LOGICAL

When I began my first novel in 1984, I believed when I finished it, I'd get published. "Most logical," as Spock would say. Self-publishing wasn't an option at that time because it was expensive and anyone who went that route wasn't taken seriously.

In 2008, I self-published DEAD WITNESS on a fluke. I hadn't given up on my dream of finding a publisher, I just wanted copies for family and friends while I waited. 

No one was more surprised when Overwaitea Foods requested copies to place in their bookstores; a request that set into motion me finding a Canadian printer, distributor and later a publisher for my novel BROKEN BUT NOT DEAD.

But I'm getting ahead of myself.

Prior to self-publishing DEAD WITNESS, I spent twenty-four gruelling years accumulating rejection letters. When I had enough to wallpaper my ensuite, I decided a new ploy was needed.

I covered two novels in brown paper sleeves, printed DEAD WITNESS on the first and  BROKEN BUT NOT DEAD on the second, along with my name in bold letters. I set them where I would see them every day. Every morning, I sat for 15 minutes, closed my eyes, and imagined how it would feel being a published author. I envisioned doing readings. I imagined the many interviews, smiled over all the accolades, and revelled in the delight of my brand new iMac and notebook.

When moments of doubt surfaced, I took a deep breath, felt the calm wash over me, and knew one day my dream would come true.

I'm not special or better than you in any way. Nor am I less than you are. We both love writing....

So...? What do you suppose my story means for you?

IS YOUR PROTAGNIST APPEALING? And I don't mean Pretty.

I'm waiting to hear what my new editor thinks of the sequel to Broken But Not Dead, Omatiwak: Woman Who Cries. My former editor left the house and now I'm working with someone who doesn't know me. In essence, I'm back in the trenches vying for his attention.

Feeling apprehensive, I read my copy of the entire manuscript last night to see if I had succeeded in creating a strong protagonist. While you may be thinking it's too late, he has the manuscript, I'm thinking, it's never too late.  If I'm wrong and Sally stinks, I'll run down there (700km), sneak into his office and steal my manuscript back!

Lucky for me, when I finished reading Omatiwak: Woman Who Cries last night, I felt the same way I've felt every single time I've read it.  

Wow, I wrote that!

But will my editor be as enthused? Will he find my 60-year-old protagonist a woman of substance?

She lives in a fancy house. 

 

With a fancy foyer.

Does that mean I've written a whopping good tale?

A winner?

Everyone knows--well, writers do--that to succeed in this crazy business we need to write a book that will knock the socks off our readers.

Our bread and butter is determined on whether our editor agrees.

My pledge to you is this: 

 

If you pick five of your favourite movies (easier and faster than reading your favourite books) and answer the question, 'What makes the protagonist so appealing? And I don't mean PRETTY,' then apply the answers to your manuscript... you'll be that much closer to getting your book published. I'm assuming you already know how to write, understand the elements of style, and can spin a good tale. You combine all those with an appealing protagonist and you've got a winner. 

 

I know that sounds too easy, but it's actually hard work. As you watch your movie, ask yourself: How do I feel about the character within the first few moments s/he is on the scene? Why? Ten minutes into the movie? Why? At the half-way point? Why? By the end?

 

Think...

1. Dolores Claiborne (Kathy Bates) in Dolores Claiborne
2. Warren Schmidt (Jack Nicholson) In About Schmidt
3. Forrest Gump (Tom Hanks) in Forrest Gump 
4. Rick Blaine (Humphrey Bogart) in Casablanca
5. Ripley (Sigourney Weaver) in Alien

What do all these characters have in common? Why are they unforgettable? Why do we feel an instant reaction? Why do we wish we'd written their stories?

Here's a few more:

 

Leon (Jean Reno) in The Professional
Marge Gunderson (Frances McDormand) in Fargo
Evelyn Greenslade (Dame Judith Dench) in The Best Exotic Marigold Hotel

 

A good story requires a great character. They don't have to be good or perfect or beautiful. They do need to be extraordinary, while at the same time believable.

You create a character through effort, stamina, sweat and tears. You work hard at rounding them out, attaching intrigued and fascination to their stories... You do that and I promise... your reader will be mesmerized.

After you've finished the fifth draft and have typed THE END, give me ten reasons why I should care about your protagonist. If you can only come up with seven, time to work on the sixth draft, eh?

~~~~~~~~~~

Joylene Nowell Butler lives in Cluculz Lake, BC with her husband and three cats, Garagee, Marbles, and Shasta. She is the author of mystery thriller Dead Witness, psychological thriller Broken But Not Dead, winner of the 2012 silver medal IPPY Awards, and contributing author of the soon to be released anthology collaboration Break Time.

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What's Your Book About?

synopsis

noun
a brief summary or general survey of something: a synopsis of the accident - an outline of the plot of a book, play, movie, or episode of a television show.

ORIGIN early 17th century: via late Latin from Greek, from sun-'together' + opsis 'seeing.'

~ ~ ~

Most of us will agree that writing a synopsis is one of the hardest things a writer will ever have to do. Try to described your child in three sentences or less. A daunting task. 

We write the synopsis because we understand we have to sell the manuscript to a publisher who in turn needs to entice readers to buy the book.

But is that the only reason?

Several years ago, on the eve of Dead Witness's release date, I set about writing the synopsis for my 4th manuscript and subsequent 2nd novel Broken But Not Dead. Having spent years agonizing over the synopsis for Dead Witness, I was determined to nail the next one partially to prove I could, but mostly because I needed to understand why I write the books I write. If I could summarize any plot in its best light, I hoped I could learn something about myself and subsequently become a better writer.

At the birth of each new book, I meet a protagonist who is not me, but still a reflection of my changing ideals, dreams, and fears. As I learn their story, I recognize the evolution of who I've become. Not someone necessarily smarter, but more polished. Like a rock on the beach. Enough wind, and the waves are able to smooth away more of my jagged edges.

The final synopsis for Dead Witness:

Canadian wife and mother, witness to a double murder in the States, has her life torn asunder when the FBI kidnap her so that her family and the men hired to kill her, believe she’s dead.

I had to step outside myself and discovered why I'd written Dead Witness. I already knew it started with the question: What if? What if I disappeared and my brother didn't believe I was dead? But that led to: Can children survive without a mother? Can a mother survive without her children?

My first manuscript, Always Father's Child was a bid to keep my dad alive. I understand why I wrote that book, and I understand why it will never be published. I know, never say never. I learned through the process of writing a full length novel that I was destined to be a storyteller. I have this overwhelming need to write about characters I'm drawn to. The story becomes their story. Their questions. In the end, they teach me about fighting demons, about the valuable of life, about myself.

English professor, Metis Brendell Kisêpîsim Meshango is being stalked by the two deranged sons of a powerful politician.

I have nothing in common with this woman.

Or do I?

When I was fifty I too wasn't willing to sit back and let my life continue without direction. I felt compelled to reevaluate what it was I really wanted. Just as Brendell does in the opening scene of Broken But Not Dead. She goes off to her cabin at Cluculz Lake to reassess her life and to make changes in her career.

I wrote Broken But Not Dead because I wanted the world to know that 50-year-old women aren't dried up and useless. No! In fact, they're everything Andy Rooney said -- and more. 

Then why did I write the sequel: Omatiwak: Woman Who Cries? (not yet published) What connects me to 60 year old Sally Warner, widow, mother of two dead sons, a woman who believes she's losing her mind?

No wonder they say writing is a solitary, private, personal journey. I'm not sure I can voice those answers at this time. But even so, understanding the answers has made me a better writer.

Marketing aside, the most important reason why a writer needs to write the synopsis for their book is because they owe it to themselves to truly understand the story. The essence of it. Its origin and conception. Because through understanding comes wisdom, knowledge, and a better writer.

When someone asks, "What's your book about?" it's your obligation to you and to your reader to know.

What's your book about?

Joylene, Métis, has been writing her entire life. She began her first novel in 1983 to honour the passing of her father. Today she and her husband live in the home they built with their own hands on Cluculz Lake. Her first novel Dead Witness was a finalist in the 2012 Global eBook Awards. Her suspense thriller Broken But Not Dead won the 2012 IPPY Silver Medal for Canada West. Joylene is currently applying final touches to two suspense thrillers. Contact her at cluculzwriter at yahoo dot ca