Writing 101: Chapter Breaks and Scene Breaks

Every book has just one definitive end, but each chapter is a small ending within the whole. Sometimes, the only way to move forward in a book is to end a scene and then jump to another point in the story. But how do you go about doing it all? Do you know how to write good chapter breaks and scene breaks?

Ending a Chapter

It's a tricky thing to end a chapter, trickier than most writers credit it to be. Each chapter ending should feel a bit like an ending, as if there is some small conclusion -- but at the same time, each chapter must compel the reader forward into the story. It's perfectly fine to create cliffhanger chapter endings, to move into a very tense and emotional scene and then end it abruptly only to have it continue in the next chapter. However, every chapter shouldn't read that way because readers like to come to natural stopping points within a book. Often, a chapter will end at the end of a day, a big event or an important conversation. The chapter that immediately follows will open with a new day, a new event, a new scene.

It's important for your writing to feel fluid, especially from one chapter to the next. You want your readers to get caught up in your story, to keep reading and feel unable to stop -- but sometimes, they do need to stop. It's a delicate balance, and only you can find the perfect one for your story. Look for the natural stopping points in your story, and make sure they're present. Look for fluid chapters that lead easily into each other, and be certain that's happening. Then you'll know you've mastered the art of ending a chapter.

Length is the least important of all factors in a chapter, though many authors do try to keep theirs even. You can always create a very short or very long chapter to produce a certain effect -- say the characters are going through a long journey, so you create a very long chapter so the reader really feels the length of the trip. Try to be fairly consistent with your chapter lengths, but always end a chapter when it feels most natural for you to do so. Good writing requires a lot of hard work and careful research, but some of it is pure instinct.

Ending a Scene

Ending a scene can be even harder than ending a chapter, because you'll be abruptly moving from one series of events to another all in the same chapter. It's also important to consider how to end a scene stylistically, so there's a lot going on when you suddenly shift gears in this fashion. When a scene comes to a natural conclusion (or an abrupt one, you're the writer) you have to immediately switch into something else -- but you've got to warn the reader it's happening.

It's common to create a scene break by inserting symbols, all alone, between your paragraphs. It's common to use three asterisks (***), but you can choose any symbols you like. Make it easy on yourself by choosing something on the standard keyboard. Don't create formatting headaches where they don't need to happen. If you'd like to go for a softer scene break, simply create a completely blank line between paragraphs.

Writing 101: Descriptions

If I ask you to visualize a ball, what do you see? A baseball, white with the classic stitching? Maybe a football, with its unique elongated shape and pointed ends. Maybe you see a bright orange basketball, an item that's big enough to hold with two hands. But if I ask you to visualize a ball that's hand-sized and fuzzy green, you ought to know I'm talking about tennis. The descriptions in your book are everything, and I'm never going to be able to picture anything in your story if you don't include them. Are you taking the time to write descriptions...or just a bunch of events?

 Descriptive Writing

Ever heard the expression show me, don't tell me? A favorite battle cry of writing teachers the world over, it simply means that you should describe the events you're writing about -- instead of just writing them. Here's the difference:

Kate walked into the living room, cup in hand, to tell John exactly what she thought of him. 

I just told you that Kate is entering into a scene in the living room, and John's about to get it. Now, I'm going to make you visualize it.

Kate moved briskly into the living room with quick steps, the fingers of her hand clutched so tightly around the green plastic cup the knuckles had turned white. Her brown eyes, shining with anger, immediately searched for John's familiar laughing mouth.

 Now, you've pretty much received the exact same information: Kate's totally pissed at John, and there's about to be a living room showdown. But you've received so much more information from the second version. You know that Kate's glaring at John with angry eyes, and he's probably unprepared for it because he's hanging out in the living room laughing. You know she has a weapon, after a fashion, and you even know that it's green plastic (so, not a very good weapon). You know that she's moving quickly, which suggests she's about to explode. Knowing all of this makes it a little easier to picture Kate and John and their confrontation, right?

Now, take it a step deeper. Tell the reader what the living room looks like. Show John's reaction to Kate storming into the room. Does he sit up straighter and take notice, or is he too caught up in his own thing so he remains casual and unaffected? You can tell me that John doesn't notice Kate in exactly those words, and I'll get it. But you can also tell me that John continued to stare at the TV screen with his back slumped against the blue cushions of the couch, barely glancing away from the flickering images to take note of Kate's arrival, and then I'll know it. I'll be able to see it.


Describing Your Nouns

Another rallying cry of English teachers: people, places and things. If you remember your early school years, you know I'm talking about nouns -- and you've got to describe those, too. It's a lot more fun -- and for some writers, much easier -- to describe action and verbs. But a great writer also has to describe people, places and things without being boring about it.

If readers are going to visualize their story, make sure they know what they're looking at. Describe the way your characters look, the setting they're in, even the food they're eating or the way the carpeting feels beneath their feet. Don't forget to tell me what color the carpet is, and always give me size comparisons I can relate to. "Jane was a petite woman." Well, compared to whom? Next to the right person, anyone can look petite. If you tell me instead that "Jane, from behind, could easily be mistaken for a teenage boy just entering high school" I know Jane's a pretty skinny little thing, indeed. If you tell me the pillow was big and fluffy, I can picture something -- but if you tell me the pillow was twice the size of Jane's cocker spaniel I know we've got a massive pillow on our hands. I have a point of reference, and that makes visualization easier. Are Jane's eyes green, or are they as green and dewy as the morning grass? Green and bright, like copper left too long in the rain? The fresh, new green of unfurling spring growth? There are a lot of greens out there, and you don't know which one I'm going to picture when you throw a color at me.

Turn to great writers to see really good examples of detailed, descriptive writing. Ernest Hemingway is an acknowledged master of descriptive writing. He conveyed his imagery on all five senses, describing tastes and smells along with colors and billowing smoke. Sit back and observe your scenes and watch them play out in your own mind. Then, just write them down.

Writing101: Book Trailers

Once upon a time, writers like Louisa May Alcott and Jane Austin sat hunched over wooden desks next to oil lamps, scribbling out fantastic prose in longhand with bottles of ink sitting just within reach. They sent voluminous manuscripts -- ink spots, and all -- off to publishers, who were happy to turn these gigantic collections of parchment into beautifully bound books. Those days are long over. Today's writer has to become an expert on using the Internet, a star in social media, an editor, a book formatter, a software guru, a forum nut -- and yes, even a graphic designer. Want to be a professional writer? You'll be lucky if you spend even half of your working hours actually writing. Among the many non-writing tasks you'll be asked to perform, you need to learn about book trailers. What they are. Who they're for. What to do with them. And, oh yeah -- how to create them from scratch. Put away your bottles of ink, and get out a keyboard.

What's a Book Trailer?

Commercials have existed for as long as television, and movie trailers have been made for flicks since the silent film era. Above all, movie trailers -- those minute-long clips you see in theaters for upcoming films -- are advertisements. And even if you aren't from Hollywood, you can make one for your book. And you should.

Your book is not the same as a film, I know. But people love looking at videos online -- go and ask YouTube if you don't believe me. Good luck getting through the piles of money that litter the path to the front door. An exciting book trailer, presented like a movie trailer, can create interest for a book the same way it can for a film. And here's the good part: you'll be advertising something they can immediately buy without even moving from the chair. You don't have to motivate your audience to wait three weeks, then get fixed up and go out to the theaters for a big night on the town. You just need them to click a link, and then another link. Think you can create a video that might make them want to do that? Sure you can!

Creating a Book Trailer

No one understands better than you what your book is about. Now condense all that into a minute-long series of text and images, and you've got a book trailer -- after a good four hours (or more) of pure tedium and stress. First, start thinking of the main points in your book. Is it about love? Murder? Grief? A coming-of-age tale of two sisters? Describe your book, to yourself, in a few words (no more than one sentence). Now you've got a starting place for your book trailer.


Think about all the trailers you've seen. First, the trailer introduces a character, a place or some concept. "The end of the world" may appear on the screen in bold lettering. In the background, a ruined cityscape will slowly come to life. Now I'm hooked. Why did the world end? If the world has ended, what's happening? Show me another image -- a heroic man with a gun standing in shadow. The text reads: "One man must save society." Who is he? I want to know him. Now I'm drawn in, I'm being carried along. And that's how you make a book trailer. Take me through different images, different catchy lines and at some point introduce me to the book. Remember to tell me where I can get it, the title of it, the author, maybe even throw the book cover in there at some point so I can be certain of what I'm buying when I go looking for it. End dramatically, and the trailer's over. Now I'm rushing through cyberspace to buy your book.

So...now you just need a bunch of images and software that helps you create a video from scratch. It's daunting, but it's actually easy if you know where to look. If you've got Windows 7, you've probably got movie making software already on your machine. Look for existing software first on your Mac or PC. If it's not there, you'll need to turn to free software online. No problem -- it's out there. Windows has a safe, very user-friendly free software package, and so does Mac. If that fails, try looking at CNet's list of software.

Once you've got your video program installed, open that bad boy up and start to play around. Throw some of your existing photos on there, music you've downloaded and play around with the tools. Once you're satisfied you know how it works, open up a new project and get to work. You're going to put this trailer live on the Internet, so the first order of business is don't break any laws. You have to have copyright-free, license-free, free free free images, video and music for your trailer. No logos, no footage taken from any movies you like, no songs you bought on iTunes. No. Even if you own it, you don't have the license to re-distribute it and YouTube will remove that trailer. If you took the video yourself of some trees blowing around (or whatever), that's fine. It's yours, use it. If you took the images and they don't have any logos or copyrighted material in them, use them. If you made the music, use it. Otherwise, make darn certain you're downloading something that you're allowed to use. You can find free music, free images and even free video footage that you're welcome to use. Take the time to do so, because you'll just have to fix it later if you don't. Arrange all your elements in your movie maker software, upload it to YouTube (accounts are free; you've already got one if you've got a Google account of any kind) and start promoting that book trailer.

Buying a Book Trailer

Okay, wow, that's a lot of work. It takes a ton of searching and no shortage of stressing to produce a book trailer that others will like. You can always make it easy on yourself by hiring someone. There are companies out there that specialize in creating book trailers, and still others that have found a niche in making indie book trailers in particular. Look for them on writers' forum groups. Find book trailers by other indies on YouTube, and if they were made by someone else you should see that person or company's logo at the end or beginning of the trailer. Contact them through social media, or their official website, and you're in business. Professional trailer makers will have a specific questionnaire for you to complete, or specific questions about what you want, and they'll take care of the rest. If you've got the money to spend, a professionally-made book trailer can make a big impact.

Writing 101: Chapters, to Title or Not to Title

Should you give your chapters titles, or just number them all the way through? How do readers feel about it? What's the point of doing it? Chapter titles might seem like a little detail, but any book is nothing more than a bunch of details laid out in a pleasing manner. Some readers have very strong opinions about chapter titles, and there may be a certain stigma that comes with using them. So the main question is: to title, or not to title?

Chapter Titles

Using titles for chapters (example: The Bright Red Balloon) as opposed to simple numbers (Chapter 3) adds another layer to any book. When used properly, chapter titles can make a very big impact on readers. But chapter titles can bring certain negative elements to your story as well.

• The Good

Chapter titles help to set the tone for what's coming up in the next few pages. A gripping chapter title can completely arrest a reader, and make them keep reading when they might have closed the book to continue another day. Good chapter titles can show off a writer's particular flair and creativity as well, truly acting as something extra and enticing in the story.

• The Bad

In some readers' minds, chapter titles are linked to children's books. Children's books very commonly use chapter titles, and though other books do as well it's standard through the genre to use chapter titles. Non-fiction works also commonly use chapter titles; generally they are somewhat long and very explanatory in nature and this sets these works apart from the more literary titles you'll find in fiction.

• The Ugly

Chapter titles can weigh a story down as much as they can elevate it. Using a theme for chapters, for example, can be very interesting but also very tricky. Make sure you choose a theme that makes sense. Seasons or states of weather, for example, could set a specific tone and mood for each chapter (The Dawn, Dusk, Rainy Day, Winter, etc.). Random colors, on the other hand, may feel nonsensical to the reader (Blue, Black, Yellow, Green) and become off-putting. Don't think it hasn't been tried. Everything's been tried. Avoid ugly chapter titles by repeating yours out loud to yourself and thinking of the imagery it brings to mind. Does that fit the pages that follow? Does it make you want to read those pages? Think like a reader, and your titles will do what you want them to do.

Forget That

Many fine books have no chapter titles, just a plain reference at the top of the page. You certainly don't have to have them, if you don't want them, but it's not a bad idea to employ certain tricks to help keep the pace of your story moving. It can be somewhat disconcerting to be following a tale, and then stumble across a simple "Chapter 4." What's going to make me continue reading?

• The Good

Numbered chapters are simple, and they won't take anything away from the prose as readers are moving through the story. No one's stopping to take a second look at a number four, so your readers aren't pausing to discern the meaning of some enticing title that's inserted itself into the middle of your tale. Numbered chapters help to set a serious tone for a book, and they keep readers engaged in the story while still offering natural stopping points.

• The Bad

Maybe too many stopping points. You don't want someone consistently reading just one chapter a day of your work -- at least, not really. Ideally, you want them to get so caught up in the story they've just got to keep going. You want them to get to the end of that chapter and think, no way I can stop now! as they turn another page. That's why it's a good idea to use a little trickery, here and there, and break disciplined reading habits whenever possible. Instead of dividing the book neatly into numbered chapters that each naturally stop and start at the end and beginning of certain scenes, insert a few cliffhanger chapter endings. Begin an exciting new scene toward the end of a chapter, only to leave the reader hanging in a climactic moment. If it's done well, they will barely even notice that they've slipped into a whole new chapter -- they're just trying to get to the juicy stuff.

• The Ugly

What's so wrong with numbered chapters? They're simple, they're easy and frankly, they're time-saving. Who wants to come up with 20-something different titles? Wasn't titling the book hard enough? Here's the problem: some readers hate it. For whatever reason, a certain contingent of readers are completely turned off by numbered chapters. Some find it to be boring -- or worse, lazy. It's a disheartening truth that all writers must face, but readers form opinions. Isn't that what writers want them to do? Once they start forming opinions about your setting, your plot and your characters, every tiny detail is fair game. Writers have to look at all the aspects of every decision they make -- good, bad and ugly -- and go from there. It's your book. Win them over however you think is best.

Writing 101: Tense

One of the worst mistakes a writer can make -- and a sure way to anger a reader -- is not sticking with a firm tense. Make your work consistent by choosing which tense you're writing in, and find out exactly how to do it.

Tenses

There are three different tenses, but most authors use only two of them. Once you choose your tense, you're going to have very specific grammar rules to follow -- so choose wisely.

• Past

By far the most common tense in book-writing, past tense is used when the events being described have already happened. The narrator is telling the tale from some point in the future from when the book takes place. A book written in past tense doesn't have to be historical or even dated -- it can be contemporary, taking place even as the reader is working their way through the book. The narrator, however, is in the future.

That's important grammatically, because as a writer you have to be certain you're using past-tense words to describe every single action and event. He said, she said, they walked -- that sort of thing. The moment you slip up and write "says" or "walks," a reader is going to be gritting their teeth.

• Present

It's much more complicated grammatically to write in the present tense, but it can bring an exciting pace to readers and make them feel like they're involved in the story. When everything is happening in real-time, there's a certain element of drama and excitement to any story. A book that's being written in the past tense can't be changed -- the events are already set, and everything has already happened. When everything is unfolding in the present, the reader will feel very engaged -- almost as if by will alone, they can control the characters and events taking place.

But you, as an author, have set up a huge challenge for yourself. It's so natural to read and write in past tense, it's incredibly easy to mess up this style of writing. Remember that the narrator is experiencing everything as it unfolds. The waitress is walking toward the table, she hasn't already walked to the table. It gets confusing to write in the present tense, because the narrator still has memories of events that have transpired before the story began. In almost all cases, there are already relationships that have been established in the past (a character's mother, for example, has been their mother since the day they were born). Only careful editing and double-checking will keep your grammar clean when you're relating a past event in a present-tense book.

• Future

Writing in the future tense is almost unheard-of, but it has been done before. John Milton used the future tense a long, long time ago in the past for some of his epic poetry (which reads a little like book-style prose). Writing a book in the future tense is ridiculously hard, and it could easily be difficult to read as well. Just imagine it: Susan will walk into the bar and search every available face for John's eyes, her heart pounding furiously. She'll laugh when the drunk at the bar reaches out for her leg when she passes. A whole book of that could easily sound grating, so it has to be written very carefully. It's also a good idea to give the reader some explanation of why the book is in the future, and not the present or the past. Is this all someone's prophecy, or perhaps wishful thinking? Why are the events taking place in some yet-to-be-reached time, and not right now or yesterday?

Mixing it Up

Consistency is important, but there's always a possibility to mix in a different tense. This is most commonly done in the prologue or epilogue of a book. For example, you might start a prologue in the present tense and then relate a story that happened in the past. You might even write the epilogue in the future tense (Now that Winston and I have managed to get through all our problems, we will be married in the Spring.) But there's always a time and place for it if you're going to change the tense -- meaning you must have a reason for doing so. Only change the tense when you want to change the tone of the story, or perhaps relate something important to the reader.

Writing 101: The Book Cover

After you agonize over every word and debate plot points until nothing in your book makes sense any more, the last thing you want to do is worry about packaging. But at the end of the day, it takes a compelling cover to sell any book. A gripping image, a title that reaches through the screen -- a reason to buy, that's what every reader is actually looking for. And chances are, if they don't like your cover they're never going to read a word you've written...no matter how great the blurb may be.

Designing a Cover

Only very artistic people have the skills and know-how to create both the text and cover for a book completely from scratch, but you may not have to. There's lots of ways you can create a cover, and not all of them involve sitting down at a drawing pad or graphic design program.

• DIY

If you've got the skills and the materials, you can always use a program or a piece of paper to literally draw and create your book cover from a completely blank screen. This method will give you the most control over the design, and it'll give you the most agony. You could spend many, many hours attempting to create something from nothing, but this is by far the most ambitious means of creating a cover.

People who aren't designers or artists can still DIY their book covers, however. Turn to sites with license-free imaging to collect pictures for your cover, and use a design program (like Photoshop) to put all those elements together in a pleasing way. Design programs also offer many different fonts so you may add text to your cover.

It's possible to get original artwork even if you aren't an artist -- just grab a digital camera and go take a picture. A beautiful bit of nature, a person of your acquaintance who looks like your main character, a startling image you create using sticks and twigs -- doesn't matter. If you take the photo, it's yours to use as long as it doesn't contain any copyrighted material. This means you should avoid photographing any logos, slogans or imagery that was produced by someone else (a movie poster or a television playing an actual TV show, for example).

• Farm it Out

All the digital cameras and license-free photos in the world won't help some people (I'm one of them). Writers are definitely artistic people, but that doesn't necessary mean they can create or even judge aesthetically-pleasing images. We paint with words, not with...well, paint. So you're just going to have to hire someone who is an artist.

Look for cover designers through writers' forums and websites. Often, cover designers gravitate toward these online locations because they want the work, so they shouldn't be at all hard to find. If you're acquainted with other indie authors and you admire their covers, ask them about their designers and contact those designers directly if the authors give you permission to do so. If all else fails, you can always take out a free ad on sites like craigslist. Simply advertise for what you need, and you'll get responses.

The Tower Book Trailer Released

The book trailer for The Tower (Deck of Lies, #2) is now live! You can get the book at Amazon.

Another 5-Star Review for Justice

"I will read whatever this author writes."

Another reader has given Justice (Deck of Lies, #1) a 5-star review! Find it at the Kindle store to read the review and download your copy.