Wednesday, 9 March 2011

A Stockholm Syndrome Romance Novel you Will Never Forget: the Shuttered Room by Charles J Harwood

A psychological thriller about abduction with an unexpected twist, Jessica Fraser finds herself trapped in an upstairs room held to ransom by three nasty thugs. But Jess has a secret, a secret that would have made her abductors think twice before picking her as their target.

Kidnapping Thriller

Click to buy
from Amazon
This novel tells the story of Jessica Fraser, married with a son and with plenty of money would appear to have the sort of perfect life many others crave, but her dark past soon catches up with her when she is abducted by three thugs and held in an upstairs room.

Jess manages to catch the police’s attention in a failed attempt to get away, but the thugs retain their cover by taking on a baby to feign a family setup. With no one to find her, how does Jess while away the hours in a small room?

What to do in a Locked Room

In fact, Jess has more than enough to think about after cutting a hole in the floorboards from where she spies upon her abductor’s everyday lives below. Jess’s spying soon becomes  obsessive until she finds herself playing psychological games with them. With her life in the balance, Jess discovers unsavoury truths about herself and starts to question her own sanity, least of all her growing feelings for one of her captors, Jake. The sort of book I would like to read, you might find yourself reading into the night.


Dynamics of Captive and Captor

Get this audiobook from Audible
The seeds were sown in 2005 after a weird idea for a story kept prodding my mind and refused to go away. (This has happened several times, the results of which are uncompleted manuscripts and screenplays languishing in drawers.)

The idea manifested itself over several months and from many sources: a casual interest in psychology; Freud’s theory on Ego states; Eric Berne’s little known but brilliant book “Games People Play,” the Big Brother phenomenon, and my own life experiences. At the book's heart lies the taboo and repression.

I began to think “what if...?” the story seemed to write itself and the rest is history.

The Shuttered Room: a Tale of Abduction
I put my manuscript in the bottom drawer and then worked on the redraft. After much hard work conceiving the book design, editing, re-editing after producing the audiobook version, my tale of psychological cat-and-mouse is now available in all formats.

Psychological Thrillers in Large Print

If only they knew: Charles J Harwood
Note: since writing this, The Shutttered Room is now available within a 4 in 1 thriller bundle book, Eclipse Quartet: 4 Psychological Thrillers, which supersedes the previous trilogy, Gone Too Far (3 Psychological Thrillers about Taboo).

Read an excerpt from the Shuttered Room on this blog.

I have written three other novels, A Hard LessonFalling Awake and Nora also available for purchase on kindle, hard copy and large print. You may also read a brief overview of all the novels written by Charles J Harwood on this blog.

Related links on my author website

The Stockholm syndrome relationship
The inner gremlins of kidnappers
What if human behavior had a voice?
Bernes' Games People Play in the Shuttered Room

OtherArticles on Writing

Saturday, 20 November 2010

What are the Top Ten Best Online Magazines to Write For?

Writing articles for money is one of the best ways to earn passive income, but with so many magazines to choose from, which should the writer go for? Here is a rundown of the ten best online magazines to generate money from freelance writing.

Earn Money Writing from Home by Writing Articles

The Well-Fed Writer: Financial Self-Sufficiency as a Commercial Freelancer in Six Months or Less
Make Money Writing
click to buy from Amazon
Writing for Magazines Online offers an alternative to blogging or writing for a personal website, as the articles will often rank higher on Google search pages. This is due in part to the size of the site, as it will inevitably be larger than the humble blog or personal website. A system that most often works on revenue share, here is a list of the top ten sites to write for.

Suite 101 Online Magazine

One of the largest online magazines on the Net attracting around 20 million readers every month and rising, and which I write for. Get paid for articles on a host of subjects, from arts education to health and beauty. Articles must be between 400 to 800 words and pass editorial standards. Online tutorials are available to help inform writers on how to SEO their articles and optimise Adsense revenue.

Limited positions are available for featured writers who must write one article per week on a specialist subject for an extra bonus. A friendly and supportive writer’s forum is a plus, as well as helpful editors. As with all online magazines, Suite takes a cut of Google Adsense before passing it one to the writer.

HubPages

Who to Write For
Another opportunity to earn Adsense revenue via online publishing, as well as a cut of Amazon and Ebay affiliation, HubPages is a means for writers to share useful tips, interesting facts, personal reviews or create a fanbase. Writers are able to link back to their own sites if they wish, using HubPages as a sort of promotional space.

Constant Content

Another way to make money writing from home, the writer may create “Constant Content” at will, or sell articles to fulfil a request. Constant Content provides articles for over 10,000 websites, delivered by around 30,000 writers.

Associated Content

Not to be confused with Constant Content, this similarly-named online information resource hosted by Yahoo, enables writers to earn upfront payments from articles which may be posted on Yahoo News, sports or finance. Writers may choose to write on their own topic, or on a subject posted on an “assignment desk.” Payment is tiered to the amount of traffic received.

Ehow

As the title suggests, the writer may earn money online by writing articles on how to do anything from “how to harvest heat in a home” to “how to transfer music from an Iphone to Itunes.” Articles are often formatted in bullet point for quick, easy digestion of information.

Buksia

With an interesting 3-tiered referral system, the writer is able to earn money from articles, as well as articles written by third parties. This means the writer gets paid, and gets paid when referred writers get paid.

Squidoo

A means of making money from affiliate share from writing your own “lens” (a snippet of information or overview on an article, blog or anything you like), or selling your lens to a third party. The writer may create links to a personal website or blog, and get paid for it.

Xombia

Make a Real Living as a Freelance Writer: How to Win Top Writing Assignments
Earn Money Freelancing
click to buy from Amazon
The writer, or “Xombie,” gets paid for indepth knowledge on any subject, which may be in the form of snippets, or longer articles. The revenue share is fifty/fifty. Half the time, the writer gets paid, the other half, Xomba receives the share.

Helium

A means of getting paid for writing on what you know, Helium enables the writer to earn money in three ways: daily revenue share from ads, writing contests and upfront payments for writing commissions. Writers may battle for the top spot or win Helium contests.

Update on Writing for Magazines

Many of these websites have been hit heavily by a series of algorythms, namely Google's Panda, which penalises content farming and articles overly-similar to one another. This means the the ranking of the website has gone down as well as the writer's earnings. Some of these websites are trying to regain former rankings but times are difficult. This is not to say that online magazines will not recover in the future.


Article Income Sources

The writer creates informative content and gets paid via contextual advertising. Like Xomba, the writer gets a fifty/fifty share of the revenue earned, but may increase to 70% depending upon the traffic. Article Income have a syndication network of other online magazines on various themes, including sports, shopping and marketing.

Books on How to Earn Money Writing Online

Tuesday, 16 November 2010

How can I Get a Producer to Read my Screenplay?

Completing a screenplay is only the beginning of a bumpy journey for the screenwriter. The next step is submitting the script to agents, but other avenues can be explored, including screenwriting competitions, professional readings, screenwriting consultancies and workshops, all presenting possible breakthroughs for a good script to get noticed.

Opportunities for Screenwriters to get Produced

Your Screenplay Sucks!: 100 Ways to Make It Great
Advice for Screenwriters
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It can be hard to find a film agent or production company to read a screenplay from an unknown writer, and this ma spur the writer to take desperate measures. This warrants a word of caution to always think twice before parting with too much money for the privilege of getting a screenplay read. Avoid screenwriting organisations that make big promises, or services that have not been tried and tested. I always conduct a Google search to establish if there have been issues with a particular company that may not be revealed within its own site.

Opportunity for Screenwriting Submissions

A good place to start is the Writers’ & Artists’ Yearbook, which gives good advice on sending a screenplay, what to avoid and a list of agents to contact. Conducting a little research into the submission guidelines and the genre of the film agent is always a good idea.

Establish a contact name and expect a long wait. Some literary publishers also accept submissions from screenwriters. The submission package must be immaculate and well presented to reduce the chances of an out-and-out slush pile rejection. A link on how to submit a screenplay can be found at the foot of this article.

Useful Information for Screenwriters

The slog of breaking into the screenwriting market can nurture disillusionment in the writer, as most film agents are reluctant to read anything unless by an established screenwriter. The following alternative contacts are worth trying, the links of which can be found at the foot of this article.

Submitting Scripts to BBCWritersroom

BBCWritersroom is a great first contact for the newbie screenwriter, as the first ten pages are guaranteed to be read. A three month wait is likely from the receipt of an acknowledgement card. A tiered system is in place where a script is passed on to an ever higher contact if it passes on certain merits. Ultimately, the Beeb are looking for originality rather than a perfectly formatted script. A link to a free screenwriting formatting tool can also be found on their site, as well as current news for scriptwriting opportunities.

EuroScript Consultancy

A reasonably-priced screenwriting consultancy that also aids development of scripts for TV and film. This independent UK based screenwriting contact consists of experienced producers, screenwriters and tutors. Screenwriting workshops are also on offer.

Grants for Filmmakers

The writer may apply for screenwriting funding via bursaries for film development, which can be sought from the following contacts:
  • Arts Council England Regional Offices offer grants for scriptwriters within areas of the UK.
  • Writers’ Projects offers grants of a few thousand pounds to Scottish writers.
  • The Scottish Arts Council finds bursaries for Scottish writers who have a passion for writing plays, as well as other literary works.
Opportunities for Young Scriptwriters

Selling Your Story in 60 Seconds: The Guaranteed Way to Get Your Screenplay or Novel Read
Selling your Screenplay
click to buy form Amazon
The following organisations offer student drama writers to break into TV or film writing.

The BBCWritersroom Future Talent Award for Writers: Partnered with MediaCityUK, an opportunity for fledgling drama writers to submit a drama or comedy script to be professionally read with the chance of production.

International Student Playwright Competition (ISPC): A long-running annual competition for students to submit their play to be read by notable scriptwriters, including Sir Alan Ayckbourn, a prolific playwright, with the chance of having the script professionally read at notable venues and winning a large cash prize.

TC Brian Way Award: Like the ISPC, has been running for many years. The competition offers young talented scriptwriters to be discovered, and the chance to win a large cash prize. The criteria are passion, originality and raising the profile of the issues of young people.

BBC Drama Writers Academy

Writing for TV in the form of a soap episode or a sitcom is often overlooked in preference for that elusive break into writing a feature film, but writing for TV is a lucrative industry and has a bigger demand for new talent. The writer may well do wise to look out for opportunities in writing for TV.

Every year, the BBC provides opportunities for a fledgling writer to write an episode for Doctors, Casualty, Hollyoaks or Eastenders via their Writer Academy event. This could provide possible open doors for the writer if talent is present.

Further Advice for Screenwriters

Sunday, 14 November 2010

How do I Write Funny Lines for my Sitcom?

The definition of what is funny in a situation comedy is hugely subjective. This could cause a creative block for the sitcom writer if trying to please a diversity of audiences. Of course, this is not possible, but what constitutes funny lines for the sitcom sufficient to break into the comedy market?

Funny Dialogue for the Sitcom

The Eight Characters of Comedy: A Guide to Sitcom Acting And Writing
Sitcom Writing
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Writing a sitcom is perhaps the most profitable area of scriptwriting. Little wonder if the pressure is on to make an audience laugh at least 75 times an episode. If you think this is an overestimate, a standard sitcom lasts twenty five minutes and a funny line must be delivered around three to four times per minute. In terms of comedy, a minute is a long time without a laugh. How can the writer dream up funny lines on a regular basis?

Ideas for Situation Comedies

How to Write a Sitcom
An effective sitcom is borne from characters that possess silly, bizarre or obsessive traits, not the location, the event or situation. Authentically funny characters that possess an element of truth will often write the sitcom by themselves, particularly if the writer understands or identifies with them in some way. With two or three such characters, the writer is halfway there.

Funny Lines for Sitcoms

Putting words into the characters’ mouths means getting into their minds. This means being brutally honest about what they might say rather than writing what a perceived audience might think is funny. A script that makes the writer laugh is likely to make the audience laugh and create a unique sitcom.

Tips for Funny One-liners

The lines are not so funny by themselves. The classic one-liner delivered by Friends’ character Ross during a tiff with Rachel “When was I under you?” means nothing by itself. It is the context of what was said before, the build-up, the body language, the timing and the line delivery that makes the moment memorable. In other words, the line is nothing by itself.

Creating Comedy Tension

Creating odd contrasts and conflicts between the characters and the surroundings will make an ordinary line funny. This could be sexual advice from a repressed exec to his 12 year old son, or the conversation a nun might have in a gay bar. Comic contrasts will provide great opportunities for funny dialogue as well as funny one-liners.

Embarrassing Situations in Sitcoms

Awkward situations are often the bread and butter of comedy. Always look for ways to make an embarrassing scene more cringe-worthy, unique or bizarre. One-liners with double meanings can be hilarious if it illustrates repressed emotions hidden innuendoes or secret codes between friends. Acute observation of the everyday or sourcing upon one's own exeriences and putting a spin on it is likely to yield more ideas. Keep a notebook handy for such inspiration.

Secrets to Writing Dialogue for Sitcoms

Writing Television Sitcoms (revised)
Writing a Sitcom
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Create distinction in how the characters speak in the words used, the sentence construction and the accent (to be indicated on the cue). Look for alternative words used if the line is a little flat. A thesaurus is useful for this purpose, but remember a more accurate word is not the objective, as in the case of literary fiction, but a word to make a one-liner funnier. Look at antonyms as well as synonyms.

Contrasts in Characters

Including ordinary or ‘sane’ minor characters in sitcoms is a good way of bringing out the ridiculous qualities of a main character and therefore what he or she is likely to say to greater focus.

If a funny line does not come, never force it. Put the script away or move to another part of the script for now. Sleeping on it or changing the scene might be the answer. More often than not, the scriptwriter just needs to find his or her inner voice.

Relevant Links to Writing Sitcoms

The Beginning of My Screenplay is Boring

The most crucial part of the script is the beginning for it determines whether the rest of the script will be read. However, a tedious build-up promising a compelling storyline may never come if the reader chucks the screenplay in the slush pile by page two. What is the secret to writing the ideal opening scene to a script?

What Film Producers Hate in a Screenplay

The main story could have the plot twists of a cold war thriller and characters with the hidden depths of a Stephen King story, but could all remain unrealised thanks to a poor opening scene. If the story does not grab the reader by page ten, the screenplay is destined for the return post. The most common issues could be the following:
  • Writing a prelude scene or scenes serving to explain what is about the happen in the story.
  • Creating an opening scene serving to introduce the characters or to help the reader make sense of the plot.
  • Allowing chitchat about the weather or similar small talk to leak into the opening dialogue.
  • In literary fashion, opening the screenplay with descriptions of the weather or the street or the inner thoughts of the characters. In such cases, the screenwriter needs to establish the difference between the novel and the screenplay.
Mistakes Screenwriters Make on Act One

The following are also a no-no for sciptwriting.
  • Spending too many pages on the build-up to an event in a bid to surprise the reader by page 11.
  • Conversely, putting everything in the first ten pages, from revelations of secrets to explosions, making the reader feel beaten about the head and the scenes become a blur.
  • Including stereotypical or copycat elements within the opening pages from characterisation (the alcoholic cop) to events (the car crash on New Year’s Eve) unless this is to serve a greater purpose.
  • Of course, grubby pages, typos grammatical errors are banned.
The Best Scene Opening for a Play

If the scene opener to a play or film sinks like a lead balloon, the following suggestions might help:

Look for a scene later in the screenplay and consider moving it to page one. This will inevitably change the dynamics of the play but could open fresh possibilities for new plot twists and better climaxes in acts two and three.

Alternatively, cut out the first five pages of the screenplay and see what happens. Starting a scene as late as possible serves to trim the sludge and the unnecessary preliminaries the reader does not really need to know.

In similar fashion, examine the dialogue and the action description and cut, cut, cut. Cut unnecessary adjectives, adverbs, wordy dialogue (unless it is to illustrate a chatty character). And cut superfluous characters that serve no purpose. Cutting may seem drastic, but it frees up the first pages for more to happen earlier. Aim for lots of white spaces around the screenplay text. Agents like to see white spaces around words of which every one counts.

Tips for Screenwriters on Writing Act One

The first ten pages of a script need not contain violence or shouting to hook the reader. It is often the gaps, the unsaid and the unexplained that turns the pages. Without being annoying about it, make the reader ask questions. Why did that man hide that letter in a box in the garden? Why did the bailiff take everything but that gold necklace? Subtly is often the key to creating a great opening scene.

Tips for Screenwriting Opening

Stamp out mimicry and stereotypes to strive for originality. See what happens if the opening scene occurs in another location, or if a character or trait is replaced by another. A lover’s tiff does not have to happen in a car, try a library. The tension of having to keep quiet could add elements of embarrassment and bottled emotions.

Perhaps the cop hates alcohol on account of an alcoholic father, and he (or she) runs the local AA and uses it to pry into other people’s lives in order to manipulate them. The reader may read on wanting to find out, “why is he doing this?”

A Great Hook for a Screenplay

Ensure the opening scene delivers what it promises in that it must not be the most dramatic or climatic scene in the screenplay. It must be relevant to the story and echo in some way throughout the screenplay. Save scenes with higher stakes until later.

Finally, imagine the reader to be a cheesed off, underpaid and overworked individual who is keen to clock off early. Prior to sending the screenplay, ask the honest opinion of a (trusted) fellow writer or tutor to weed out any issues with the opener. You don’t have to follow the advice, but it might bring forth issues unrealised. Alternatively, put the script away for a few weeks before reading it from an objective viewpoint.

Links to Advice on Screenwriting

Friday, 12 November 2010

Create a Convincing Baddie for My Crime Novel

One of the crafts of writing crime genre is conceiving not only a superhero the reader can empathise with, but a  convincing villain the reader finds compelling. Without a great fictional baddie, the crime novel falls flat. What can the writer do to create villains that are interesting, believable and propel the crime story?

Make Your Own Super Villain

A crime story is nothing without a great villain. But some crime writers may find it difficult to create a convincing baddie that moves the story forward. The reason might be that the author might have been inspired by a storyline rather than the characters. To make the story happen, the writer may “people” the plot, simply filling in gaps with fictional human entities that move from one scene to another.

To flesh out the villain character, the following issues may need addressing:

Allowing the subconscious to draw upon stereotypes or stereotypical characteristics during the character conception stage. Examples might be that the baddie has a deep scar on his cheek, has a penchant for graveyards or wears a long trench coat. Such characteristics may have been sourced from real life notorious criminals or fictional villains from classic novels.

Not creating contrast between characters in the story. This does not just mean in “good” or “bad,” but in the body language, the dialogue used or the past the counterparts have inhabited. In this respect, black appears blacker next to white.


An audio sample of my book the Shuttered Room: a kidnapper locks a hostage in the loft. An unsavory deed, but his insecurities are revealed later in the novel.

A Great Crime Story

Not giving the villain a past or a childhood is a big mistake, and will make the actions and motives of the character unconvincing. Creating a character profile questionnaire will flesh out the villain. This may involve inventing a family background, educational history, nicknames, language used, clothes sense, disabilities or eye colour, (even if some of these details are left out of the novel). These strategies will make the villain appear real in the author’s mind during the writing.

Creative Writing Tips for Crime Writing

Making the villain’s thought processes rational given his or her past is a gift. Instilling sympathy for a baddie within the reader will make the villain more disturbing and might spur the reader ask questions about themselves and about why people do the things they do.

No one is totally good or totally bad. Give the villain some redeeming features that will make the villain more rounded. A villain that does nothing but bad things or thinks bad thoughts may make the baddie appear flat rather than three dimensional, and instill apathy within the reader.

In this excerpt in my blog novel, Nora, the heroine, Nancy actually behaves villainous. However, she behaves this way because of a past trauma, as can be seen in this scene describing displaced anger. Here, she deprives a cripple one of his crutches because she thinks he has betrayed her.

Crime Writing Solutions

Adding real depth and complexity to a baddie is possible if the writer looks deep within. Creating an emotional landscape the writer can identify with will generate a baddie the writer can really empathise with. The resultant villain’s motives and desires are better understood and ultimately help to create a character-driven crime story.

An example might be how a divorce might have impacted upon the author’s ability to make friends at school. Projecting the lonely feelings this might have invoked in the writer can be projected upon the villain albeit for a different reason, which might be a childhood spent in hostels due to poverty. Having an intimate understanding of the villain’s emotional core is the key to creating a realistic villain rather than a cardboard cut-out character within the crime novel.

Links to Further Advice on Crime Writing

Thursday, 11 November 2010

How do I Market My Ebook and Make Money?

The author epublishing a novel on the internet may be disappointed in the amount of traffic going to the book and sales might be slow. What can the writer do to increase traffic to the ebook and land more sales?

Ebook Marketing Solutions

Plug Your Book! Online Book Marketing for Authors, Book Publicity through Social Networking
click to buy from Amazon
The novelist may find that publishing a digital novel is quite simple, as free publishing tools on Amazon, Smashwords or LuLu make sharing a novel with the world possible. However, with so much competition out there, the enovel could well be buried beneath millions of other enovels.

The Trouble with Book Search for Ebooks

The potential reader may often have a specific title in mind during a search, such as books by and about celebrities, well-known crime writers and similar JK Rowlings of the world, leaving the obscure self published author high and dry.

However, some readers are not sure what they are looking for, and may put in a general search term for a book genre. This provides opportunities for a lesser-known digital novel to get found. In such cases, the novelist may ask the honest question if the novel fills a gap, is original or offers something most other books of the same genre do not. If not, the novel may need revising. If so, it is time to emarket the book.

Money Word Matrix for Digital Books

Keyword research really is the bread and butter of getting traffic to an ebook, but is quite an exact science. I have therefore dedicated a separate article on how to use keywords for strategic marketing of an ebook (to be found at the foot of this article). Great opportunities for using keywords are in the blurb, write-up, synopsis or story tagline. Creating a blog or website and linking it to the ebook is a must. Write about influences, writing tips, the creative journey of the book and include excerpts from the book to create interesting content for potential readers.

Other free space for authors to sell their books can be found in Amazon’s CreateSpace, My Space, AuthorNation.com; Writearoundtheblock.com and good old Blogger.

Getting an Ebook Noticed

Needless to say, as with any piece of writing on the web, be it article, advert, short story or poem, something that is well-written or original will get discovered in time. Other webmasters will provide backlinks or readers will give good customer reviews, helping the book to get noticed. In this vein, it is just a matter of time. But what else can the writer do to market the ebook in the meantime?

The Best Ebook Cover Design

It is true that most readers judge a book by its cover. Sadly, most authors are not graphic designers and may not afford to commission an artist, but fear not, most epublishers provide free software for the ebook design cover. The following pointers might help the writer with finding the best design cover for an ebook.

Tips for Great Ebook Covers

Although some books mimic the look and design of other successful novels, it is often best to find an original design. This will help make the book stand out from the crowd. Allow the color scheme to reflect the feel of the book. Bold punchy colors might suit a thriller or crime novel. Subdued moody colors might suit a book about family relationships or a sombre thriller.

Images for Ebooks

Avoid cluttering the book cover with too much detail. Less is often more when it comes to a professional finish, which is why many ebooks have plenty of space around the illustrations and text.

Text for Digital Novels

ePublish: Self-Publish Fast and Profitably for Kindle, iPhone, CreateSpace and Print on Demand
click to buy from Amazon
It is never too late to change the title if the author has misgivings. Avoid hackneyed or generalised phrases that does not evoke an image, or those that remind the reader of another book. Original use of words will make the book title memorable or whet the potential reader’s appetite, ask questions or wonder what the book is about. A thesaurus is invaluable for this purpose.

Best Price for Enovels

The customer will expect the ebook to be cheaper than the hard copy version. According to Writer’s Forum, £2 (or around $3.50) is a good price to aim for. This falls within the higher royalty option threshold if the book is published with Amazon.com, which is 70%, a tidy profit for the author.

How to Market Research for the Enovel

Before deciding upon the final look of the book or the blurb, look for any other ebooks that have a similar theme or cover. Watch out for similar titles or use of words. Provide a link back to the personal blog or website that allows customers to leave feedback on the look of the book or any issues that might hamper sales.

Links to Novel Writing Solutions