How To Win The DEFY THE DARK Short Story Contest

I've gotten quite a few hits lately from the search term "how to win the DEFY THE DARK contest" (which honestly I found quite surprising) so I figured I'd do my best to offer some tips. And they are TIPS only, I don't have the inside scoop on anything, and I'm not a judge.

First of all, let me direct you to some great posts that Saundra Mitchell has done on just this subject.

• The first is on what she's looking/hoping for.
• The second is on Editing before you submit.
• And here's a third on her blog Answering the most common questions about things like genre

She's got some really great advice, including actual screenshots of some of the stories in the book (think Tessa Gratton, Beth Revis, Jon Skovron and Christine Johnson) with their edit notes and final revisions!

That said, I've spent some time looking through the entries thus far, and had a few thoughts. So here they are.

1. TAKE YOUR TIME. You've still got over two weeks to enter. There's no bonus for getting your story up early. The prize is MAJOR, so, write your story, let it rest for a few days and then look at it again. Revise it. Send it to a crit partner or friend. Get their notes. Revise it again, and THEN post it.

2. BE CREATIVE. This is not meant to bash any story that has already been posted, but in reading the entries I have found many to be remarkably similar - in tone, in subject, or in plot. Yes, the instructions say to write a story that takes place at night or in the dark but that doesn't mean the story itself has to be dark and/or bleak and/or depressing. (Three things that I love in a story, btw. And three things that, surprisingly, are not in my story.) Sure monster attacks and the end of the world might happen in the dark, but so might a stolen kiss, a bonfire party, or, I don't know, a case of mistaken identity!

3. HAVE A BEGINNING, MIDDLE, AND END. This is not really a hard and fast rule for short stories in general, but in this case, DEFY THE DARK is a book of complete stories. I don't mean that every thread in your story has to be wrapped up tight with a bow at the end. It's more a caution against stories that are really one long descriptive scene, or a vignette that feels like it's the middle of something bigger. For me, a great short story resolves (or mostly resolves) the main issue in the plot and ends with the reader having a sense of what comes next. But that's me.

4. SPELL CHECK DOES NOT EQUAL EDITING. I cannot stress this enough. Running spell check does not fix grammatical errors, missing words, tense issues, homonym/homophone mistakes, or confusing sentences. This is where a crit partner, and a patient eye come in. While I doubt one or two issues will keep you from winning, this story is out there for the world to see. People will assume you are showing them your best work, so why not make sure that it actually is?

5. READ THE RULES. And then follow them, obviously. I've seen quite a few interesting stories that were only 1300 words long. The contest rules state that entries must be between 2000 and 4000 words. (Also, this contest is for YA - Young Adult - stories. I've seen a few featuring adult main characters, which I find bewildering.) Don't shut yourself out before the judging even gets started!

And... that's it. Really! Take your time, and try to think up something that's truly original, and truly you - NOT what you think should be in the book. Or what you think will win the contest. This is not the time to be calculating. Saundra has made it clear that any genre will do as long as it fits the guidelines. What will win the contest is the best, most original story, told by someone who truly loves telling it. And if you're working with a formula, chances are you're not having fun writing.

If you're curious about the tone of the book, which truly does span all genres, and all uses of "dark", check out the DEFY THE DARK website where you can read the opening paragraphs of every story in the book. (Click on each author's photo and it will take you to their bio page which also features the opening snippet of their story. Mine is here.)

I hope this post was helpful. I can't wait to see what you all come up with! Good luck!

Everybody's Got One

A secret that is. Everyone’s got a secret. What were you thinking?

One of my favorite filmmaking tips is as the director, to give each actor a secret about their character. One they can’t share with anyone, but will inform everything they do in every scene.

Secrets can add depth and subtext to a scene that might otherwise be merely functional, or ordinary. For (a poor) example: A character who is hiding a fear of heights, might try to convince his crush not to hike up to a popular make out spot on a cliff despite wanting desperately to make out with her.

While it works really well in film where we can both see an actor’s face, and hear their change in tone when responding to an innocuous request, I think it can also work well in a novel.

You probably already know your main characters darkest secrets, and maybe even some of their love interest’s or antagonist’s, but what about everyone else? This ties in with my previous post “Why Are You Here?” about every character having a reason to be where they are in every scene.

In this case, having a secret can help give conversations between characters more depth and realism. If you know a character’s secret, it will color everything they do and say. It will make the world feel more real, because the people in it are real. It might even change your main character’s or the reader’s opinion of the character, and that can be used to your advantage when working on stories with mysteries. (And I believe every story should have a mystery, even if it’s not a mystery story, but that’s a whole ‘nother post!)

I would bet that if you’ve gotten pretty far into writing the book, that most of your characters already have a secret, you just haven’t picked up on it because you’ve been too busy forwarding the story. If you’re just starting your book, or you haven’t seen your characters dropping any hints, try giving them one and see if it perks up one of your lackluster scenes, or changes the way your characters view each other. You might just make a discovery or two!

What about you, do you give your characters secrets? What are some of the ways you add subtext and depth?

Why Are You Here?

Wired has a great interview with Joss Whedon. It's very long, but a great read if you're a fan of his, or interested in his thoughts on writing, characters, and plot. Here's the part that I want to talk about though, it's about characters and their motivations:

"...everybody is here for a reason and they deserve, while they’re on film, or on the page, for people to know what it is, even if we don’t like it."

Reading this made me feel good because it's something I've always tried to do with both my characters and my plot. I think it's important that in any scene you write, you should be able to turn to each character there and ask "Why are you here?" and they should have an answer. Whether the reason is personal, "I'm here because I love him." or practical, "This is my English class, I have to be here." they should be there for some reason that has to do with THEM, and not your plot.

If I ask and my character answers, "I'm here because you need me to overhear this argument so that later I can use that info to solve the mystery." then, in my opinion, I've failed to make him three-dimensional. He's merely a plot device in the shape of a person.

Every character, whether they're the main character or one who pops in for one scene, should have a full life, regardless of how much we see of it. When people appear only to prove a point, or drop a clue, or to tell us something about the main character, the whole world of your story feels a little less real.

Achieving this can be tricky. You don't want a minor character to walk into a scene and say, "I'm here because this is my English class, where I'm supposed to be, and I just noticed that your hair looks different." Subtlety is key. This is one of those things where the reason doesn't always have to be spelled out on the page, but YOU need to know it. When you know why a character is there, it shows in your writing, and scenes feel more real.

When it comes to plot points, I always check that all the characters involved are there for a reason, and not because I NEED them to be there in order for the story to move forward. Without that reason -- personal or practical, things can feel "too convenient" or false. You want those moments to feel inevitable, where your readers can almost see it coming, as they weave all the pieces together, and they think, oh no!, at the same time that they think, of course they would all end up in this place just as the bomb goes off, it couldn't be any other way.

Because that's the moment that really connects with the reader. That's where the emotional connection to the story comes in. When they can look back at everything each character has done, and know that this is exactly the way it has to be, because they understand why each character has done what they've done so far, and why they're there at that moment. Without that it's just another thing moving the plot along.

Writing Structure

Ha! You thought this post was going to be about plotting or outlining or something else story-structure related. But it is not. Today I'm talking about structuring your writing... life.

One of the most surprising discoveries I had about living my dream of working from home is that it is very difficult for me to actually... work.

Despite having a home office and plenty of time to dedicate to writing, I tend to find myself doing all sorts of other things when I should in fact be writing. It's strange really. I love to write. And it's not really that hard for me to hammer out 1k a day, and yet... frequently I find myself turning on the laptop and then... sorting clothes for a load of laundry, organizing my bookshelf, running to the store, reading the news, all with the thought in the back of my mind that I have ALL DAY to get my writing done, but these other things really should be done NOW.

Right. I am definitely one of those people who, the busier I am, the more I get done. If I can only squeeze in 30 minutes of writing in a day, I will write during that time. I work best with deadlines or when someone is waiting for something from me. I like having a list of things to do (okay, I like lists in general, if I'm being honest) but when the things I need to do are only for myself, I tend to falter. And then my dream life becomes, not quite a nightmare, but like one of those dreams where all you have to do is walk down the hall to the next room, but the hall keeps getting longer and you just keep walking and walking, but not reaching that room.

So. I'm going to try coming up with a strict schedule for myself. Something that has a lot on it, and a little time for writing. (I'm also going to finally start using Mac Freedom. I think.) I'm interested in knowing how those of you that have more "free" time available to write manage to actually write and not do something else. What are your tricks to staying focused?

Exercise Your Voice

Sometimes, when I'm writing or revising, I get so sick of my voice. You know the part where my characters sound like me rather than themselves. Or when they've described something the same way, like, three times in a row. It drives me nuts when I notice that the character is having the experience/thoughts that I would have in any given moment, rather than their own. But sometimes I feel stuck in my own word patterns and can't find the right words.

Recently, I wrote a character who has nothing in common with me or how I talk, and it was a challenge, but a really fun challenge, to come up with things that only he would say. And when I finished, I had a bit of an epiphany.

What if I turned that into an exercise?

And so here is a way to freshen up your voice:

Take a scene you're feeling is particularly lackluster. Where the voice is blah, or sounds like you, or is just not true to your character, and rewrite it with the voice of someone who's so distinct they're almost a cliche. Like, a southern belle, or a non-native English speaker, or Cookie Monster, or a Victorian era detective, or even a favorite character from someone else's book ... you get my point. Something where you're forced to stop and think of character voice specific ways this person would describe their thoughts and feelings and the events happening around them. Be over the top. Be cliche. Have fun with it.

For example:

Your character says: "I'm hungry."

Cookie Monster says: "Me want cookie!"


A very cliche southern belle might say: "Good Lord in heaven if I don't eat something soon, I'll be standing right up there with him at those pearly gates myself."

A Victorian lady might say: "I feel as though I might faint, I'm so weak with hunger." (and um, honestly I have no idea if this is even close, but that's okay because it's just an exercise!)

These are ridiculous examples, but you see how each one made me think past the bare facts of the statement, and into what that experience is like for each particular character. And they were fun. I wasn't agonizing over the exact right word, I was just getting out of my own head and seeing what happened.

At the end of the exercise you will have cleared your own voice from your head, and you'll be better able to see where the character-specific bits need to be. They will stand out in the scene as those over the top bits. Then use what you've discovered to re-write that scene the way your character would see it, in their voice.

So the next time you're feeling stuck, give this a try, and let me know how it works for you! Do you have any fun exercises or tips you use for freshening things up? Please share!

People Have Layers (Or What My Job Has Taught Me About Character Development)

For the last few holiday seasons I've worked at a book store. One of the things we do every year is a book drive for area children. Our goal is massive, around 400 books. In order to meet this goal, the store has a simple, but effective strategy. Ask EVERYONE. Even if they're frowning, even if they only bought a .50 newspaper, even if they're in a rush, even if they've said "no" to everything else you've asked them.

As a somewhat why person, this took some getting used to, but once I did, I noticed something fascinating. You never know who's going to say yes. Mr. Crankypants might just stop in the middle of his rant about rising costs, blink at you a few times and say "Sure." The sweet grandmother with the kind eyes might scowl at you and act offended you had the nerve to ask.

This is something I keep in mind when developing my characters, and writing my scenes. People have layers. There are all sorts of tiny things that affect them from moment to moment. What they show on their face or their body language might not be a true indicator of who they are or what they're thinking. They might be frowning because they can't remember a lyric to their favorite song, with no idea that they look angry. They might've just found out their kid got arrested while shopping for his expensive present.

So I try to make sure I have little moments like this in my book. Scenes where a character is thinking one thing but showing another, scenes where a character is completely misjudged or misinterpreted, because that's real, and I think it's always interesting to see the difference between the way a person is perceived, and the way they perceive themselves.

What about you, do you have any little tricks or reminders like this when you write?

NaNoWriMo Incentive and Inspiration

As we move into the second week of NaNoWriMo I thought I'd share a couple of great posts I've read recently that talk about persevering far better than I can.

The first comes from Chuck Wendig and his Terrible Minds blog. I like to think of it as incentive. You know, yes I can so finish my book!(Please note there is a fair bit of swearing in the post, so if that's not your thing, you've been warned.)

25 Reasons You Won't Finish That Story

Number 18 is one that is usually true for me.
18. Haven’t Answered Any Of The Critical Questions

Ask yourself: what is this about? Why am I writing this? Why will anyone care? Asking yourself some fundamental questions before you write — plus several others while you write — can help keep your nose to the grindstone and allow you to feel settled in both direction and purpose.

Also check out his list of those questions. He's got some really great ones.

The second is totally inspirational. It's about sticking with it when you've got that horrible feeling that you have completely failed at writing the book you wanted to write. It's a great guest post by Sara Zarr on Nova Ren Suma's blog:

What Inspires Sara Zarr

I bet you can't guess what it is. Failure. Yep. Go read why. If you've been feeling stuck, you'll be inspired to keep going, I swear.

Does Your Character Have An Arc?

If you're not following Dear Editor you really should be. She takes all sorts of writing questions and answers them on her blog. Today she's got a great post on Character Arcs. I won't post everything she said, because you should check out her site yourself, but this really stuck out to me. About your MC:

"When he reaches The End, extract him from that last scene and drop him back onto Page 1. He should handle himself so well that you wouldn’t even have a story if this were the guy to really start it."

I thought this was a really great way of putting it. I'd never thought of it quite that way. But I can see this is an easy quick check to see if you've created growth in your character. Not the be-all end-all by any means, because of course every story is different and some characters might change in a way that still doesn't allow them to easily handle the problem, but you can still determine whether or not they would handle the situation differently. Because your character needs to have picked up some new skill, or way of thinking, or understanding that would allow them to take a different approach to the same problem.

I'm going to use this line of thought from now on when plotting. What about you, what do you do to ensure your character is growing an changing? Do you have a trick? Do you plot or outline or whatever you do with the character arc in mind?

When "I feel" Feels Distant

One of the great things about first person POV is its immediacy. First person takes the reader right into a character's brain, right into the middle of whatever they're experiencing. But sometimes, the very thing that's supposed to pull us into the scene, takes us out.

I think it's easy when writing in first person, to slip into a rhythm where, particularly when we're describing action we're constantly making "I" statements like, I feel, I see, I hear.

These "I" statements can be distancing to your reader. (Not to mention they get pretty tedious when almost every sentence in a paragraph starts out with I.)

Think about it. When I read:

Cold water trickles down my back.

I shiver because I feel cold water trickling down my own back. It's subliminal. We think to ourselves this way, so when reading a sentence that is something we would say in our own mind, we react as if it's happening to us.

Now, when I read:

I feel cold water trickle down my back.

I am forced to take a step back. I picture the narrator shivering as she feels the cold water. Because it's her experience. She's telling me what's happening and I have to picture it. So suddenly, I am sympathetic, and I'm still interested to know what happens next, but I'm not right there in the moment with her.

See the difference?

Of course there are times when you want to create that bit of distance, or an I statement is really the only way to drive your point home, but don't forget to pull your reader as close to the action as possible whenever you can.

It's Not Cheating If It Helps

So I was perusing my copy of The Art of War For Writers by James Scott Bell, looking for tips as I prepare to start my brand new book from scratch and I came across this suggestion from Chapter 20:

"It's the little things that mount up to victory. So make yourself a reminder list..."

Bell suggests that you list the things you know you need to improve in your writing on notecards, or post-its --a sort of cheat sheet-- and keep them where you can see them when you're writing.

Some of the notes that he uses personally include:

Emotion! Emotion! Emotion! - Which reminds him that his primary objective is to give readers an emotional ride.

Be Dialogue Happy - Reminding him to let the dialogue flow, he can always edit it later.

And my favorite:
The Second Right Answer - This one could be a post all on its own. Bell suggests that we should learn to stop at every major creative decision in our story (for example: plot turning points) and think of several options before moving forward. This is because usually, the first idea we have (the right answer) for "what happens next" is the obvious, or cliche, or standard way of going.

This is something I actually do when plotting. I ask myself, what is the obvious expectation here, and what are my other options. Then I pick the one that's most interesting, or surprising, or emotional, that makes sense for my characters and my story.

I think this is a great idea and am definitely going to make up a few reminder notes for myself. Other than what Bell has listed, I know I'll have one that says "Description! Description! Description!" because I tend to leave that out of my draft.

What about you? Do you make reminders for yourself? What would be on your post its?