Write His Answer

Getting Your Novel in Shape

Donna Brennan interviews CCWC faculty member Tim Shoemaker

Is your writing strong enough the catch the attention of your intended reader? How can you avoid those weak beginnings, sagging middles, and limping endings? What are some ways to build up the plot, invigorate your characters, and create powerful scenes?

The answers to these and other questions can be found at the May 16-19 Colorado Christian Writers Conference when Tim Shoemaker teaches the continuing session, Take Your Fiction to the Gym. During the course of this six-hour session, Tim will provide you with tips and techniques to strengthen your writing so it can compete in the real world of publishing.

I asked Tim some questions about this continuing session, and about his latest book, Code of Silence.

Question: You’re known for packing a lot of info and fun into your classes. You also have a reputation for using a lot of props to make your point. You’re not going to bring real gym equipment and make us do exercises are you?

Nope. But I’ll show you how to take your manuscript to the gym. And you won’t even have to get out of your chair to do it.

Question: How would you define “strong writing?”

Strong writing grips the reader and won’t let them go. Strong writing pulls the reader into the story and keeps them up at night thinking about it. Strong writing makes the reader laugh. Cry. Think. Strong writing raises an editor’s eyebrows-in a good way.

Question: Very often beginner and middle-level writers hear the adage “Show, don’t tell.” Are you going to tell us how to do this?

No. I’m not going to TELL you how to do it. I’m going to SHOW you how. We’ll spend plenty of time on this topic so that those attending get it . . . and their writing will improve immediately.

Question: If we’re not writing a suspense or thriller novel, do we still need conflict in our story?

Quick answer? Yes.

Conflict keeps the reader interested. It adds tension. It creates questions as to how things are going to work out for the characters in your story. There are four basic types of conflict-and good fiction probably has some form of conflict on every page.

Question: When we create dialogue, shouldn’t we just write it like we hear people speak it? Doesn’t that make it more realistic?

We want to create the illusion that our dialogue is just like the way we hear people speak-but good fiction dialogue is different. Real conversations are loaded with all sorts of boring elements. Good fiction dialogue cuts out all the boring parts. And that makes it stronger. Way stronger.

We’ll take a good look at how to write stronger dialogue-and to keep it sounding realistic at the same time.

Question: Should our fiction contain a life-message or lesson? Is that more important in Christian fiction than in general fiction?

Yes. Our fiction should contain a life-message or lesson-whether it is Christian or general fiction. It can be subtle-but it must be there. It is often a question that the story seems to ask. In my book, Code of Silence, the question has to do with honesty. Is there ever a time to lie? What should I do if it is easier, or better for me if I didn’t tell the truth?

Sometimes we don’t fully realize what that message is until we’re far into writing the book. Often our protagonist, our main character, has a very obvious goal. But there is a deeper need that eventually surfaces. Often our life-message is found there.

The message in Christian fiction certainly has all the potential to be incredibly important and life-changing. And that’s exactly what it should do. That may or may not be the case with general fiction.

Question: Code of Silence seems to have a guy-focus, but it works for girls. It also works for adults. Is it harder to write for boys than for girls? Why do you think Code of Silence has such a broad appeal?

I’m not sure if writing for boys is harder than writing for girls, but it is definitely different. There are certain things you need to avoid if you’re going to write for boys-and other things you’ll want to include.

Not all that many seem to write for boys-partly because they don’t think there’s a big enough market. But here’s the secret. Good writing for boys will also be enjoyed by girls-but it generally doesn’t work the other way around. So if you can write just for girls  –  that’s probably all you’ll get. If you write for boys-and do it well, you’ll get the girls, and often adults, too.

Question: In Code of Silence you really capture the action and feelings of teens. Will you be showing us how to do that in our own characters?

I definitely hope so. I’ll certainly get you pointed in the right direction. A big part of it has to do with Point-of-View and Show-don’t-tell  –  two areas we’ll hit in real detail. And there are other subtle things we’ll touch on that will help.

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Thanks much, Donna and Tim. I’d love to take this continuing session but alas as the conference director I simply don’t have time. You can be sure, however, that I’ll listen to the CDs. Be watching for the next email when Tim will share some thoughts about Point-of-View and provide helpful advice for folks who have never attended a writer’s conference before.