, including a 10-year stint as a freelance line editor, lifelong grammar fanatic Leah Price is excited about putting her skills and knowledge to work as senior acquisitions editor for Edward Allen Publishing. She also writes commercial fiction under a pseudonym and knows how tough it is to get all the pieces in the story puzzle to fit, but she loves the journey.

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You’ve got personality … use it!

“Humility is no substitute for a good personality.”
Fran Lebowitz

Happy first Monday of 2013!

Back in December, I wrote about my basic description of a writer’s voice. Today and for the next couple weeks I’d like to break that down into what I believe are the elements of a strong writer’s voice, beginning with what (in my opinion) is the most important element: personality.

The most grammatically perfect paragraph will leave most readers flat if there’s no personality, if it’s just dry text, because it’s missing the connection to humanity. What is personality, after all, but you, the individual? So what is voice, after all, but you, the writer?

What do I mean by that?

I mean the most elemental part of you that reacts to any given situation. Like…

When you’re sitting in a long line of bumper-to-bumper traffic in a construction zone, and a car goes shooting up the shoulder of the road, then scoots right in front of you as you’re easing your foot off the brake, hoping to move one lousy inch forward.

  • Do you shrug and figure that other drive probably has a good reason for not getting in at the end of the line, like maybe he/she needs to get to the hospital to visit a dying relative? Or maybe it’s a husband driving a wife who’s about to give birth? (The writer me loves making up those possibilities!)
  • Or do you presume the other driver is being a selfish jerk, and he/she picked that moment and that spot to butt into the line because the world is out to get you?

We all react differently to a single situation, depending on our personalities. Voice is “simply” a manifestation of personality. I use the word “simply,” but there’s nothing simple about voice. Maybe it would make more sense if I used the word style. We each have a unique style in dress, mannerisms, listening, speaking, and writing. Are you naturally a witty person who responds to stress by making a joke? Your writing voice probably reflects that. Are you a drama queen/king? I’ll bet your writing style has a dramatic flair to it. Even if you are you a quiet person whose thoughts are rarely on display, your writing style/voice might have that introspective quality.

Our personalities and style (I think) are good indicators of our innate and instinctive writing voices.  It’s the writer’s job to take that voice and control it, use it, to build interesting sentences and scenes, and characters that will draw a reader into the story.

Sometimes it’s best to describe by example.

Superstar romance author Nora Roberts writes a series of futuristic police procedurals as J.D. Robb. (I know some of you aren’t fans of Roberts/Robb and are right now pooh-poohing me. If you want to write successfully in the commercial fiction market, however, I think it’s smart to study the people who are successful, and I don’t think anyone can argue with her success.)

Robb’s In Death series stars homicide detective Lieutenant Eve Dallas of the New York Police & Security Division and her planet-owning, gazillionare husband, Roarke. (I don’t know if that’s a first or last name, but it’s the only one he seems to have!) Every book highlights a different murder, usually with Dallas  and Roarke collaborating and cohabitating very nicely, and over the course of the series (at current count, somewhere in the ballpark of 50 stories…wow!) readers get to know the two pretty well. Although they both have backgrounds that forced them to claw their way from poverty and depravity, and worse, they are polar opposites in many ways. Eve is a tough, no-nonsense city girl and has an inherent repulsion (and possibly fear) of nature and the outdoors. Roarke grew up on the mean streets of Dublin yet seems to have retained an Irishman’s love of all that is green.

Here’s the opening of Robb’s  Indulgence in Death (2010, G.P. Putnam’s Sons). Dallas and Roarke are off on a much-deserved vacation in Ireland, when Dallas spots some of the indigenous “wildlife.” (We’re in Dallas’ POV, in her head.)

The road was a killer, hardly wider than a decent stream of spit and snaking like a cobra between giant bushes loaded with strange flowers that resembled drops of blood.

She had to remind herself that the trip had been her idea – love was another killer – but how could she have known driving in western Ireland meant risking life and limb at every curve?

Rural Ireland, she thought, holding her breath as they zipped around the next turn on the Journey of Death. Where the towns were barely a hiccup on the landscape, and where she was pretty damn sure the cows outnumbered the people. And the sheep outnumbered the cows.

And why didn’t that cause anyone concern? she wondered. Didn’t people consider what could happen if armies of farm animals united in revolt?

As a homicide detective, Dallas sees horrific murder and the worst of humanity played out on the city streets, but the sight of a few cows and sheep makes her more than nervous.  (That’s a great character trait, by the way, but a discussion for another day.) Do you see how Robb used the character’s experience and personality – phrases like “strange flowers that resembled drops of blood” and “journey of death” – to convey her emotions that are unique to her? This to me is a perfect example of a character’s voice, or personality.

Of course Roberts/Robb has her own writer’s voice, and that too is reflected in the tightly crafted, packed-with-punch wording. I often sense a dry wit in her writing as well, and at times I can hear her real (audible) voice in my head as I’m reading.

So many of us have learned (been taught) to harness our emotions in our public lives. In writing, depending on your character, your scene, and your goals for both, you need to find those emotions. That’s you and your character talking. That’s voice.  Use it.

Whatever is going on in your book, put yourself /your character in that situation, dig down into the deepest and innermost emotions, and let your fingers fly.  I’m not saying every sentence and every scene has to be packed with gut-wrenching emotion. That would be too much…waaaay too much. I’m saying to unleash those emotions and let your (and your character’s) voice out – let your  styles shine. Let your personalities speak.

With practice, you can learn to incorporate your unique “humanity” into your writing to give your readers characters that feel real, and a meatier, more interesting story.

Happy writing, all!

_______________________________

After spending her life working with words in various roles in both government and the private sector, including a 10-year stint as a freelance line editor, lifelong grammar fanatic Leah Price is excited about putting her skills and knowledge to work as senior acquisitions editor for Edward Allen Publishing. She also writes commercial fiction under a pseudonym and knows how tough it is to get all the pieces in the story puzzle to fit, but she loves the journey.

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2013 – a year for discoveries

Well, it’s New Year’s Eve, the last day of the calendar year. I have to apologize for being absent the last few weeks. I figured everyone was too busy shopping and baking and partying and preparing for the end of the world to read my thoughts about writing and editing. (Long pause.) Actually, I just forgot. Okay? I forgot to post the blogs I had written about voice. I presume no one was holding his or her breath in anxious anticipation though, so I’ll just start again next week.

In the meantime, I’d like to wish everyone a Happy New Year. I hope you can look back on 2012 and embrace the nuggets of good in your writing journey — maybe some great feedback, maybe a contest win, or maybe just finishing a chapter that was giving you trouble — so that you’ll you want to keep going, keep writing those words and scenes you hear and see so clearly in your head, for the rest of us to enjoy. I hope, too, that you are looking forward to 2013 with renewed energy and enthusiasm to work hard and make each story better in some way. I hope when you take a long, hard look at the competition out there (and you should), that it doesn’t discourage you. Because there’s plenty — competition, that is.

The way I see it, though, there are still more readers than writers (most of whom are also readers). There are still people who go through two or three books per week (like I used to). There are still many, many readers looking for a new voice in fiction whose works they can follow. You know I’m right. How excited are you, as a reader yourself, when you plow through your mountainous TBR pile and pluck out a book by a new or unknown author whose words suck you into a land or time or situation that makes you forget the ordinary-ness of your own everyday world?

That excites me as a reader, and I’m betting it excites you as well. Aren’t you tempted then to go out and find the next book by that author, and the next?

That’s what I hope you’re hoping for in 2013, to be that new/unknown author. To be the one whose words bring a sense of joy, excitement, danger, sadness, love — whatever it is you’re trying to convey — to a reader. It can happen. You just need to keep working, listen to trusted feedback, work on your personal writing challenges, and write. Every day, write.

Happy 2013 … let’s make it the year of discoveries, for all of us.

_______________________________

After spending her life working with words in various roles in both government and the private sector, including a 10-year stint as a freelance line editor, lifelong grammar fanatic Leah Price is excited about putting her skills and knowledge to work as senior acquisitions editor for Edward Allen Publishing. She also writes commercial fiction under a pseudonym and knows how tough it is to get all the pieces in the story puzzle to fit, but she loves the journey.

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Voice – Do you hear what I hear?

Recently I saw a video by a comedian who was poking some fun at the Christmas carol “Do You Hear What I Hear.” The comedian joked about the impossibility of the lyrics – like the second stanza: “Said the little lamb to the shepherd boy” – at which point he demonstrated his view of what the lamb “talking” to the little boy would sound like. He baaaah’d, and he sang the lyrics in various tones, depending on the verse. It was pretty funny, and I would probably stick a link in here except that that’s not what this blog is about.

This blog is about writing, for writers, and about giving writers tools and examples of what we believe is solid, compelling writing and story-telling. But it struck me as I watched the video that he was giving a great demonstration of “voice,” that elusive quality that, to a writer, is one of the most influential means of capturing a reader’s interest. What good is a great plot if the reader doesn’t want to keep reading? That’s voice.

That’s a big topic for this time of year, a time when most of you won’t have much of that commodity (time) to read about voice, or probably much else, so I’ll try to keep this brief (for me!) and tackle just my definition of “voice” for now.

I always think of singers first when I hear the word “voice,” but I think you can make a solid comparison between a singer’s voice and writer’s voice.  You know how some singers just grab you with the tone of their voice, like you could hear them singing the phone book and you’d stop and listen? Likewise, when you hear someone singing in a voice that isn’t to your liking, it doesn’t take you long to shut it off (or scream, “Stop the torture!”), right?

Don’t you find the same thing when you’re reading? I do. I can read just a few pages of anything (a book, an article) and know whether or not I like that writer’s style, or voice.  It’s something in the way he or she puts the words together that makes me laugh or cry, or makes shivers travel up and down my spine. It’s flow and pacing, it’s word choice, and above all, it’s personality, whether it’s the author narrative or a character speaking.

I’m not a great singer and have never studied vocals, but I’m pretty sure that some people are born with a natural voice that others want to listen to. Others learn to develop a singing voice; they learn to stretch their range and bring richness to their tone.

It’s the same with writers. Some hear a story in their minds (in continually flowing words that don’t want to stop…ever). They hear not just the words, but a rhythm, a cadence, and they’re able to transfer the shouting in their heads to paper (or screen…whatever) with relative ease. Others are more visual and might see a story rather than hear it, and I think they find it more difficult to give “flesh” to those stories, to find the right words. But I also believe they have the ability to develop a voice that others will want to read.

Over the next few weeks, I’ll try to dig down a little into the elements of voice. In the meantime, I’d love to hear from you. What is your definition of voice?

Happy writing!

_______________________________

After spending her life working with words in various roles in both government and the private sector, including a 10-year stint as a freelance line editor, lifelong grammar fanatic Leah Price is excited about putting her skills and knowledge to work in the publishing industry as senior editor for Edward Allen Publishing. She also writes commercial fiction under a pseudonym and knows how tough it is to get all the pieces in the story puzzle to fit, but she loves the journey.

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No, no! No more NaNo!

I had intended to dedicate this week to homonyms, or synonyms…or one of those “nyms” that cause so much confusion in our language, but I changed my mind when I realized that we’d come to the end of November — otherwise known as D (deadline) Day to the thousands of writers who took up the annual NaNoWriMo challenge. So, in honor of all of you who so valiantly battled day in and day out to accumulate 50,000 words or more during a month already packed with Thanksgiving, Black Friday, Cyber Monday and who-knows-what-else is going on in your lives, I dedicate this week’s blog to you!

First, I congratulate you for hanging in there, for making that lofty goal and giving yourselves some literary meat to tear into as you start the next phase in your story’s life. Even if you didn’t hit the 50K mark, I congratulate you for trying. And I can most probably guarantee that you wrote more words than I did (even if I count editing).

Which is why I vow, here and now, publicly, to never, ever….ever…put myself through that torture again.

I think there are some people who take to the annual writing challenge like fish to water. (See, that is a perfect example of NaNo writing. Everyone knows that’s an old and tired cliché. But I’m in a rush to get this post finished, and I don’t want to stop and think of a fresh way of saying the same thing. So I’m going to leave it, for now.) Those NaNo naturals must love writing fast and dirty, not caring whether their initial content is full of clichés, typos or other spelling errors. They just plow ahead and get the story down.

I believe this because for two years in a row, I attended a NaNo group write-off hosted by a friend on the first Sunday of November. During the afternoon, she tasks the group with several speed-writing challenges. She sets the timer for an unknown length of time, yells, “Go!” and we attack our keyboards with the ferocity of cub reporters trying to scoop the star of the cross-town paper who’s covering the same big story. The goal of these timed writings is to write, and write, and write, write, write, write, until we hear the ding!, signaling that time is up. Then our gracious hostess (who has stocked the room with enough goodies and beverages to give the entire student body of an elementary school a sugar high…God Bless Her) asks us for our totals, declares a winner, and hands out a small prize. Over the course of the afternoon, she varies the definition of “winner” so everyone has a chance at a prize:  highest word count, lowest word count, most improved word count…you get the picture. (She’s so good.)

Each time I’d gear myself up for the race, type my fingers off, and at the ding!, I’d look at my total (maybe 1050 words for five minutes) and think, Hey, that ain’t bad. That is, until I’d hear the totals of some of my peers. Like the two young women in the group who somehow cranked out something like 3,000 words in five minutes! I kid you not! When I heard their numbers, I mumbled to the woman sitting next to me, “They must be using an awful lot of short words!” (I know, not my most gracious moment.) She shrugged and replied that they’re probably super-fast typists.

Fast typists? Really? Heck, I’m a fast typist. I tested at over 85 WPM a couple of years back, and that was going slow so I wouldn’t make errors! How the he– How fast can they possibly type!?!

Then she added, “They don’t stop to make corrections.”

Oh…..now I get it. They don’t stop. For anything. And that, as I understand it, is the whole point of NaNo. You don’t stop to edit. You don’t stop to research a detail in your story (like the “live oak” trees that I’m researching for my WIP–aren’t all oaks “live”??). You don’t stop to find the name of the hero’s third-grade teacher that you mentioned three chapters back, even though skipping that fact might cause you complete confusion when you get to edits. You don’t stop to go back and fix a plot point in the prior chapter that could conceivably throw you off for the remainder of the book. You just write, period.

I think there are some people who work well with that model. They’re the same ones who probably believe you should never edit while you’re writing, who believe you should save editing for the official editing phase. That works well for some writers. (I know a best-selling writer who creates a messy first draft, then keeps adding and refining until she’s gone through something like 20 drafts to get to her final product.)

If that’s the way you write, fine. But if you’re like me, it’s not fine, and I really don’t care that I’m not following so-and-so’s advice, because the way I write works for me. I do edit while I write. I do fix my typos (when I catch them). I do research fine details. I do go back to find the names of characters or places I’d conceived on the fly (and try to scribble them down somewhere this time so I don’t have to go back again).  When I meander off my plot outline, I do take the time to make it fit, to reconcile hanging questions, because otherwise, I may never find my way back. (Believe me, my memory can’t take more than a couple minutes’ diversion. If I don’t fix it here and now, I’ll not only forget the solution, I’ll forget there was ever a question!)

If I decided to not edit as I wrote, the final product could be an editing nightmare, causing me and my editor more work (and probably confusion) than simply taking the time to get it right the first time. Over the past six or several years, I’ve culled my process down to three solid drafts before handing it off to an editor.) It works for me. NaNo does not. I’ve tried it twice now, and twice I’ve failed, miserably. It’s been several weeks since I’ve worked on my NaNo project, and I’m actually a little afraid to go back and look at what I wrote!

So, when it comes to these theories (fast and dirty vs. editing as you go), here’s my advice: Do what works for you. If you like the challenge of racing the clock (with or without NaNo) and you do well with smoothing out your rough edges and filling in the blanks during your edit phase, I applaud you. But if you’re like me, if you prefer to think and perfect while you write, embrace your style. There’s nothing wrong with doing what works well for you.

That’s what I’m going to do from now on. And when next year’s NaNo challenge rears its ugly– I mean, when the call to enter NaNo comes next year, I’ll happily sit it out and let the speed-writers have fun.

Happy writing! Happy editing!
(Hmmmm…I never did go back and change that cliché, did I?) 🙂

_______________________________

After spending her life working with words in various roles in both government and the private sector, including a 10-year stint as a freelance line editor, lifelong grammar fanatic Leah Price is excited about putting her skills and knowledge to work in the publishing industry as senior editor for Edward Allen Publishing. She also writes commercial fiction under a pseudonym and knows how tough it is to get all the pieces in the story puzzle to fit, but she loves the journey.

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Characters – Love them; love them not?

The other day my sister and I were talking about a book she’s reading. She said she was enjoying the book immensely, but the story’s main character was troubling her. “She’s heartless,” my sister said. “I don’t like her.” She almost spit the words out, like she’d just bitten into a bad tomato.

What a great reaction!, I thought to myself.  That author had done a terrific job of bringing that character to life. To me, that’s solid writing, when you can evoke a reader’s emotions – good or bad, love or hate – like that.

Much is said and written in writing circles and in reviews about a character’s likability, but I don’t think it’s necessarily relevant. When I read for pleasure, I’m not consciously calculating whether or not I like a character. I do subconsciously pick up on traits that I like, but more importantly, traits or behaviors that I can understand.

Let me clarify and make a distinction here. If you’re writing romance (as defined within the industry), I think it is vital that the main characters (the ones who fall in love) are likeable. It’s tough to make one character fall in love with another who’s a jerk all the time, after all. That’s not to say they should be perfect (quite the opposite), but they should be the type of characters readers can find themselves falling in love with, and the romance between the characters should be believable.

Aside from romance, though, I think it’s more important for a character to be relatable than likeable. Sometimes the “baddest” characters who do the most horrific things are the most interesting. (On a side note, I love writing bad guys. They’re my favorites. I love digging into their heads and trying to figure out what might have changed along that character’s life to make him or her a monster.) I think that’s what drives the popularity of some of the highest-rated TV shows and movies:  the fascination with the bad guy.

But “bad” isn’t enough. Some spark of humanity has to be present in that character’s profile, a reason that he/she turned bad. Why? Because can’t we all, in some deep, dark place in our psyches, at one point in our lives or another, imagine  being that angry, that self-focused, that we could almost understand the bad guy’s actions?

It’s that “almost” that keeps us fascinated, I think. We know we’d never go as far as these characters, but if they’re well written (acted), we can relate to or maybe understand, on some level, what they do and why they do it.

Look at one of our most beloved bad guys: Tony Soprano. He made New Jersey cool, didn’t he? (As a native Garden Stater, I say it’s about time!)

Tony could go from having drink at the sleazy topless bar that served as his headquarters (yuck), to having a fight with his wife or kids (most of us have been there, done that), from chasing off a bear in his back yard (yikes!) to ordering a hit on one of his competitors (no way), all without breaking a sweat.  But wait…he did break a sweat, didn’t he? In fact, Tony spent a lot of time on his therapist’s figurative couch. It was the therapist who served as the viewer’s conscience, I think – forced by her profession to try to help this man, this murderer, come to grips with what he’d done. I think there were times when she forgot who and what he was, times when she almost began to like Tony.

It was the same for me. Sometimes I sympathized with Tony and really pulled for him. And then he’d go and beat the you-know-what out of someone, or order the extermination of his nephew’s fiancée, and he lost me. It was a fascination with the yin/yang of his personality that kept me watching week after week. It’s the same reason I watch shows like Justified and Sons of Anarchy, shows that aren’t afraid to reflect the reality of life, that sometimes  good guys do bad things, and sometimes bad guys aren’t all bad.

People are people. They’re good, they’re bad. They’re strong, they’re weak. Characters should be the same, especially your main characters.  Even when drawing a character that’s (hopefully!) so far beyond an author’s reality – like a Tony Soprano – the author needs to incorporate the elements of humanity that readers will understand. With a full-dimensioned character like that, you can take your story anywhere.

So, to answer my sister’s complaint, I told her to keep reading. That character, like most people, had a lot of living, and growing, to do before the last page of her story could be turned.

Happy reading, happy writing!

Leah

_______________________

After spending her life working with words in various roles in both government and the private sector, including a 10-year stint as a freelance line editor, lifelong grammar fanatic Leah Price is excited about putting her skills and knowledge to work in the publishing industry as senior editor for Edward Allen Publishing. She also writes commercial fiction under a pseudonym and knows how tough it is to get all the pieces in the story puzzle to fit, but she loves the journey.

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