Book 1 of "The Knights of St. Andrews" Now Available!

Last year my son had an idea. He thought he and his friends could be knights. He thought they should go on an adventure. And he thought I should write it all down for him. And now, one year later, The Search for Grandmaster Svend is available for purchase.

This book was inspired by the vivid imagination of Tristan, my seven-year-old son (though he was six when we wrote it). As an author, I assisted him in bringing the story to life, but it's still his story. The characters (at least the good guys) are all based on friends and family. Svend, the grandmaster who needs rescuing, is his grandfather. Payton, the blue knight, is his best friend. The queen is actually his grandmother. Every one of the good guys in the book means something to him. The book also contains six illustrations, all of them done by Tristan himself.

This book is intended for children my son's age (seven) and older. Adults will also enjoy it, but it's really designed for kids. It's assessed ready level is 4.9 (though take that with a grain of salt). Boys and girls alike can relate to the adventures of The Knights of St. Andrews, but there are few female characters. Tristan promises there will be at least two "girl knights" as he works on future stories. These girls will probably be his two best "girl friends" from school, but he hasn't actually told me that yet.

Tristan is even now working on the plot of the next story. Perhaps it will be available next year. Until then, enjoy The Knights of St. Andrews, Book One: The Search for Grandmaster Svend.

Print or Electronic: How I Like My Daily News Served

I understand electronic media. I'm an author, and all of my work is available in electronic format. More than half my sales come from e-books and other electronic media. That's fine. But in my heart of hearts, I like print. I especially like print when it comes to consuming the daily news.

There are very few things in life that I find as satisfying as walking down to the corner and purchasing my daily paper each and every morning. It's not just about reading the news or being informed. It's about the feel of a paper in my hands and the sight of all those neatly printed columns. In our house, the personality of print media has never been more important.

It may sound odd, but the thing I enjoy most about the daily newspaper is the smell. All print media, whether it be a book, magazine, or newspaper, has a particular scent, no matter how faint that scent may be. The daily paper smells of paper and ink and hard work, and that's something that my computer just can't replicate. The scent of the paper as I slowly turn the pages in the comfort of the conservatory is an experience that I'm not ready to give up any time soon.

I much prefer looking at a print newspaper instead of the electronic version. The columns are arranged neatly, everything is well organized, and best of all, the ads are placed in logical places that do not interfere with my ability to read and enjoy the stories which interest me. Whenever I've read the news online, I'm noticed how the adds detract from my experience. They get in the way, and instead of getting my attention, they only persuade me to surf on over to a different site.

Part of my morning routine is stretching, grabbing the leashes, and walking  the dogs down to the corner where I purchase my paper. Sometimes, we even run into my father, who's doing the same thing. It's a chance to get outside, breathe the clean and cool morning air, and get some exercise before the rush of the day descends upon us. The walk over to the computer just doesn't have the same effect. I rather like having to get dressed first thing and head outside.

Electronic media may be somewhat cheaper and more convenient, but that isn't always a good thing in the long run. Too many things in this world are just too convenient, including finding the daily news online. In this age of computers and instant access, it's all too easy to forget the simple pleasures in life. My morning paper is one of those simple pleasures that I intend to cling to.

Writing a Novel: Choosing a Point of View

One of the most crucial decisions you can make when crafting a novel is point of view. This is a choice that will drastically change the very nature of your novel. If you're not sure of the importance of point of view, take your favorite scene from your favorite novel and rewrite it from a different point of view. Changing from first person to third person omniscient (or the other way around) will result in a different novel entirely. So before you start writing, you'll have to decide which point of view (usually written as POV for short) best suits your story.

First Person Point of View

You can't get closer than first person POV. First person is written using "I" or "me" statements, all of these from the person telling the story. An example of first person point of view is:

I knew it wouldn't work out as soon as those words came out of his mouth.

Notice the use of "I" and the inner thoughts of the primary character. This defines first person POV. The benefit of this point of view is that it keeps things simple. You never have to worry about point of view because you're not jumping around at all. The drawback? You never get to learn anything the primary character doesn't know. This is a good point of view to use if you never need any additional information. If, however, you must introduce informatino the lead character doesn't know this is not a good choice. Unless you want to play with the idea of the interlude, but that's a different story entirely.

Third Person Limited Point of View

First person is very close. You're in the head of the primary character. If you want to stay in the head of the character, but have a little space between the reader and the story, you might want to try third person limited POV. The same sentence you read above can quickly and easily be changed to third person limited point of view like so:

She knew it wouldn't work out as soon as those words came out of his mouth.

You still only get to see the world through your primary character's eyes, but you get some distance. The same rules and limitations exist as with first person POV, but you do get some distance. This is a popular and time-honored POV, but you still don't get to know anything your lead character doesn't get to know. You can use chapters to move between two characters, but this becomes third person multiple point of view. It works just like third person limited but with more than one character. Be careful with this, as you might be accused of head hopping.

Third Person Omniscient Point of View

Are you writing a complex story involving multiple characters doing things that the reader must know? Then third person omniscient POV may be the way to go. This allows you to float around the story, kind of like a god, and be exactly where you need to be. You can be in the head of Character #1, Character #2, or Character #32. You can show any important scene through the eyes of whoever would best convey the information. An example:

She knew it wouldn't work out as soon as those words came out of his mouth. Unaware of her thoughts, he kept talking anyway.

Here you learn that she knew it wouldn't work and that he didn't know that she knew it. You're learning two separate things, and these things are not known by a single character. This is third person point omniscient point of view.

There are many benefits to this POV. You can get information across in less time because you don't have to wait for your lead character to learn it. You can reveal the inner thoughts and feelings of anyone you like. You can show whatever you like and you have great flexibility.

But this POV comes with its own drawbacks. You're no longer sitting directly beside a single character, which can prevent emotional attachment unless you're very good at third person omniscient. Getting your readers emotionally involved with the characters you create is what keeps readers coming back for more, and third person omniscient point of view can get in the way. This POV takes practice to master, at least if you want to do it well.

Second Person Point of View

You may have noticed that I went from first person to third person without stopping to talk about second person POV. I skipped it because it's almost never used in fiction writing. An example of second person is:

 You knew it wouldn't work out as soon as those words came out of his mouth.

Look at that sentence for a moment. Now pick your favorite paragraph from your favorite book and rewrite it using "you" and see what happens. Imagine writing an novel this way. It's not all that natural and it's rarely done. When it is done, it's often done poorly.

The benefit of this POV is also it's biggest drawback: you're taking the reader and actually plopping them inside the story. Not only that, but you're telling the reader what they're doing. Most readers will react poorly to this. They don't want to be told that they just ran out the door and jumped in the car, not when they're sitting in the living room reading a book. What works well for recipes and non-fiction articles doesn't work all that well in a fiction setting.

You can try it, but don't expect to find many readers.

Which Point of View is Best?

I get asked this question a lot, especially when I'm talking to aspiring writers. The question is complicated and involves several variables. The answer is simple. Use the point of view that best suits your story. If the story needs to be told through the eyes of Character #1, then do so. Never try to force a certain point of view on your story. Let the story dictate the point of view.

Writing a Novel: The Art of Characterization

Anyone can create a character. But it takes skill and talent to truly bring a character to life when that character exists only on the pages of a book. Characterization is really an artistic representation of human character and motives. Think about this definition for a moment. Let it sink in and not the last word -- motives. But this definition only tells you what you are meant to achieve. How do you achieve this?

Start With Feeling

We all feel the same basic emotions. How we express these emotions differs greatly, but the emotions themselves remain the same. When you first create your character, forget about expressing for a while. Think instead about the emotions that make up your character. Is your character lonely? Loneliness is an emotion. Content? Depressed? Whatever. Decide how your character generally feels and make sure you understand why. If he's lonely, there had better be a reason.

Once you understand the general emotions your character lives with every day, think of how these emotions express themselves in specific situations. Does your character avoid people? Maybe they get angry when not invited to something, but since they're naturally anti-social, they never go to anything anyway. Maybe your character is a chauvinist at heart and just a little domineering. Maybe this causes him to freak out when confronted with a woman who doesn't bend to his wishes (I have a character like this, though he's trying to mellow out).

How your character reacts to any given situation is a combination of his emotions and his experiences. Make sure you understand both before you truly try to make your characters come to life.

Dress and Location

We judge people by appearance and location. To say we don't is a lie. We define people by who they associate with, what they look like, and where they like to hang out. Use this to truly bring life to your character. Does he wear his pants so loose they almost fall off? If so, your readers will assume certain things about him without you ever having to be specific.

These assumptions are helpful, either because they help establish character or because they allow you to confound expectations. Maybe the teen with his pants down around his ankles really is a bum, but maybe he's truly brilliant and has great plans for his future. Either way, you'll have something by which you can bring further life to your characters.

This same idea applies to the friends your characters choose and the locations they inhabit. Think about it carefully. Have you ever thought you might like someone, then discovered they were friends with (or married to) someone you despised? That usually affects how you feel about the person in question. The same goes for places. So bear this in mind when choosing the settings and supporting characters for your novel.

Everyone Has a Motive

Anytime I talk about character development, regardless of the particular point of the article, I have to eventually talk about motive. Motive will make or break your characters, but it's more important than that. Motive, or lack of it, can make or break your entire story. It's really that important.

Motive must be utmost in your mind when crafting your story. You might have a wonderful plot, but if you want a believable story, you're going to have to make sure your readers can understand the motives behind each and every thing your characters do. You need your main character on the other side of the country? Why is he going there? Don't try to convince your reader that he just randomly decided to fly across the country for no reason. No one will buy it. But maybe he's going to visit his aging mother. Or maybe his girlfriend has run back home and he wants to make an attempt at setting things right.

If your characters are fully realized people, they have feelings and motives. Their style of dress and the people they hang out with will say something about them. Make use of these tools in your quest for characterization.