Upping the Word Count in Novels

By jt4novels

Plenty of information exists on how to tighten your sentence structure to cut out unnecessary words and trim the fat from your writing, but few resources explain how to increase the word count. And believe me, adding fluff doesn’t count. An editor will spot it right away and so will avid readers. To prove my point, I’d like to share my experience during an interview with a well-known, respected editor at a CBA publisher. This editor seemed interested in the story but wouldn’t ask to see it since it was too short for their single-title line. My immediate response was that I could lengthen it. The editor replied that they wouldn’t want me to add “fluff”. I told her I would add a couple of plot twists. She seemed tempted to entertain the thought, but with me being an “inexperienced” and “unpublished” author, she wasn’t willing to take a chance. So how do you add 25-30K words to a manuscript without making it seem like a bunch of fluff? I have three methods for increasing the word count. If you only need to add a few thousand words you may only need to choose one or two of these. If you need to add 15K words or more to your manuscript, you may try layering in all three of these methods. Add a Few Plot Twists Throw in another obstacle or two to keep your main characters’ from achieving their goals. You may have to deepen their motivation to keep them going, but it will be worth it. Among your new scenes, be sure to show how this will affect them spiritually and emotionally. What reaction can you show that won’t take him/her out of character? If you are satisfied with the beginning of the story, I would recommend adding a few plot twists around the middle toward the end of the book. This way you will only need to revise the beginning and rewrite from the middle to the end of the story, adding new scenes as necessary. Add a New Secondary Character If you choose to add a new character, make sure that character has a specific purpose and is instrumental to the story. Will this character contribute a new viewpoint? How will he/she change the story? What are the advantages and disadvantages? Will this change confuse the reader or add to the depth of the reader’s understanding and enjoyment? Some characters won’t make or break a story, but they can definitely add flavor through humor and annoyances to enhance it. Examples of some of these characters are the donkey in Shrek, Smee in Hook, and Lilly in the Princess Diary. These characters definitely give the story more flavor and is more enjoyable to the reader and viewer. Write in Deeper POV Another way to significantly add to your word count is to write in a deeper point of view. This is a layering concept that connects with the reader on a deeper, emotional level and is much harder for inexperienced writers to achieve. I’ve written a couple of articles on Digging Deep into POV, which may help with understanding this concept. The second post on this topic includes a few examples. I will post links in a few weeks. Whenever you need to increase the word count, make sure you add something that is meaningful and not fluff or an editor will definitely reject it or ask you to rewrite it. Share with your connections:

Finding & Identifying Seashells

By jt4novels

Do you enjoy combing the beach for beautiful and interesting shells? Whether you enjoy shelling to create new crafts, collecting memory pieces for all the places you’ve traveled, or just love finding shells for your collection, our North Carolina beaches are full of all types of shells. Most of the images I’ve displayed in this post are from North Topsail Beach and Emerald Isle. I’ve shared a few helpful tips on how best to find the unique treasures you’re after when you are on your next vacation. Location and timing are vital. Low Tide Low tide is the best time to go shelling because as the tide goes out, you will be able to walk the shoreline and see what the waves brought in and left. In the summer, you’ll be able wade out further in the water with a sand dipper and lift up any shells you might see under the shallow water to determine if they are keepers. As a gentle reminder, if there any living creatures still living in the shell, please return them back to the sea. Dawn & Sunrise Getting out first thing in the morning before sunrise, is a great time to comb the beach for shells. The early risers will be able to find the best treasures first. By mid-morning a lot of the best finds will have already been discovered. Be sure to carry a bag or bucket with you, as you gather your collection. After Storms Another great time to go shelling is after a quick summer storm or a large tropical storm when many shells are churned up by the winds and heavy currents and higher than normal tides. This can occur a few hours to days after the storm. In addition to shells, you may find pieces from old wrecks, sea glass, sharks teeth, old sea fossils and lots of interesting finds to pique your curiosity. For instance, here on North Topsail lots of pieces of black asphalt often appear from an old road that the sea consumed years ago. If you would like to learn more about this road, here is an article on Topsail Magazine with a bit more information. Below is an image I captured of the remnants of this old road that is now under the sea. When the tide is very low, we can still see what is left of it. It’s hard to believe that people used to drive on this road and the ocean used to be so much further back. It really brings to light the erosion that is happening on our sandy shores. Location Little tidal pools can leave a treasure of goodies. These are shallow pools of water where shells are easy to spot. The fishing piers are a great place to check under and around for shells. As shells often wash up around these structures and may become trapped by the additional structures and barnacles that tend to form on them. The north and south ends of Topsail Island are excellent options where the inlets and currents flow stronger than anywhere else. Where there is moving water, there is typically more fish and shellfish moving about. Common Shells on North Carolina Beaches While this is not an exhaustive list, I’ve included items that we typically see on a regular basis with images from our collection. I’ve tried to keep things simple and generic in regard to identifying these shells and have avoided their scientific names. Some of these shells may be known by other nicknames as well, but I’ve listed them with the name I’m most familiar with and what you will most likely hear from other people. Rare Shells on North Carolina Beaches All of the shells in the rare gallery can be found on our North Carolina beaches, but they are harder to find, especially on North Topsail Island where I live. For instance, you can find starfish on the island, but we haven’t included any as they are seen less often. While the Scotch Bonnet shell is the official North Carolina shell, we only see these on occasion. Share with your connection:

Writing for the Market

By jt4novels

In these difficult economic times, writers are struggling with whether to write the stories on their hearts or write what the market will buy and sell. If you are depending on your writing income for a living, the pressure to write for a market may be even stronger. So what should a writer do? I think it depends on where you are in your career and what doors are open to you. It’s hard for a new, unpublished writer to break into publishing during great economic times, but even harder during a recession. But as Christians, we have to remember that God is still on the throne and He’s the same God in the best of times, as well as the worst of times. Several authors and I are a testament, that new, unpublished authors can receive their first contract during a recession. In fact, it seems like more of a miracle. Pre-published Authors If you are still unpublished, take advantage of the fact that you can write whatever is on your heart and on a schedule that is convenient for you and your family. One positive aspect about a recession is that it’s temporary. The market will change again, and if you are willing to be patient, it will swing back in favor of what you’re writing. With God, everything is about timing and occurs in its proper season. Don’t try to write to a market. By the time you finish your book and begin shopping it around to editors, the market will have changed again. This is a time to sharpen your skills and have other books available. If you have plenty of finished manuscripts to sell, a publisher will be more confident in your ability to finish a novel, to write a series, and meet deadlines so you won’t be a “one-book wonder”. You will have more to offer readers after your first book is contracted. New Contracted Authors These authors have a foot in the door, but they don’t have a sales history and may not be able to get anything published that would be considered “risky”. Writers with new contracts are getting feedback directly from their agent and publishers. They know more about the direction of the market because of this feedback. These authors can talk to their contacts and receive professional input to which most unpublished authors don’t have access. For instance, a publisher gave me a revision letter years ago that would require me to rewrite a significant amount of a manuscript. After that a recession hit and they have stopped buying fiction and many fiction lines folded. At that time, my agent pulled me off that story and had me lengthen another manuscript for a different editor that showed some interest. This publisher was still buying books in spite of the recession. This isn’t something I would have known without my agent’s guidance. In this case, I wasn’t exactly writing to a market, but reworking what I had already written to make it more marketable for what is in demand at that time. Multi-published Authors These authors have a proven sales history, a foot in the door with several publishers, and an agent helping them to manage their career. They can sell books on proposal and may even be asked to write a book for a “risky” sub-genre that a publisher might want to test in the market. Multi-published authors are in a better position to determine if they want to write for the market, write books from their hearts, or a combination of both. I say this, because their manuscripts are rarely thrown in the slush pile. They are read faster than an unknown author and their stories will be contracted faster as a result. They can catch a trend much quicker than a new author. Many depend on their writing income for a living and write full-time. This means they can finish books faster than an author who is trying to write between a day job, family and church acitivities. I believe an author can write both to the market and the books of their heart, especially when they stay true to what God has called them to write. This doesn’t mean there won’t be down times, but it does mean that you might grow from one season to another. In other words, what you start out writing during the first ten years may evolve into something different through the next ten years. Be flexible through your writing journey, and open to new callings God might place on your heart. Change can be hard, but sometimes it is for the best and we may not see it until after the full change and transformation has taken place. Share with your connections:

A Traditional Christmas in Regency England

By jt4novels

When people think of an historical Christmas, they typically think of the Victorian Christmas that they have seen in Charles Dickens’ A Christmas Carol. However, the Regency period was earlier between 1800-1820, which was part of the larger Georgian era from 1714 to 1830. The Victorian era followed after that between 1830-1901. As a result, there were a few traditions that were not yet part of the Christmas holiday. The Christmas celebrations typically began around advent, known as the fourth Sunday before Christmas Eve. Some would decorate as early as advent, while others might wait, even as late as Christmas Eve. The length at which they kept their decorations up could vary as well. Some would keep them up throughout Christmastide, the twelve days of Christmas, from December 25th through January 6th. Others kept their decorations up through Candlemas, February 2nd, the Feast of Presentation of Jesus Christ. The Christmas Regency Feast Christmas dinner was typically around 4 PM, but could vary from family to family and by region. As the evening progressed a Christmas toast was given to the season and gifts were given out, usually this was when servants also received their gifts and children would sing Christmas carols for entertainment. The first course for dinner would often be turtle soup or a white soup that was thick and creamy. Gravy soup could have ham or beef with a variety of onions and carrots and herbs. Fish was often served such as brile, gudgeons, crouch, perch, along with other seafood favorites like scallops and wilks, periwinkles, cockles, mussels, bearbet or hollebet. The main course typically included choices between roast beef, venison, mutton, goose, pheasant, or peacock. They typically created a stuffing for the fowl. Most households could only afford goose until the turkey was later introduced by Queen Victoria in the mid 1800’s. Side items included potatoes, squash, brussels sprouts and carrots. Since water was unsafe to drink, they usually had wine with their meal. (I haven’t found a source that indicated what the children drank.) Often, bakers cooked the meat for those households that contained small ovens. Many would pick up their food on the way home from church. For dessert there was Mince pie and Christmas pie. Recipes varied by region, but typical ingredients included beef, sugar, raisins, lemons, spices, orange peel, goose, tongue, fowls, eggs, apples and brandy. The pies were eaten each day for 12 days before Christmas to ensure good luck for the next 12 months of the new year. Talk about a chance to gain weight over the holidays! Another dessert was Christmas pudding, a mixture of 13 ingredients (representing Christ and the twelve apostles) which was boiled in a pudding cloth. Ingredients included suet, brown sugar, raisins, currants, citron, lemon and orange peels, spices, crumbs, flour, eggs, milk and brandy. Other desserts included Gingerbread and butter shortbread. Children enjoyed sugar plums and ginger nuts. Christmas Carols Caroling dates back to the middle ages. Songs such as: Here We Come a Wassailing, The Twelve Days of Christmas, The First Noel, Good Christian Men Rejoice and Greensleeves are all traditional carols from the Middle Ages. Caroling in the form of going from door to door had died out with the end of the feudal system in England and didn’t revive again until the Victorian period. In Jane Austen’s Regency era, family and friends typically spread good cheer in the comfort of their homes among gathered friends and family or at balls, dinners, small parties, and churches. O Come All Ye Faithful was first published in 1760, but not translated into English until 1841. Joy to the World was first published by Isaac Watts’ 1719 hymnal, The Psalms of David, but the modern version wasn’t written until 1836. Hark the Harold Angels Sing was first written in 1739 by Charles Wesley, amended in 1753 by George Whitfield, but the modern version of today wasn’t written until 1840 by Mendohlsson. Silent Night was written in 1816 by Joseph Mohr, but wasn’t translated into English until 1863. Christmas Trees & Decorations Typically, Christmas trees didn’t exist as they do now and did in the Victorian period. If a family did have a tree, it was a table top tree and quite plain. Decorations were live greenery with berries, including mistletoe, holly, ivy, rosemary, evergreen, hawthorn, laurel, box and firs. They burned the yule log as a tradition. It was HUGE and picked out and dried out from the year before. It wasn’t brought in until Christmas Eve and hoped to burn through the night and all through Christmas day. They didn’t exchange Christmas cards or multiple, elaborate gifts. If they did exchange gifts, it was usually one special hand-made item. Share with your connections:

How to Write a Compelling Synopsis

By jt4novels

Most literary agents and publishers require an author to submit a 3-5 page synopsis. Some want a longer synopsis, while others want a one-pager or a detailed chapter-by-chapter outline. My advice is to create a 3-page synopsis since that will suffice most requests and customize it as needed, but always keep the original 3-pager as a template. Format The format should be much like the manuscript itself, double-spaced, one-inch margins, a header with page numbers, and a font in Times Roman Numeral or Courrier. The entire synopsis must be written in present tense and it is best to use third person POV even if your story is written in first person. As writers, it is drilled into our psychological mental space to write in a way where we show, don’t tell. The synopsis is where you throw that concept out the mental window and write everything in a telling format. There is no other way to condense hundreds of pages down to a few pages without this skill. Stick to the main highlights of the story and the critical turning points. Introduction The first lines should contain a hook, introducing who the hero is and what he wants, and who the heroine is and what she wants. Then the next few lines should explain why they can’t have what they want, making the external conflict immediately clear. You don’t need to include a lot of backstory, only enough to get the main concept across to an agent or editor. Setting Give a brief overview of the setting, which would include time period, location, and culture. You don’t need to get into specific details, but flavor the synopsis with enough sensory to make the editor imagine the story and feel the setting. This is not a time to showcase your character dialogue skills, or deep POV sensory descriptions. Characters Concentrate on the two main characters’ personalities and reveal their inner conflict. I usually alternate paragraphs that indicate each character’s point of view. Try to only mention the hero and heroine, however, if you must mention a third or fourth character whose influence is essential to understanding the story, try to only mention them by their profession (doctor, lawyer), or relationship (mother, sister, brother). Introducing too many characters in so few pages can be overwhelming and increases the chance of confusion, a perfect reason to reject your proposal without requesting the full manuscript. Genre Show the development of the plot regarding the genre you’re writing, whether it be romance, suspense, mystery, fantasy, inspirational, etc. If it’s a romance, this is where you tell about the characters’ physical attraction, how they fight the attraction for whatever reason, and how they eventually break down to acknowledge the attraction. Then discuss the progression of the relationship to the caring phase and the love phase. Faith In an Inspirational romance or Christian fiction, make sure you indicate what kind of spiritual state both characters are in at the beginning of the story. Are they believers? If they are, what are their spiritual flaws? What are their weaknesses? Talk about new realizations and discoveries that begin to change their mind. End on how they’ve changed as a result. Either the characters must find salvation, or if they were already believers, then they must have grown in a spiritual area. Think about the different fruits of the Spirit for areas to improve your characters. Climax Just like in your story, build the synopsis to the climatic point. Bring the inner and external conflict to a head, relate the spiritual tension, and make the situation look impossible to resolve. Resolution Tell how the characters resolve their conflict and what plot changes occurred to enable them to achieve their goals or remove the problem. Be sure to include how the story ends. Editors and agents won’t appreciate being teased. They want to know that you can bring the book to a satisfying end before they’ll be willing to invest more time in reading it, or before they will consider advocating it to their team in consideration of buying it. Share with your connections:

Burgwin-Wright House Setting in For Love or Country

By jt4novels

In 2014, my novel For Love or Loyalty was published, but it wasn’t until 2023 when I finally got a chance to visit the Burgwin-Wright House after I had researched it online and used it in my novel. This house is intriguing because it was constructed in 1770 on top of the old city jail dating back to 1744. Currently, it is the only colonial era built home that is open to the public in Wilmington, NC. This home was a perfect setting in my novel to blend in with my story which took place in 1781 during the Revolutionary War when the city was being occupied by the British Army, as well as occupying this house. At the time of my story, it was known as the Burgwin House, as it was not sold to the Wright family until 1799, even though they rented the home much earlier. For this reason, I referred to it in my novel as the Burgwin House. The British officer who took possession of the house was Major James H. Craig a real person who became a significant character in my novel and a formidable opponent to my heroine, Tyra MacGregor, a colonial spy. The major was the direct report for my hero, Captain Hugh Morgan, a British captain who ended up putting Tyra under house arrest and assigned to live at her family home to keep an eye on them. In my story, Tyra was invited to dine here at the Burgwin House the act of saving Captain Morgan from the Tuscorara Indians. Below are photos I took of the rooms she would have seen inside the home. Unlike most homes, the dining room is on the second floor to the right of the stairs and where large groups of entertaining would have happened, including balls and dancing. During my tour of the house, I learned that this was due to the lack of sanitation in those days. Being higher up helped to avoid the smell out on the street where chamber pots would have been dumped and possible horse droppings as well. The parlor is on the right and the study is on the left on the first floor from the front foyer area. The parlor is where they would have entertained a small number of guests from callers, to take tea and play card games. In my novel, Tyra is instructed to wait in the parlor while, Hugh goes into the study to report to his superior Major Craig. Also in the parlor is a pianoforte where ladies would provide musical entertainment. There is also a tall grandfather clock in this room with tall wood stands for candelabras for light in the evenings and at night. Below are more images of the first floor where my characters would have been. While my characters had no need to visit the family room or the bed chambers, I’ve included images of these rooms as well. These rooms are on the left side of the house where there is less sunlight, intended for more internal family use and less entertainment. The exception would have been overnight guests. Outside the home on the property are the gardens, the well, the kitchen house as well as the jail cells under the house dating back to before the house was built. These cells are exposed above ground and look out over the gardens today for the lesser criminals who would eventually be able to return home. In history, the jail cells faced the hanging posts as a deterrent to the lesser criminals not to progress into worse offenses once released. The worst criminals were kept under the house in a dungeon with no sunlight exposure until they were sentenced to hang by a judge. Many would often be left here for as long as a month before the judge arrived to provide their sentence. During this time, they were exposed to floods, cold drafts, and given just enough food and water to keep them alive for a public hanging. In my novel, For Love or Country, I wrote about a true life person as a character in my book, Cornelius Harnett. He was a politician and an American Revolutionary War hero who was betrayed to the British. They captured and bound him and paraded him on the back of a horse like a sack of potatoes in front of the public. They locked him in a block house that was exposed to the cold elements. He grew ill and eventually was released, but didn’t live long and passed away in April 1781. In my novel, my heroine sees this incident happening to him and becomes even more determined to do what she can to further the cause in favor of independence from the crown. While Major Craig spent most of his time occupying the house, after the Battle of Guilford Courthouse (my hometown in Greensboro, NC), General Lord Cornwallis brought his troops to Wilmington to rest and recuperate. He took over the house for three weeks and the major had to temporarily move out. Afterwards, it became known as The Cornwallis House. This incident is also covered in my novel. General Cornwallis hosted a significant dinner party while here. Share with your connections:

Defining: Based on a True Story

By jt4novels

Q & A Q: Can fiction be based on a true story and still be fiction? A: Absolutely Q: When do you know to call it nonfiction or a novel based on a true story? A: That depends I’m sure there are varying degrees of answers to these questions, but I’ll attempt to give you my version below. Fiction Based on a True Story The setting of the story may be in a real place and in a time during an actual historical event, but the characters are all fiction. While the setting and plot is true, the story is about characters that do not exist. Therefore, it is fiction. An example would be the Titanic movie released in 1997. The ship truly sank in 1912. Many perished while a select few were saved on life boats. There were lots of true historical details and some true to life minor characters, but to our knowledge, the two main characters Jack and rose never existed. If the setting, place and events are real, as well as the characters, it could still be fiction if the characters’ decisions and behaviors are not historically accurate based on what we know in actual history. An example would be the movie Braveheart. We know that William Wallace existed in the place and time depicted by the movie and that he led a rebellion against the king of Great Britain, but we have no evidence, not even any circumstantial evidence, that he had an affair with the king’s wife and produced an heir not of the king’s bloodline. This is Hollywood’s version of distorting the facts and glamorizing the plot. However, if the setting, place, events and characters are all true, but we lack accurate historical evidence or detailed knowledge of those individuals, information must be created in order to produce the story and move it forward. The author must create dialogue, personalities of each character, paint an image of what each character looks like, as well as their decisions and behaviors as the true historical events take place. An example would be a movie of North Carolina’s Lost Colony in the 1500’s. We know the colony actually existed, who was there, when they arrived, but we don’t know what happened after Sir Walter Raleigh returned for England for supplies and assistance. The rest is based on theory, imagination, and a number of speculations. Nonfiction: A True Story I consider a story to be nonfiction when the setting, place, events and characters are all true and there is clear and accurate details and evidence of what was said and took place and it is portrayed as it happened. This means we do not make up plot twists, glamorize inaccurate details and throw in creative dialogue to fill in the loops holes. When you start creating dialogue and subplots to make it flow better, you sacrifice accuracy and delve into the “based on a true story” concept. A great example of a nonfiction story would be the life, death and resurrection of Jesus Christ. When he was on the cross, we know that he asked for water. He could have said, “I thirst” or “I’m parched” or “I’m dehydrated” or “Water, please”. All of these statements mean the same thing. How he stated it, is up to the interpretation based on translation, but as long as the story shows what he stated within the context of what he meant, it is nonfiction. If the story shows him asking for a Coke, we’d know it was fiction. Coke didn’t exist in his time. All the elements are based on fact and true events as we know them. Another good example of nonfiction are historical books, documentaries, biographies and autobiographies. Keep in mind that biographies and autobiographies are based on a person’s personal perspective of what happened in their life or during a particular experience. It is based on what they know to be true from their perspective, but specific facts and historical details may not exist and we only have their story to guide us. This means, that if another person experienced the same event and published a biography of their perspective, it may differ quite a bit from the first person’s autobiography. While it’s their personal story, a personal perspective is biased on that person’s point of view and their limited understanding of what only impacted them and what they may have seen and their position and role in the experience. A great example of this could be the biography, Spare, written from the personal perspective of Prince Henry. Right now we only have his version, but if Prince William were to write a story about his brother, or King Charles were to write a story about his son, I guarantee their perspectives of Spare would be very different regarding some of the events and view points of what was shared by Prince Henry. Because of the lack of evidence and available facts, some people may still consider these type of autobiographies and biographies as based on a true story. Share with your connections:

Victorian Mourning & Grieving Customs

By jt4novels

While most people are familiar with people wearing black during a period of mourning in the old days, many are not aware of additional customs that society expected of grieving families. Many of these customs were most likely imposed upon your own family ancestors. If you enjoy reading historical fiction, it might help to understand some of these customs from fashion to pure superstitions. But first, when exactly was the Victorian period? The Victorian Era stretched through the reign of Queen Victoria (1837-1901). It was the coming of the Industrial Age, a time of great scientific breakthroughs, and an era filled with many social customs and elaborate superstitions. It was a time of mass emigration to the United States from all over the world. How Migrations from Europe Impacted Mourning Customs in America Because of the huge English population that came to America, many of the social and fashion mourning customs so popular in England under Queen Victoria’s reign carried to the U.S. The only difference, is that some of the second and third generations of Americans tended to be a little less strict with these mourning customs, especially those that lived in the wilderness and had to work hard to make ends meet and to survive. Social customs and expectations became less important when it came down to making logical decisions for survival through farming, harvesting and winter needs. Even up until recently, many families still tended to wear black and dark colors when attending funerals and burial ceremonies. This behavior is the lingering effects from expectations handed down from the Victorian era. Victorian Fashion Rules During Mourning Unlike today, there were various stages of mourning attire for particular loved ones, and people adhered to these strict rules, especially in England and many of the well established areas of the US. Mourning was the hardest and lasted the longest for widows. Widows During the first year, widows were expected to refuse all social invitations including weddings and christenings. The only visits allowed were from close relatives and church services. A widow would wear a dress made of black crepe for the first year. Her bonnet was typically made of black crepe with a widow’s cap inside and a dark veil with a deep hem. After the first year and a day, a widow could begin wearing black silk. For the next six months, it would be heavily trimmed in crepe until the eighteenth month. Prior to this no jewelry was acceptable. After two years, a widow was allowed to come out of morning and wear regular colors and jewelry again. However, some considered it more tasteful to continue wearing dark colors and grays in half-mourning for another six months. Death of Parents or a Child People would be in full mourning for a year. The first six months they wore paramatta with crepe trim. Then they would wear three months in black and the last three months in half-mourning. Death of a Sibling People would be in mourning for six months. The first three months they wore crepe and the last three months they wore black attire. Death of Aunts and Uncles They wore black for three months. Death of First Cousins People spent six weeks in black. Ways to Preserve Dead Bodies in the Victorian Era A cooling board was used to keep bodies cool in the summer while waiting for burial. Vinegar water was put on the bodies to keep them from turning dark in the heat. In remote areas, the body may have been temporarily placed in a cooling cellar. Preserving Memories of Loved Ones in Victorian Times Once tiny type photos became available, people would place a black ribbon over the corner of the deceased person’s photo and that is how they carried it. The photo below is an example of a type of photo and black ribbon that was carried by a loved one in mourning. If no photo was available and they could, families would have a photographer take a photo of the deceased person before they buried them. This is especially true of parents mourning their children. Most kept lockets of hair from the deceased to use in jewelry or used the hair in arrangements and frames to remember them. Many families had portraits done with deceased. If the deceased was a child, the father usually held the infant in the family portrait. If the deceased was an adult, they often propped the body up in the family group for the photo with the photographer painting in open eyes. Black cloths were draped over all mirrors in the home. Most kept lockets of hair from the deceased to use in jewelry or used the hair in arrangements and frames to remember them. Victorian Superstitions During the Victorian Era Other Notations Please Note: I am not superstitious and I believe God has gifted us with freedom from these type of strongholds. I know I am free in Christ and I pray that you are. I am only listing them because if we write and read about families who lived in the Victorian era, we need to understand where some of their traditions came from and the motivation behind their behavior and culture. Note about the above images: The main photo of the man and woman in Victorian mourning fashion are two reenactors I met during during a Civil War reenactment at the Bost Grist Mill in 2009. Beverly Capps is the woman in the image and the historical researcher who provided the other images and most of these details. The man in the image beside her is of her brother, but I did not get his full name. 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Between Minor and Major Edits

By jt4novels

The first time an editor told me they thought they could acquire my manuscript after I made a few minor changes, I was thrilled! The editor sent me a brief paragraph stating that I needed to lighten the sensual detail between my hero and heroine, deepen the faith element, and lighten the Scottish brogue a bit. Immediately I tried to think of all the scenes that could be considered sensual. There was only one that stood out in my mind, so I edited that scene. I worked on layering a few more faith elements here and there, and took out some of the major brogue dialect throughout the manuscript. She rejected it. What? I thought, but I did what she asked me to do. Did I? I’ll never know. What could be minor to one person may be major to another. Since then I’ve received more editor feedback and learned additional things that can be helpful to others—I hope. Eventually that book sold and was published with another editor. It became my debut novel, Highland Blessings. Minor Edits Typically, I consider minor edits basic grammar corrections here and there. It may also include rewording a few phrases every other paragraph, but not necessarily every line. Other minor edits could include going through your manuscript and adding simple sensory details to each scene, or altering the dialogue to make it more fresh and direct or to sound more like your character. You may need to deepen the point of view (POV) of one or two of your main characters. Deepening the faith element could be minor edits or major edits, depending on your plot and what the editor has in mind. Perhaps you only need to have your main character pray more often so he/she is seen relying on their faith more or attending church in one or two scenes. It could also mean having the unbelieving character in your story ask more questions about Christianity and faith before he/she gives their life to the Lord. If you don’t even have a church or a circle of Christian friends and characters in your current story, this could require major edits. You may have to write a few new scenes or revise existing scenes to include those elements. This will alter your subplots, but not your main plot so it will fall under major edits, but it still won’t be a complete rewrite. Major Edits When you have to make any change to a plot or a sub-plot, I consider this part of major edits. It will require writing a few new scenes or rewriting existing scenes. In this case, something in the book is missing and must be added. Examples of major edits include adding new characters, reworking a plot to include additional plot twists, adding multiple POV’s, rewriting scenes and chapters so show rather than tell. It could also be rewriting scenes to eliminate head-hopping, which is switching between more than one character’s POV within a scene. One scene should only show one character’s POV, and then you should switch to a new scene to another character’s POV. Other major edits are when you have simple grammar, dialogue, POV issues, and sensory or descriptive detail that need correction throughout the manuscript. This isn’t only on a few pages here and there throughout the manuscript, but a problem on every page or every other page throughout the complete book. Simple corrections on 300 pages can quickly become a major edit and take up a lot more time than originally calculated. Regardless of whether you are working on minor or major edits, do the best you can. If it still gets rejected as mine did, don’t despair. Either you have more to learn, or the timing isn’t right and you haven’t found the right publisher or editor. Keep at it and something will eventually happen as long as you don’t give up.

Is Christian Fiction Truth or a Paradox?

By jt4novels

Whenever someone discovers I’m a writer, the next question that pops out is “What do you write?” Sometimes I give a broad term like “Christian fiction” just to see what their reaction might be. Will they be turned off by the Christian part of my answer? Will they want to know more? If they are unfamiliar with Christian fiction, often I can see the wheels turning in their head as if they are processing that piece of information and as they figure out how to respond. The Paradox Idea It may be hard to believe for those of us who have come to love the genre, but there are some who think that Christian Fiction is a paradox. To their way of thinking, because the Christian faith is based upon truth, there is no such thing as Christian fiction. It doesn’t make sense to them. How can you be Christian and write something that isn’t true? Some believe that Christians should only be writing non-fiction and religious books explaining biblical concepts. Parables are Stories In the Gospels of Matthew, Mark, Luke and John, Jesus teaches through parables. These parables are used as scripture to teach us today. What is a parable? The fourth edition of the American Heritage Dictionary of the English Language describes a parable as: A simple story to illustrate a moral or religious lesson. In the Merriam-Webster Online Dictionary, a parable is: A usually short fictitious story that illustrates a moral attitude or a religious attitude. Therefore, Christian fiction is like a parable. The difference is it isn’t short or brief. It is a long parable in the form of a novel. The reader gets to know the characters, experiences their emotion, and throughout the novel there are moral and spiritual values and lessons based on biblical teachings in Christianity. The characters have flaws just like the rest of us, and may make bad decisions, but they learn and grow from these mistakes. It must be very much like life in order for it to be believable, possible, and for it to matter to us – to make a lasting impression. While the characters in my Christian fiction are not real and the plot is fictitious, the biblical and spiritual lesson is one of truth. Even if the reader doesn’t realize they are learning a biblical lesson, I have faith that God is using my work to plant a seed inside that person. And God will choose when to water and harvest that seed to bring forth fruit and life to that individual. “So then neither he who plants is anything, nor he who waters, but God who gives the increase.” I Corinthians 3:7 Share this post with your connections: