reading for writers: Community Board by Tara Conklin

In Community Board, Tara Conklin takes us inside the major depression of a woman whose husband has left her for another woman - yet she manages to make the story entertaining! The character isolates herself in her parent's empty home, eating only the canned goods her mother still stocks in what was a bomb shelter. Excerpts from a community board are her main contact with the outside world - and are the quirky sort of conversations you'd find on a Facebook community page. Also included are unfinished emails the woman writes to her husband, often about the hairiness of his new lover. The ending is quite satisfactory as well.

For writers this is worth reading because of the structure of the book - using social media excerpts within a larger narrative - and the use of humor in a serious story.

All the light we cannot see by Anthony Doerr

All the Light We Cannot See by Anthony Doerr is an excellent novel looking at World War II from multiple perspectives - different people at different times. Jumping back and forth in years works nicely: going forward increases tension, going back gives depth.

Short chapters help maintain pace.

I recommend this for anyone who enjoys reading historical fiction.

If you're a writer, it's well worth reading to examine the structure.

Secondary Characters & Harlan Coben's Tell No one

Secondary characters help add texture and depth to a book. They can be used for comic relief in an otherwise tense story. They’re fun to write. Harlan Coben’s Tell No One has great secondary characters – not full descriptions, just the essential elements for the story. It’s also got a nice plot with lots of twists.

You don’t need to tell your reader every bit of background for every secondary character. That’s going to slow the action and the reader may lose the storyline.

Consider this scenario for a romance:

Your protagonist is trying to get to the airport before her love interest leaves forever, and her car breaks down on a back road. When a stranger stops and offers her a ride, she’ll probably be hesitant about accepting. You do NOT need to give this character’s life story, or even what they ate for breakfast. Possible ways to handle their description:

• Give the key descriptors that make your protagonist comfortable accepting the ride – there’s a baby in the back, or the driver is an awkward teen who is worried about getting into trouble for not going straight home if they give her a ride to the airport.

• Show how the driver is somewhat sketchy, so she’s not sure she should take the ride, but getting to the airport is essential. The driver might share (in one sentence) an experience that made them go out of their way for her, probably when she’s getting out of the vehicle.

• Let the driver be annoyingly chatty, going on about their own wedding, but have your protagonist tune it out to worry whether they’ll get there on time.