Coming up with Chapter Titles

There is no wrong way to do chapters and chapter titles. Short titles. Long titles. Chapters titled with the name of the POV character. Excerpts of the chapter used as titles. Titles by date or location. Straightforward titles. Obscure titles. Numbers only. No titles (not even numbers). No chapters at all.

All of it has been done, and all of it can work. That makes everything I say here my opinion only. Ignore it as you will.

Think about what chapter titles are good for. Honestly, I think most readers ignore them, especially when so many books have only numbers to designate the chapters. For that reason, if you're not sure what to do, numbering the chapters is a good, safe default.

As both writer and reader, I use chapter titles as markers, to remember what happens and where (in the book) it happens. I don't always flip back for information, but when I do, it's nice to have those markers there. So I think a good chapter title is ACCURATE and MEMORABLE.

ACCURATE means the title makes sense after the reader has read the chapter. A symbolic title like "Red Cats" (for a chapter in which there are no red cats, nor does any character compare plot events to red cats--which is to say, the connection is just an exercise for the reader) might be very clever on a re-read, but serves no other purpose.

MEMORABLE means the title makes it easy to remember what happened in that chapter later. "Vague Omens" might not be a good chapter title, unless the omens were memorable by themselves.

But chapters can serve one more purpose: to make the reader want to know more. I don't know about you, but when I finish a chapter, I often read the title of the next one, even if I plan to put the book down, and sometimes, that title convinces me to keep going. A hint of what's to come, naming an event or mystery the reader has been looking forward to, an implication that something terrible is about to happen...all of these can make good chapter titles.

But as I said, that's just my opinion, and there is no wrong way to do it. How do you title your chapters?

7 Things You Never Wanted to Know

I have been coerced by the hilarious and talented K. Marie Criddle to tell you 7 things about myself. I'll understand if you stop reading the blog after this.

1)
I first beat Super Mario Bros. 2 on Wednesday, February 15, 1989. That's right, I KNOW THE DATE.

2)
The Care Bears Movie still creeps me out.

3)
I learned to play Bryan Adam's "Everything I Do" on the piano to impress girls. It worked once. We broke up 2 months later.

4)
I straighten things obsessively, especially board games. My wife, Cindy, used to taunt me in Ticket to Ride by intentionally bumping her trains out of place, because she knew it drove me crazy. (I do love her, though. Really.)

One day, we were on vacation with my family and teaching them Ticket to Ride. Cindy said, "It's fun to bug Adam with this game. Watch." She bumped a train out of place, and every single member of my family shouted, "What are you doing?!" and moved to straighten it.

4a)
I love my family.

5)
When I was a kid, I stapled my thumb trying to put together my first novel (an illustrated Choose Your Own Adventure). After crying, running to Mom, getting a tissue, and waiting for the blood to clot, I went back to the novel and STAPLED MY THUMB AGAIN.

6)
In order of increasing terror, the creatures I am most phobically afraid of are: spiders, scorpions, facehuggers.

7)
Presented without comment:

Yeah, I think we're done here.

The Power of Story

I sometimes come across the opinion that non-fiction is "useful" while fiction is purely for entertainment. For someone who loves to read, it can be hard to hear (especially when it's followed by an implication that what I write is not useful).

Ah, but it's not true. Non-fiction is certainly useful, just like a history textbook is useful, but it doesn't have the power of story.

Let's start with geography. I'm pretty good at it, but even I have trouble finding most countries in Africa. I can find Egypt, Libya, Madagascar, South Africa, and maybe Ethiopia and Somalia, but the other 48 countries are harder to pin down. I think most Americans are the same. Why? Well think about the countries you know. I know Egypt from the Bible (among other things). I know Madagascar because its the only island nation and I've seen the movie. I know Libya and Somalia because we've fought wars there.

And I know Tunisia because of Star Wars.

I know where these countries are because I have stories--even dumb ones--associated with them in my mind. No matter how many times I've memorized African geography (and I have), the only nations that stick over time are the ones for which I've learned a story.

Another example: I've been to church my whole life, but I'd have a hard time telling you the content of most sermons. Not because I didn't listen, but because they didn't stick. I do, however, remember stories. Like when my pastor went fishing without a line "so the fish wouldn't bother him." Or the story of the bridge raiser who sacrificed his son to save the people on the bridge.

Stories stick, even fiction. I have trouble remembering the details of C.S. Lewis' Mere Christianity, but I will always remember the moment in Voyage of the Dawn Treader when Eustace needed Aslan's help to shed the dragon skin he could not.

We DO write fiction to entertain, but I hope the stories I write also have meaning for those who read them. Because those stories--meaningful or not--will stick in their minds a lot longer than most non-fiction.

What stories mean something to you?

D&D vs. Fiction

One of my first novel attempts--which crapped out at 20,000 words and which you will never read--was a Dungeons & Dragons novel. I've been playing D&D and other games like it since 1989, and writing a novel was a natural extension of the worlds and characters I'd been making up all along.

But D&D does not necessarily make good fiction. It's sort of a running gag in the fantasy genre that you can tell which novels were really D&D games. This post is about why that is.

In D&D, there is no protagonist. D&D is not about one character, but about the party. They share the story and tell it together. This can work in fiction, but it usually doesn't.
In fiction, even if there are many major characters, the story is still about only one of them. THE LORD OF THE RINGS was always about Frodo, even though every party member had their adventures.

In D&D, the story and world revolve entirely around the party. Because D&D is half shared storytelling and half strategy game, it has to revolve around the players, otherwise they get bored. So when the mysterious stranger approaches the party with a quest, nobody asks, "Why us?"
In fiction, there needs to be a good reason the world can only be saved by the protagonist (especially in YA, where there are often more skilled and more experienced characters about). Anything else feels like it's happening because the plot needs it to. It feels fake.

In D&D, a character is defined by what they can DO. They're defined by their classes, skills, and statistics. Their character arc is the levels they gain and the equipment they pick up.
In fiction, a character is defined by what they WANT and what they CHOOSE. Their character arc is internal--what does the character learn about themselves and how does that change them? In fiction, a half-elf fighter is just a stereotype, but a half-elf fighter who wants to be a wizard, but whose human father wouldn't let him because he hates magic, is interesting.

In D&D, every world is essentially the same. Oh, the kingdoms and politics are different, and some DMs will come up with unique deities and monsters. But the races, classes, and rules are the same. They have to be so the players know what to expect from game to game, and can feel secure that the rules are balanced. Translated to fiction, this results in a feeling of sameness to the worlds. Everyone is a fighter, thief, cleric, or wizard. Primary cultures are medieval-European in flavor. Magic is just something certain people do (but only a limited number of times per day).

There's nothing inherently wrong with this. Some people want this when they read fantasy, and certainly there are DMs who get uber-creative with worlds and rules. But if you're not careful, this sameness is what will happen.

D&D revolves around the players, outside the game. They're the ones making the decisions and steering the story. You might think, then, that fiction revolves around the reader, but it doesn't. The reader is like a spectator to a D&D game, which is not terribly interesting. They have no decisions to make, but they want to root for someone who does. That's why fiction revolves around the characters.

Have you ever transitioned from D&D to writing? Or have you read a novel that felt like it did? Tell me in the comments.

Writing Emotions

One recurring comment in my recent beta round of Air Pirates was to add more emotion. "How does he feel about this?" "Can there be some sort of emotional understanding here, not just an intellectualization of events?"

Turns out this is hard for me. I'm not a very emotional person. I don't really trust emotions, and I've spent large chunks of my life ignoring them. So now I find myself Googling things like "What does guilt feel like?"

I guess my transformation to android is complete.

But I've learned a couple things which might help those of you who, while not fully cybernetic perhaps, have similar emotional inhibitors installed.

1) The Bookshelf Muse has lists of common external and internal reactions to tons of emotions. Scroll down the sidebar (where they also have details for various common settings, weather conditions, colors, shapes, textures, and even symbolism!). I do find many of the reactions to be more excessive than my characters usually are (big surprise there), but even so it helps me thinks of similar reactions my characters would have. This site is indispensable.

2) Put myself in the character's situation. I ask myself what I would feel were the same thing happening to me. I realize this sounds obvious to most of you, and even ridiculous that I'd even have to mention it. But understand that, were I in the same situations as my characters, I'd shut down whatever feelings I have and think my way through the problem.

Probably that's not really true, but sitting in my writer's chair--rather than a piss-scented prison cell aboard a pirate ship--it's hard for me to do anything but intellectualize.

Anyway, those are the only tips I've got. Like I said, I'm not very good at this. I bet you've got some tips though, yes?

How to Use TVTropes.org

TV Tropes is a fantastic site, collecting every story trope humanity has ever done, along with examples. If you've got a spare month or two (not a typo), I highly recommend heading over there. If you've never been, let me give you some tips on how to use the site.

1) Let it depress you. Start with some trope you're writing, say air pirates. Follow the links to all the interesting, related tropes--especially ones you thought were original--like cool-looking airships or the villain's airborne fortress that threatens to rain cannonballs on the goodguys. Come to the realization that there is NOTHING original in your story AT ALL. Quit writing.

2) Let it encourage you. After you've quit writing for a few years, realize that nobody ELSE is original either. That makes unoriginality okay (within reason). The goal in fiction is not originality, but to take what's been done and make it fresh and interesting again. To make it YOURS.

3) Let it inform you. Now that the tropes are no longer soul-crushing, find your favorite trope to see how it has been handled before, how it's been subverted, and how famous the examples are so you know what you can get away with. Come up with subversions of your own, or mix it with other tropes in new and interesting ways.

4) Let it inspire you. Stuck for ideas? How about the origin story of a Judge-Dredd-style adventure hero and his possibly-insane sidekick facing an evil tribal circus in the African jungle. If that doesn't work, just hit the TV Tropes Story Idea Generator one more time until you find something you DO like! And if it sounds too lame or familiar, just add ninjas (or samurai or pirates or mecha or whythehecknot all of them). Because it's AWESOME.

Are any of you even still reading this, or did I lose you like 15 links ago?

So You Want to be a Ninja...

(Remix)

THE BASICS. Spelling, grammar, punctuation--these are your katas, the fundamentals. Any peasant can throw a punch or toss together a grammatically correct sentence. You must know why it is correct. You must be so familiar with the rules that even your Twitter updates are punctuated properly. Only then can you improvise, creating your own forms by intent, not laziness.

WORDS. Words are your weapons, and you must become familiar with as many as possible. More than familiar, you must become adept in their use. A simple farmer can pick up a sword and make a clumsy effort at wielding it. You must be its master. And you must know which weapons are appropriate for each situation. A polearm is all but useless in assassination, as "puissant" and "scion" would find a poor home in the mouth of the common taxi driver.

With knowledge of weapons and katas, you would make a decent fighter, a writer of e-mails, a composer of persuasive essays. Any daimyo would be glad to have you among their common militia, but you would not be a ninja.

STYLE. Fighting is more than killing your opponent, and writing is more than words strung in the proper order. The samurai know this, and you can learn much from them. You must be aware of the clarity of your writing, the variation of sentence structure, the powerful techniques of imagery and metaphor. Writing is an art, not simply a means of communication.

With a knowledge of style, you could choose your own path. You could become a mercenary, writing for whomever would pay you. You could begin the path of the samurai, accepting their bushido and writing only the truth--news, non-fiction, and the like. If you seek a life of security and reputation, then perhaps the way of the samurai is for you.

Or you could begin the life of a ninja. To the samurai, bushido is life. To the ninja, it is a hindrance. The art of the ninja is lies and misdirection, surprise and subterfuge. To become a ninja, you must learn many techniques the samurai are not taught, master them, and make them your own.

You must learn the secrets of tension and plot, what drives a story forward and hooks the reader until the end. You must learn to create characters that are real, believable, and can gain or lose sympathy with the audience, as the situation dictates. You must understand the ways of dialogue to make your characters to speak without tearing down the lie you have constructed.

These are basic knowledge to the ninja, but they are only the beginning. Millions have gone before you. Most do not survive. The shinobi masters whose names you've heard are the exception, not the rule.

It takes more determination than you've ever known to become a ninja, but you can do it. I believe in you.

And if I'm wrong, it won't matter. You'll be dead.