Showing posts with label Susan F. Craft. Show all posts
Showing posts with label Susan F. Craft. Show all posts

Tuesday, March 3, 2015

Do You Want to Write About Horses?

By Susan F. Craft
Author, An Equestrian Writer’s Guide
If you are a writer who wants to include horses in your works, I have compiled A Writer's Guide to Horses that should be helpful. I worked with the International Long Rider's Guild to compile this guide, also known as An Equestrian Writer’s Guide. Below is a small excerpt about the sounds horses make, their ear positioning, their body movements, and temperament. The complete Guide can be found at www.lrgaf.org. This is copyrighted material and should not be reproduced without the permission of the Long Riders’ Guild.

Neigh – a loud squeal followed by a nicker, with head high; done when looking for other horses or people, also called a “whinny.”

Nicker – vibrating sound with mouth closed using vocal cords; means “hello” when made softly and moving toward a person or horse; means he wants a mate when made more intensely and accompanied by shaking of head; a mare will nicker very softly to her foal.

Resting foot – When a horse rests one foot slightly on the hoof tip, it generally means he’s relaxed and comfortable with you and his surroundings.

Scream – while fighting with another horse. Snort – exhaling through the nose with mouth shut and producing a vibrating sound in the nostrils; often with head up; when accompanied by a stare, he is checking for danger.

Squeal – squeals with his mouth shut; usually means “no.”
Hollywood Fantasy - Movies often add horse calls as sound effects in the most unlikely situations. These cinematic horses who neigh and scream on a regular basis are largely fictional. Horses are generally rather silent, though they will whinny if parted from their fellows, or nicker softly in greeting at feeding time.

Blow – exhaling through the nose with mouth shut, when curious, when meeting nose to nose another horse in greeting; if done gently followed by nuzzling, the horses are friendly; if accompanied by a nip at other horse or stomping of front feet, striking out or squealing, horses are enemies.

Breathing – A healthy horse at rest should breathe in a slow, rhythmic manner. Accelerated breathing means he's either in the midst of physical activity or he's becoming anxious.

Ears – Horses will rotate their ears towards whatever their attention is focused on. They can hear high and low pitched noises that humans cannot hear; picking up sounds from further away and long before humans.

Ear position – alert and interested (ears are up and pointed forward); sleepy, tired, unwell or submissive (ears are pointed out to the side, almost v-shaped to head); relaxed, unwell or bored (ears are pointed up and to the side); angry and aggressive (ears are back and pinned flat against the head). Eyes – Fearful horses will generally have wide eyes surrounded by white; a soft, relaxed eye indicates confidence.

Head position – A nervous or excited horse will hold his head high with tense neck muscles.

angry horse
Horses rear, jump, backup, paw, move sideways and diagonally, buck, and frolic. Horses can also be playful, graceful, reluctant, bored, uninterested, uncooperative, afraid, and upset. Many have a very strong flight response to the unknown – for some horses, plastic grocery bags and blue tarpaulins are very scary.

Note also that if you have a group of horses, they have to be allowed to work out the pecking order, as they all have different personalities.

With a frightened horse, the eye will be wide.

Temperament A horse that is happy and trusting will move in a fluid, loose manner. If a horse’s neck, back, or leg muscles are tight and rigid, it generally will indicate a quick reaction or flight.

Sleep - Horses require an average of two and a half hours sleep in a twenty-four hour period. They don’t need an unbroken period of sleep time, but sleep in short intervals of about fifteen minutes. They do need to lie down occasionally for a nap for an hour or two every few days. If not allowed to lie down, they will become sleep deprived in a few days. They sleep better in groups, while others stand guard to watch for predators.


Susan F. Craft is the author of a trilogy of historical romantic suspense novels, The Chamomile (published in 2011), Laurel (published January 2015), and Cassia (to be released in September 2015).

Thursday, November 20, 2014

Writers, Show Don’t Tell

by Susan F Craft

I believe our primary goal as novelists is to give our readers a powerful experience and to entertain them. As Christian writers, especially, we must strive for excellence.

One tool for reaching excellence is something most authors have heard before – in your writing, you should “show, not tell.”

Showing creates mental pictures in the reader’s mind. When readers get a clear picture, they are more engaged in the writer’s story.

Writers reveal their characters through several means:
  • What they say…
  • What they think or feel…
  • What they do….
  • Description…
  • What the other characters say about them…
  • How other characters react to them…

1. Use Dialogue
Dialogue allows the reader to experience a scene; instead being told how a character feels, the reader can hear it for themselves.
(Instead of: “I love you,” she crooned. 
Write: “I love you,” she said, cupping her hands around his cheeks and caressing his bottom lip with her thumb.)

But, watch your dialogue attributes. It’s quite all right to use “said.”

2. Use Sensory Language
In order for readers to fully experience what you’re writing about, use language that incorporates several senses, not just sight.

Sight—is the most important sense to engage in good creative writing. You must paint pictures for your readers. A good fiction novel makes them feel as if they’ve literally stepped into another world. Words let people see what doesn’t even exist.

Smell—is the most nostalgic of the senses. Without using a lot of words, smell can evoke memories and is a useful way of getting your characters to remember an event from the past in the form of a flashback.
Examples:
  • The smell of burning leaves and pine straw.
  • The sour smell of clothes left too long in the washing machine.
  • The stench of a van load of teenage football players returning home from a game.

Sound—is the way of adding to your scene as if adding soundtrack to a movie. Few settings are silent, but if they are, describe the absence of sound. 
Examples:
Onomatopoeias are useful – hiss, crackle, jangle, tap-tap, click. 

Taste –is evoked when characters are eating and drinking, or actively using their mouths and tongues. 
Examples:
Tasting the first falling snowflakes on the tip of our tongue.
The shock of unfamiliar toothpaste.

Touch - can be painful or pleasurable or help describe the person or place
Examples:
Turning a pillow over during a hot, muggy night and feeling the coolness.
The smoothness of 1000 thread count cotton sheets.
Touching a curling iron to your forehead.
A cold, sweaty handshake.

3. Use Active Verbs

4. Be Descriptive
How often in your early learning were you taught to use adjectives and adverbs, and then, later on, you were told to get rid of the adverbs?  (Adverbs are great words, used sparingly.) Being descriptive is more than just inserting a string of descriptive words. It’s carefully choosing the right words to convey your meaning. Paint pictures with specific words or groups of words.

You can't tell us someone is a wonderful person, a talented artist, or a spoiled little rich girl. We won't believe you. You must show us. Throughout your manuscript, look for any opportunity to show us in real time, to let us see your character act out, to let us feel.

Warning: when using description, don’t overdo it and don’t give the details all at once. Otherwise, you can end up with a “police blotter” description.
He was tall, with brown hair and blue eyes. He wore a red shirt and jeans, and a brown leather jacket.

5. Be Specific
Specificity will fill in the gaps from telling and bring life to scenes.

Instead of writing, “I had never felt anything like it before in my entire life,” take the time to try and describe what that feeling was, and then decide how best to convey that feeling to the reader.       

Examples:
Tell: Nathan looked exhausted.
Show: Nathan slumped against the wall and closed his eyes.

Tell: It was a dark and stormy night.
Show: The wind tore at the trees, flinging icy rain from the pitch-black sky.

Tell: Mary wasn't a natural mother and she found the children very trying.
Show: Mary couldn't believe it could be this much work. Couldn't they leave her alone for five minutes to read the paper? She'd put the cartoons on for them and given them crayons and paper, but apparently that wasn't enough -- they still wanted her.

Half Show-Half Tell
Sometimes you can do a half show-half tell. This is where you get a character to describe another person. Let them do the telling instead of you.

"I'd be careful around him, if I were you. He's a sly one that one, he can't be trusted."

Because a character has said it, it somehow makes it appear more real to the reader than if we'd just written "Tom was sly and couldn't be trusted."

When to Tell, Not Show!
All this doesn’t mean that a writer should never say a character is handsome or happy, and it doesn’t follow that all a writer should do is show.

If you show don't tell all the time, your word count will be way too high, and in a novel the reader may get bored of all the padding. No one wants to be able to see every part of every building or every scene that clearly.

So you tell the things that are of no real importance to the story but are necessary to move the story along:
"The doorbell rang."
Unless there’s a reason the reader must know the sound of the doorbell, this sentence is fine. 
But what if the doorbell is significant?
(When Clara pressed the doorbell of the Dallas mansion, the first fourteen notes of “The Yellow Rose of Texas” resonated through the intercom. Clara was still giggling when the door swung open, and there stood Dixie Lee Houston herself.)

(The doorbell rang once.  Then twice. Then five times in succession like a persistent woodpecker furtively tapping on vinyl siding.)

"Mary picked up the remote control and turned the television back on."
Again, we don't need to know anything more about these things, so telling will suffice.

Summary:
Write first; let your creativity take over; allow the thoughts to flow; never edit as you go.  Once the words are on paper, then go back and check for show, don’t tell. 

Pray about and for what you are writing. Ask yourself, will this glorify his name? Will it lift up your readers? Will he or she be a better person for having read what you’ve written? Will you handle rejection with grace and accolades with humility?

Most importantly, have you done your absolute best to honor the absolute sacrifice that was made for you?

Credits
I gathered information from sites including:
http://www.novel-writing-help.com/descriptive-writing-2.html#sthash.qiV7ayGv.dpuf


Susan F. Craft authored the SIBA Award-winning Revolutionary War novel, The Chamomile. The two sequels to The Chamomile, entitled Laurel and Cassia will be released January 12, 2015, and September 14, 2015, by Lighthouse Publishing of the Carolinas.  She is represented by Linda S. Glaz, Hartline Literary Agency.Visit Susan on her website: www.SusanFCraft.com

Thursday, August 14, 2014

What Is Historical Fiction?

by Susan F. Craft


This is my favorite historical ever!
Historical fiction presents readers with a story that takes place during a specific period or significant event in history. It often presents actual events from the point of view of fictional people living in that era, but with actual historical people making appearances. Works in this genre often portray the manners and social conditions of the persons or times presented in the story, with attention paid to period detail. In historical fiction, setting and events drive the story.

Historical Fiction by Year or Time Period


This is one of my favorite novels. It
won 3 Christy Awards this year (2014).
Historical Fiction by Period Name (list taken from Historical Novel Society)
American Revolution
Ancient Egypt
Ancient Greece
Ancient Rome
Ancient World (Other)
Arthurian (ca 450-600)
Biblical
Colonial America
Early Medieval (to 1337)
Early United States
Edwardian
English Civil War
French Revolution
Georgian
Gilded Age
Great Depression
Jazz Age
Late Medieval (1338 to 1485)
Multi-Period
Napoleonic
Prehistoric
Regency (1811 to 1820)
Renaissance
Restoration
Tudor
US Civil War
Victorian (1837-1901)
Viking
WW1
WW2

Some of the Major Categories of Historical Fiction
  • Alternate Historicals explore how history may have happened differently.
Another favorite novel!
  • Biblical Novels can be set with actual people, places, or events from the Bible; can be set in a different time period but the characters or events are based on scripture; or can depict an era of history from the Bible, although the characters may not be biblical.
  • Historical Fantasy Novels mix history with fantasy.
  • Historical Mysteries are a cross between historical fiction and mystery.
  • Historical Thrillers or Suspense put their heroes in danger.
  • Literary Historical Novels examine contemporary themes in lyrical or dense language.
  • Multi-Period Epics illustrate how specific places change over centuries.
  • Traditional Historical Novels emphasize a straightforward and historically accurate plot.
  • Romantic Historical Novels are love stories set in history; the relationship or romance drives the story. 
  • Sagas follow families or groups of people over time, usually generations.
  • Speculative fiction takes readers to the places between the realm of the seen and the unseen; contain angels, demons, visions, dreams, prophecies, vampires, monsters, and other supernatural phenomena.
  • Time-Travel Novels take their characters between epochs/time periods.
  • Western Historical Novels are set in the American West.

Word Count for Fiction
Microfiction—up to 100 words
Flash Fiction—100-1,000 (magazine article)
Short Story1,000-7,500
Novellette7,500-20,000 (difficult to sell to publishers)
Novella20,000-50,000 (perfect for e-publishing)
Novel50,000-110,000 (most publishers want a minimum of 70,000; over                                                    110,000 would give them pain)
Epics and Sequels—over 110,000 (trilogies) 


Susan F. Craft authored the SIBA Award-winning Revolutionary War novel, The Chamomile. The two sequels to The Chamomile, entitled Laurel and Cassia will be released January 12, 2015, and September 14, 2015, by Lighthouse Publishing of the Carolinas.  She is represented by Linda S. Glaz, Hartline Literary Agency.