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What is the soul of a story? Some people say the plot, some others say the characters. I say, it’s both.

But now, I’d like to talk about characters.

How do you create a character?

Here are some ways used by writers out there in creating the characters in their story:

• Go with the flow

Some writers begin with the first few lines. As long as they can get something interesting for the first line, the rest will follow. The character’s personality grows at the same time the writer builds the plot. It is not actually intentionally created. Some writers like this method because, for them, the process of writing is full of magic. It seems like it’s their hands and mind working together in their subconscious mind. This kind of method is normally used by professional or experienced writers

• Concept the details

Some other writers prefer to deeply know the characters. They must know the whole details about this ‘person.’ They make a list of all the details about the characters. The list contains name (full name and how you call them), age (time and date of birth), height, weight, skin, hair and eye color, hair style, parents’, spouse, children and siblings’ name, address, phone number, educational background, job, good and bad habits, favorite food, book, movie and music. For the previous type of writer mentioned above, this method might seem boring. It seems like all the excitement is gone with the list. But for those preferring this method, it is a good way to build the story, along with the plot.

• Use someone they know

Some other writers prefer to just use a figure they know. They use all basic information about the model, their life, their job, their personality, etc. This is the less creative way in constructing a character.

Try one of those three tips that you feel most comfortable with. Or, try all three then decide which suits you most.

What is the soul of a story? Some people say the plot, some others say the characters. I say, it’s both.

But now, I’d like to talk about characters.

How do you create a character?

Here are some ways used by writers out there in creating the characters in their story:

• Go with the flow

Some writers begin with the first few lines. As long as they can get something interesting for the first line, the rest will follow. The character’s personality grows at the same time the writer builds the plot. It is not actually intentionally created. Some writers like this method because, for them, the process of writing is full of magic. It seems like it’s their hands and mind working together in their subconscious mind. This kind of method is normally used by professional or experienced writers

• Concept the details

Some other writers prefer to deeply know the characters. They must know the whole details about this ‘person.’ They make a list of all the details about the characters. The list contains name (full name and how you call them), age (time and date of birth), height, weight, skin, hair and eye color, hair style, parents’, spouse, children and siblings’ name, address, phone number, educational background, job, good and bad habits, favorite food, book, movie and music. For the previous type of writer mentioned above, this method might seem boring. It seems like all the excitement is gone with the list. But for those preferring this method, it is a good way to build the story, along with the plot.

• Use someone they know

Some other writers prefer to just use a figure they know. They use all basic information about the model, their life, their job, their personality, etc. This is the less creative way in constructing a character.

Try one of those three tips that you feel most comfortable with. Or, try all three then decide which suits you most.

WHY WE LOVE STORIES

Tell me a story! Just one more story!

Okay, here’s one for you about a forty-six year old lawyer.

Harry’s stuck in the backroom of a creaky, old law firm and under his senior partner’s thumb. Life is going nowhere and his chances of making real money are fading fast. His wife plans to leave him because, she claims, they are ‘in different worlds.’ Wishing his life were different, he has no idea how to change it.

Next day his senior partner comes into to his office and drops dead. Soon a brand new client arrives to sucker him into a money-laundering scheme. Although highly principled, he has new money troubles and consequently turns a blind eye to the scam. [Be careful what you wish for.]

When he finds his elderly client dead, just after she has asked to change her will, [suspicious circumstances for sure!] he is forced to hunt down a serial killer, dubbed the Florist. To do so, he must go down into the psyche of this serial killer [and, more importantly, into his own] to understand this psychotic killer with an artistic flair. And he must stop him. Just as his wife is about to pack her bag, a beautiful woman, Natasha, comes to Harry’s aid.

At the end, Harry has discovered undreamed of powers within himself and this new woman, who actually loves him. And if that’s not enough, he’s laid waste to the Florist plus a corrupt firm of lawyers at the heart of the money-laundering scam.

What story is this?

It’s the story of Harry Jenkins in Conduct in Question, the first in the Osgoode Trilogy, which I wrote.

The hero, Harry Jenkins, also appears in Final Paradox and a Trial of One, the second and third novels in the trilogy.

Just click .maryemartin.com to learn more about Harry and see a slide show of settings in Conduct in Question.

After almost thirty years of law practice, why didn’t I write essays, setting out the machinations of money-launderers, replete with diagrams, statistics and charts? [Strange as it may sound, lawyers here can even take courses on money laundering.] I could have written about estate law and quoted sections of the Wills and Estates Act. But I bet you’d never read it.

Why not? Because you’d much rather hear a story, which brings all these problems to life, with exciting conflicts between good and evil and all the ‘in between’ shades of gray. Only with real characters acting upon one another do these problems jump off the page and get interesting. That’s why we tell stories.

In high school, many of us studied Greek Mythology -those fabulous stories about gods, goddesses and heroes. Tales of high adventure! But no one ever explained who made these stories and why. Where did they come from?

The great mythologist Joseph Campbell wrote in The Hero with a Thousand Faces that,

Myth is the secret opening through which the inexhaustible energies of the cosmos pour into human cultural manifestations…The symbols of mythology are not manufactured: they cannot be ordered, invented or permanently suppressed. They are spontaneous productions of the psyche and each bears within it, undamaged, the germ power of its source. [Pg 3&4]

Are myths, dreams and stories living ‘things’ springing up from within? So it seems, according to Campbell. For me, stories are the outpourings of our psyches from mysterious sources. Like dreams and myths, they are individually and collectively an expression of our deepest sense of what it means to be human.

But isn’t it interesting! Reading Joseph Campbell’s book, The Hero with a Thousand Faces, we learn that story formats and plot lines are also embedded in us. In so many myths, the hero is lifted out of his everyday life and called or forced to do something dangerous. Confronting tremendous obstacles [of a huge variety limited only by our imaginations], he must find help along the way and call upon powers within himself to reach his goal. Once he has reached it, he must return to his world with his prize. Isn’t that the basic plot of innumerable Hollywood action flicks?

Back to our lawyer. A lawyer as a hero? [I’m not joking!]

Events drive Harry from the dull safety of his usual life. Next, he is battling strange forces never confronted before. He discovers within previously unknown powers and abilities. Then he must return to his ‘normal’ life with the prize, a good woman and a new understanding of himself. And all the bad guys are gone! Sounds like a hero’s journey to me.

Did I purposely set out to write a hero’s journey? Hardly! Only after literally innumerable rewrites, did I begin to recognize that indeed, this was a tale of the hero’s journey. My point is that the hero’s journey and other variations are our innate grammar, language and structure for myths, dreams and stories. It is through them that we express our human ways of being.

All the big questions, which are fundamentally meaningful to us, are asked in stories. In a way, each story is about birth, growth, death and redemption. And so, it is through story telling that we satisfy our very human need to understand one another, our world and ourselves. At least that’s the way I see it. How about you?

WHY WE LOVE STORIES

Tell me a story! Just one more story!

Okay, here’s one for you about a forty-six year old lawyer.

Harry’s stuck in the backroom of a creaky, old law firm and under his senior partner’s thumb. Life is going nowhere and his chances of making real money are fading fast. His wife plans to leave him because, she claims, they are ‘in different worlds.’ Wishing his life were different, he has no idea how to change it.

Next day his senior partner comes into to his office and drops dead. Soon a brand new client arrives to sucker him into a money-laundering scheme. Although highly principled, he has new money troubles and consequently turns a blind eye to the scam. [Be careful what you wish for.]

When he finds his elderly client dead, just after she has asked to change her will, [suspicious circumstances for sure!] he is forced to hunt down a serial killer, dubbed the Florist. To do so, he must go down into the psyche of this serial killer [and, more importantly, into his own] to understand this psychotic killer with an artistic flair. And he must stop him. Just as his wife is about to pack her bag, a beautiful woman, Natasha, comes to Harry’s aid.

At the end, Harry has discovered undreamed of powers within himself and this new woman, who actually loves him. And if that’s not enough, he’s laid waste to the Florist plus a corrupt firm of lawyers at the heart of the money-laundering scam.

What story is this?

It’s the story of Harry Jenkins in Conduct in Question, the first in the Osgoode Trilogy, which I wrote.

The hero, Harry Jenkins, also appears in Final Paradox and a Trial of One, the second and third novels in the trilogy.

Just click .maryemartin.com to learn more about Harry and see a slide show of settings in Conduct in Question.

After almost thirty years of law practice, why didn’t I write essays, setting out the machinations of money-launderers, replete with diagrams, statistics and charts? [Strange as it may sound, lawyers here can even take courses on money laundering.] I could have written about estate law and quoted sections of the Wills and Estates Act. But I bet you’d never read it.

Why not? Because you’d much rather hear a story, which brings all these problems to life, with exciting conflicts between good and evil and all the ‘in between’ shades of gray. Only with real characters acting upon one another do these problems jump off the page and get interesting. That’s why we tell stories.

In high school, many of us studied Greek Mythology -those fabulous stories about gods, goddesses and heroes. Tales of high adventure! But no one ever explained who made these stories and why. Where did they come from?

The great mythologist Joseph Campbell wrote in The Hero with a Thousand Faces that,

Myth is the secret opening through which the inexhaustible energies of the cosmos pour into human cultural manifestations…The symbols of mythology are not manufactured: they cannot be ordered, invented or permanently suppressed. They are spontaneous productions of the psyche and each bears within it, undamaged, the germ power of its source. [Pg 3&4]

Are myths, dreams and stories living ‘things’ springing up from within? So it seems, according to Campbell. For me, stories are the outpourings of our psyches from mysterious sources. Like dreams and myths, they are individually and collectively an expression of our deepest sense of what it means to be human.

But isn’t it interesting! Reading Joseph Campbell’s book, The Hero with a Thousand Faces, we learn that story formats and plot lines are also embedded in us. In so many myths, the hero is lifted out of his everyday life and called or forced to do something dangerous. Confronting tremendous obstacles [of a huge variety limited only by our imaginations], he must find help along the way and call upon powers within himself to reach his goal. Once he has reached it, he must return to his world with his prize. Isn’t that the basic plot of innumerable Hollywood action flicks?

Back to our lawyer. A lawyer as a hero? [I’m not joking!]

Events drive Harry from the dull safety of his usual life. Next, he is battling strange forces never confronted before. He discovers within previously unknown powers and abilities. Then he must return to his ‘normal’ life with the prize, a good woman and a new understanding of himself. And all the bad guys are gone! Sounds like a hero’s journey to me.

Did I purposely set out to write a hero’s journey? Hardly! Only after literally innumerable rewrites, did I begin to recognize that indeed, this was a tale of the hero’s journey. My point is that the hero’s journey and other variations are our innate grammar, language and structure for myths, dreams and stories. It is through them that we express our human ways of being.

All the big questions, which are fundamentally meaningful to us, are asked in stories. In a way, each story is about birth, growth, death and redemption. And so, it is through story telling that we satisfy our very human need to understand one another, our world and ourselves. At least that’s the way I see it. How about you?

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Start your writing with conflict if you want to guarantee sales, grab an agent or publisher, get paid a big advance. Your protagonist wants something and your antagonist wants to block it. If you want to be the publisher’s star-of-the-month, just hand out a strong dose of conflict right up front. Bold like. Then, they’re wrapped up in your story and it’s too late for them to escape. Trust me, readers, agents and publishers are going to consider writing with a strong dose of conflict as good fortune for their company. Readers will not want to put it down. The big boys just might pat you on the head and pay you a six-figure advance.

As conflict is so essential to good writing, whether it’s fiction, or nonfiction, children’s books or memoir, it will aid your attention-getting cause. I suggest you start practicing the art of writing conflict right now for your openings. Read the examples and write your own:

• James walked in ready to crash and that’s when he saw the monster. (Antagonist wants to take protagonist’s calm time away)

• When I walked in, Emily had on my favorite blouse I was going to wear tonight. She stood there trying to apologize for tearing it.(Antagonist has blocked protagonist from wearing her favorite blouse tonight.)

• Jimmy worked ten hours at ten dollars an hour, and now John was saying he was worthless, he wasn’t going to pay. (John wants to take Jimmy’s earning away).

The sentences are off the top of my head and I don’t consider them profound or anything. But remember, my job is to make all of the big, foreign sounding things simple. My sentences clearly show characters in conflict. You can “feel” the tension. Your protagonist wants something and your antagonist wants to take it away. Your antagonist may not even be a person. It may be a rock against the door, keeping your protagonist from escaping the bad guy.

In my novel, The Mayor’s Wife Wore Sapphires, the mayor’s young wife wants to change the image of an inner city by making it the Black Camelot; her antagonists want to destroy the incubator idea that could make that happen.

It is conflict that grabs the reader’s attention. Eighty percent of all readers continue to read because of conflict. If there is no conflict, the story lies flat on the page, it falls apart and loses the reader’s interest. It’s yawning-kind-of dull. When conflict is present, readers perk up and wade through bad syntax, misspelled words, structure flaws, and bland dialogue to find out how the conflict ends. I’m not suggesting that you neglect any part of the writing craft, though. It’s just that conflict is one of the strongest elements of good writing, and all too often we lose the reader’s attention because we neglect that writing tool.

So, when you want to grab an editor, an agent, or a publisher’s favor, just allow them to feast on gripping conflict from the very first line and see your story rises through the slush pile to increased sales.

In the Mayor’s Wife Wore Sapphires, the story opens with two unknown characters, whispering in what seems like a clandestine place. The host balls the newspaper in rage and throws it on the dark wood table. We see that it states: Council Upset Rumored. Now the guest thrust his head out of the shadows and says that “In my country, his kind disappears without a trace.” He wants to take out the mayor; his opposition wants to fix the situation before the council meeting.

In The End Justifies The Means, the protagonist, Jalen, is trying to sleep; his mother and father are having a violent argument. He wants them to stop it; they get louder.

In the Color Purple, Celie’s baby is happy for giving birth to her baby; the antagonist, her father, is taking the baby to give her away. She is screaming, “No!” The father is already gone.

Agents and publishers are trained to recognize conflict, and they look for it. So take advantage of that now. Write conflict in your first line for practice.

THE END

Start your writing with conflict if you want to guarantee sales, grab an agent or publisher, get paid a big advance. Your protagonist wants something and your antagonist wants to block it. If you want to be the publisher’s star-of-the-month, just hand out a strong dose of conflict right up front. Bold like. Then, they’re wrapped up in your story and it’s too late for them to escape. Trust me, readers, agents and publishers are going to consider writing with a strong dose of conflict as good fortune for their company. Readers will not want to put it down. The big boys just might pat you on the head and pay you a six-figure advance.

As conflict is so essential to good writing, whether it’s fiction, or nonfiction, children’s books or memoir, it will aid your attention-getting cause. I suggest you start practicing the art of writing conflict right now for your openings. Read the examples and write your own:

• James walked in ready to crash and that’s when he saw the monster. (Antagonist wants to take protagonist’s calm time away)

• When I walked in, Emily had on my favorite blouse I was going to wear tonight. She stood there trying to apologize for tearing it.(Antagonist has blocked protagonist from wearing her favorite blouse tonight.)

• Jimmy worked ten hours at ten dollars an hour, and now John was saying he was worthless, he wasn’t going to pay. (John wants to take Jimmy’s earning away).

The sentences are off the top of my head and I don’t consider them profound or anything. But remember, my job is to make all of the big, foreign sounding things simple. My sentences clearly show characters in conflict. You can “feel” the tension. Your protagonist wants something and your antagonist wants to take it away. Your antagonist may not even be a person. It may be a rock against the door, keeping your protagonist from escaping the bad guy.

In my novel, The Mayor’s Wife Wore Sapphires, the mayor’s young wife wants to change the image of an inner city by making it the Black Camelot; her antagonists want to destroy the incubator idea that could make that happen.

It is conflict that grabs the reader’s attention. Eighty percent of all readers continue to read because of conflict. If there is no conflict, the story lies flat on the page, it falls apart and loses the reader’s interest. It’s yawning-kind-of dull. When conflict is present, readers perk up and wade through bad syntax, misspelled words, structure flaws, and bland dialogue to find out how the conflict ends. I’m not suggesting that you neglect any part of the writing craft, though. It’s just that conflict is one of the strongest elements of good writing, and all too often we lose the reader’s attention because we neglect that writing tool.

So, when you want to grab an editor, an agent, or a publisher’s favor, just allow them to feast on gripping conflict from the very first line and see your story rises through the slush pile to increased sales.

In the Mayor’s Wife Wore Sapphires, the story opens with two unknown characters, whispering in what seems like a clandestine place. The host balls the newspaper in rage and throws it on the dark wood table. We see that it states: Council Upset Rumored. Now the guest thrust his head out of the shadows and says that “In my country, his kind disappears without a trace.” He wants to take out the mayor; his opposition wants to fix the situation before the council meeting.

In The End Justifies The Means, the protagonist, Jalen, is trying to sleep; his mother and father are having a violent argument. He wants them to stop it; they get louder.

In the Color Purple, Celie’s baby is happy for giving birth to her baby; the antagonist, her father, is taking the baby to give her away. She is screaming, “No!” The father is already gone.

Agents and publishers are trained to recognize conflict, and they look for it. So take advantage of that now. Write conflict in your first line for practice.

THE END

“TAKE THE MYTH OUT OF BESTSELLER, AND WRITE YOU ONE!”

When we see the word “Bestseller,” it usually means selling a great number of books, starting around 30-50 thousand copies. Certain bookstores report the sales to certain lists and the book is listed as a bestseller. Well, many, many bookstores that sell lots of an author’s books do not report to those lists. Then there are ordinary writers like you and me who sell thousands of books on their own and they don’t report to those lists. Those lists usually don’t include self-published or small press writers. Many bookstores and lists don’t report to Publisher’s Weekly, the New York Times and USA Today. What a huge disparity!

But I want to share with you something all such books have in common, reported and unreported&ndash all are rather well written, most have a fresh concept, and all are pretty well edited. So in this equation, we know that bestsellers have three things in common: 1) they’re well written. 2) Have a fresh concept, 3) they’re well edited&ndashno typos or verb-noun disagreement, no misspelling, or run on sentences&ndashonly if the writer is breaking the rule to prove some point.

I’ve read quite a few bestsellers that are simple and straightforward, some with twists and turns, but they all have those three qualities in common, and my writing experiences allow me to take the myth out of how they get to be bestsellers. To show that you have a bestseller in you. We all have one; it just needs to be written, edited, polished and promoted. I took five years to write my bestseller-kind-of- novel, but I had no one to teach me the next step. I’m moving toward it in the trial and error mode. I want to make this easier for you. These articles are dedicated to those of us who want to be bestsellers. Ordinary sales just aren’t enough for us. We’re experimenting with writing the bestseller-kind-of-book, polishing and promoting it to bestseller status. I’ll share every tip with you as we go along.

Now back to Bestseller. I consider a bestseller as a book that is well written, has a fresh concept, and is promoted and sold to a lot of readers. That’s exactly what Mark victor Hansen (Chicken Soup for the Soul) did. He sold those little simple books from the back of his car until he found his path to becoming a bestseller&ndashgetting publicity is one of the paths. He started doing lots of radio interviews every day. But his way might not be your way. It all depends on your book. And then, it could be your way. We shall see.

My name is Martha Tucker, and I’m sure you’ve seen my novel on the Internet somewhere&ndashThe Mayor’s Wife Wore Sapphires. It’s a romantic inner city political thriller. I ask you to become familiar with it because I’m going to be using it to explain certain very necessary principles to you&ndashread the three free chapters: .urbanclassicbooks.com. The novel has two significant 5-Star Reviews and racking up more every day. The Mayor’s Wife Wore Sapphires is proof that your number one priority is to write a Bestseller-kind-of-book. After it was completed and edited, it took another year to get the edit I wanted. Never be discouraged.

If your book is dull, objectionable, thrown together with a weak plot and cardboard characters, no amount of promoting is going to give it legs to stand on as a bestseller. While you’re over on my website&ndash.urbanclassicbooks.com, look at the praises my novel got. If you want to see the techniques I use in action, the secrets I applied, then read chapters from my book on my website.

I am going to be using live examples, even by page numbers, to teach you how to write the bestseller-kind-of-novel, because fiction is more difficult to promote than nonfiction. With nonfiction, thousands of people need to know exactly what you’re sharing and are willing to pay right then according to fulfill their need. But fiction is born into a competitive world&ndashmostly dominated by the popularity of the author’s name&ndashsports figures, actresses, actors, the queen, the president, the President’s wife. Fiction books that immediately become bestsellers are usually those written by big name celebrities or well-known authors. Don’t blame the publisher for knowing that people recognize those names and will pay. Those names get free publicity on Good Morning America, The Today Show and USA Today, and Oprah isn’t out of the question.

But don’t fear. There is a way to sell tons of fiction books for ordinary people like you and me. You have to do your part to change your life in one fell swoop&ndashfrom struggling writer to sought after, wealthy author.

Now read the free opening chapters of The Mayor’s Wife Wore Sapphires and consider the “who, what, when, where and how” in this novel. See how those elements were smoothly tied together so they don’t seem like separate parts. Read the prologue and answer the questions for yourself. When you finish my articles you never have to settle for selling your novel to only your circle of family and friends. You can be a bestseller! Till next time###

END###

You are welcome to publish this article in its entirety, electronically, or in print free of charge, as long as you include my full signature file for ezines and my website address in hyperlink for other sites. Please send a courtesy link of email where you publish: bestsellercirclezinester.com

“TAKE THE MYTH OUT OF BESTSELLER, AND WRITE YOU ONE!”

When we see the word “Bestseller,” it usually means selling a great number of books, starting around 30-50 thousand copies. Certain bookstores report the sales to certain lists and the book is listed as a bestseller. Well, many, many bookstores that sell lots of an author’s books do not report to those lists. Then there are ordinary writers like you and me who sell thousands of books on their own and they don’t report to those lists. Those lists usually don’t include self-published or small press writers. Many bookstores and lists don’t report to Publisher’s Weekly, the New York Times and USA Today. What a huge disparity!

But I want to share with you something all such books have in common, reported and unreported&ndash all are rather well written, most have a fresh concept, and all are pretty well edited. So in this equation, we know that bestsellers have three things in common: 1) they’re well written. 2) Have a fresh concept, 3) they’re well edited&ndashno typos or verb-noun disagreement, no misspelling, or run on sentences&ndashonly if the writer is breaking the rule to prove some point.

I’ve read quite a few bestsellers that are simple and straightforward, some with twists and turns, but they all have those three qualities in common, and my writing experiences allow me to take the myth out of how they get to be bestsellers. To show that you have a bestseller in you. We all have one; it just needs to be written, edited, polished and promoted. I took five years to write my bestseller-kind-of- novel, but I had no one to teach me the next step. I’m moving toward it in the trial and error mode. I want to make this easier for you. These articles are dedicated to those of us who want to be bestsellers. Ordinary sales just aren’t enough for us. We’re experimenting with writing the bestseller-kind-of-book, polishing and promoting it to bestseller status. I’ll share every tip with you as we go along.

Now back to Bestseller. I consider a bestseller as a book that is well written, has a fresh concept, and is promoted and sold to a lot of readers. That’s exactly what Mark victor Hansen (Chicken Soup for the Soul) did. He sold those little simple books from the back of his car until he found his path to becoming a bestseller&ndashgetting publicity is one of the paths. He started doing lots of radio interviews every day. But his way might not be your way. It all depends on your book. And then, it could be your way. We shall see.

My name is Martha Tucker, and I’m sure you’ve seen my novel on the Internet somewhere&ndashThe Mayor’s Wife Wore Sapphires. It’s a romantic inner city political thriller. I ask you to become familiar with it because I’m going to be using it to explain certain very necessary principles to you&ndashread the three free chapters: .urbanclassicbooks.com. The novel has two significant 5-Star Reviews and racking up more every day. The Mayor’s Wife Wore Sapphires is proof that your number one priority is to write a Bestseller-kind-of-book. After it was completed and edited, it took another year to get the edit I wanted. Never be discouraged.

If your book is dull, objectionable, thrown together with a weak plot and cardboard characters, no amount of promoting is going to give it legs to stand on as a bestseller. While you’re over on my website&ndash.urbanclassicbooks.com, look at the praises my novel got. If you want to see the techniques I use in action, the secrets I applied, then read chapters from my book on my website.

I am going to be using live examples, even by page numbers, to teach you how to write the bestseller-kind-of-novel, because fiction is more difficult to promote than nonfiction. With nonfiction, thousands of people need to know exactly what you’re sharing and are willing to pay right then according to fulfill their need. But fiction is born into a competitive world&ndashmostly dominated by the popularity of the author’s name&ndashsports figures, actresses, actors, the queen, the president, the President’s wife. Fiction books that immediately become bestsellers are usually those written by big name celebrities or well-known authors. Don’t blame the publisher for knowing that people recognize those names and will pay. Those names get free publicity on Good Morning America, The Today Show and USA Today, and Oprah isn’t out of the question.

But don’t fear. There is a way to sell tons of fiction books for ordinary people like you and me. You have to do your part to change your life in one fell swoop&ndashfrom struggling writer to sought after, wealthy author.

Now read the free opening chapters of The Mayor’s Wife Wore Sapphires and consider the “who, what, when, where and how” in this novel. See how those elements were smoothly tied together so they don’t seem like separate parts. Read the prologue and answer the questions for yourself. When you finish my articles you never have to settle for selling your novel to only your circle of family and friends. You can be a bestseller! Till next time###

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