By Beth Cotten
Remember the movie Whatever Happened to Baby Jane? As I recall, it bordered on a horror movie. The title stirred my muse to write this blog. My question is different and doesn’t provoke the same sense of dread as the movie title....but close. The question is, "What the $#@& Happened to James Patterson?"
On the way to visit my daughter in Indiana, I stopped at the airport gift shop to pick up a novel to read on the trip. I selected a James Patterson and quickly read the blurb on the book about the story line. Science Fiction is not my cup of tea, and this was a different genre from most of his nearly 60 books published since I read Virgin in 1980. So, I rationalized it must be good because it was a James Patterson novel.
I can count on one hand....maybe three fingers....how many books I started and did not read to the end. One was written in Spanish, and it was taking me way too long because my Spanish was "way too long ago." This Patterson book, The Dangerous Days of Daniel X, had a total of 220 pages. I read 80 pages to the end of chapter 31. Almost every other page is the beginning of a new chapter. I did not read further. This is by far the worst book I have ever read!
The premise of the book is that Daniel X is born with an extraordinary power unknown to our world. He is capable of creating inanimate objects and human and alien beings. As a toddler, from his hiding place, he sees his parents cruelly slaughtered, but the killer is not aware of a witness to the murders. Later, he discovers a list of names of super-powered, evil, alien beings and determines his father’s mission had been to assassinate these evil beings to save the world; thus the explanation why his father and mother were murdered. At the age of fifteen, Daniel takes up the search to complete his father’s mission. I will not be the spoiler and tell more.
I did some research:
- Reviews about the Daniel X series were split between those who thought the books were substandard to Patterson’s previous novels and others who praised them.
- The average review was three stars out of five.
- The books were written for young readers between the tweens and teens. (Well, I am a bit older.) Patterson explained the books were written to encourage the younger generation to read something other than comic books.
-The favorable reviews were from the youngsters or from parents and grandparents who were thrilled their child or grandchild was reading rather than spending all the time in front of a computer or television.
-Since 2005, Patterson published an average of 5.4 books a year --- seven alone in 2008. Can any author write four to seven quality novels a year?
Please, Mr. Patterson, don’t leave us “Oldies-but-Goodies” hanging. We were here first!
Showing posts with label Beth Cotten. Show all posts
Showing posts with label Beth Cotten. Show all posts
Sunday, October 10, 2010
Sunday, December 20, 2009
When Inspiration Fades to Intimidation
By Beth Cotten
Many years ago when I was in high school, I wrote a poem that was chosen to be published in an annual review of high school students throughout the city. The submissions varied and included poetry, essays, short stories, and other types of short literary works. The review itself was small and though I can’t recall with certainty, it seems there were less than fifty submissions that made it into the booklet. I believe the name of the booklet was "The Quill." All students whose work was selected were invited by the sponsoring association to an evening event to honor the participants and winners. We were asked to dress for the occasion, which translated into clothes you would wear to church. I was excited and proud to be included.
My English teacher had encouraged the students in my class to submit something. My poem was about a fawn, standing in a forest, alone on a misty morning. I can’t find a copy of the poem and can’t even recall the title of the poem, much less the poem itself. I do recall it rhymed and had about four stanzas. I kept it for many years in my hope chest with other "important" papers; one of which was the Certificate of Award for my poem.
Since I became of member of SCWW, I have thought occasionally of that poem. I have even put together random thoughts about "poetic" issues I might choose to write about. But after trying to put these ideas into a written format, and reflecting on some of the poetry which our members have written and read to us during our workshops, I feel a sense of hopelessness to even begin to tackle such an effort. We have some TERRIFIC poets in our midst! Look at those who have had their poetry published! Their writings are beautiful and sensitive and inspirational. As I listen to these works, my enthusiasm fades to hesitation and my inspiration to intimidation.
Many years ago when I was in high school, I wrote a poem that was chosen to be published in an annual review of high school students throughout the city. The submissions varied and included poetry, essays, short stories, and other types of short literary works. The review itself was small and though I can’t recall with certainty, it seems there were less than fifty submissions that made it into the booklet. I believe the name of the booklet was "The Quill." All students whose work was selected were invited by the sponsoring association to an evening event to honor the participants and winners. We were asked to dress for the occasion, which translated into clothes you would wear to church. I was excited and proud to be included.
My English teacher had encouraged the students in my class to submit something. My poem was about a fawn, standing in a forest, alone on a misty morning. I can’t find a copy of the poem and can’t even recall the title of the poem, much less the poem itself. I do recall it rhymed and had about four stanzas. I kept it for many years in my hope chest with other "important" papers; one of which was the Certificate of Award for my poem.
Since I became of member of SCWW, I have thought occasionally of that poem. I have even put together random thoughts about "poetic" issues I might choose to write about. But after trying to put these ideas into a written format, and reflecting on some of the poetry which our members have written and read to us during our workshops, I feel a sense of hopelessness to even begin to tackle such an effort. We have some TERRIFIC poets in our midst! Look at those who have had their poetry published! Their writings are beautiful and sensitive and inspirational. As I listen to these works, my enthusiasm fades to hesitation and my inspiration to intimidation.
Sunday, July 5, 2009
Flashback or Not?
By Beth Cotten
A fellow writer, who admitted to being new at the game of novel writing, asked a group of our members how to go about properly using the writing technique known as the “flashback.” Several opinions were rendered by those present about whether flashbacks were the way to go. Of course there were varied opinions. One mentioned that it was probably not the best technique to use although many writers have used it and have been published. The conversation left me curious about what actually were the disadvantages, technically speaking, of using this method of writing.
I had purchased the book written by Chris Roerden Don’t Sabotage Your Submission: Save Your Manuscript From Turing Up D.O.A. and thought it might cover this subject. It does. Roerden dedicates eight pages to “Fatal Flashbacks.” Since the space available for this blog is much less, I will try to shrink that information to fit the requirement.
Correctly used, a flashback makes the present story clearer in a significant way. The technique is tempting, but the publishing gurus highly suggest that new writers stay away from using it as “even experienced writers have problems with it.” Why? Roerden gives eight objections to using flashbacks which I have paraphrased below.
1. A flashback requires the writer to make a shift in time which is challenging to every writer.
2. It not only stops the story’s forward motion, it actually reverses it which can be fatal to the storyline.
3. Often it inspires writers to include information that adds no value to the story.
4. Less history is needed by the reader than many writers think and can be presented in the current story in a less disruptive manner.
5. Longer flashbacks cause a greater risk of damaging the forward thrust of the plot.
6. A flashback from within a current scene is hard to segue into and then smoothly return to the action.
7. When some readers detect an impending flashback they simply jump ahead in their reading.
8. Many writers like to use flashbacks for their own convenience and not for its primary purpose.
Roerden goes on to explain in detail and through example the ways in which flashbacks and what are called mini-flashbacks can be used effectively. He cautions writers to avoid taking readers into the past if a way can be found to include “brief…selected highlights from the past” in the current action.
I highly recommend this book to anyone hoping to be published (aren’t we all?) and especially to a newbie like me.
A fellow writer, who admitted to being new at the game of novel writing, asked a group of our members how to go about properly using the writing technique known as the “flashback.” Several opinions were rendered by those present about whether flashbacks were the way to go. Of course there were varied opinions. One mentioned that it was probably not the best technique to use although many writers have used it and have been published. The conversation left me curious about what actually were the disadvantages, technically speaking, of using this method of writing.
I had purchased the book written by Chris Roerden Don’t Sabotage Your Submission: Save Your Manuscript From Turing Up D.O.A. and thought it might cover this subject. It does. Roerden dedicates eight pages to “Fatal Flashbacks.” Since the space available for this blog is much less, I will try to shrink that information to fit the requirement.
Correctly used, a flashback makes the present story clearer in a significant way. The technique is tempting, but the publishing gurus highly suggest that new writers stay away from using it as “even experienced writers have problems with it.” Why? Roerden gives eight objections to using flashbacks which I have paraphrased below.
1. A flashback requires the writer to make a shift in time which is challenging to every writer.
2. It not only stops the story’s forward motion, it actually reverses it which can be fatal to the storyline.
3. Often it inspires writers to include information that adds no value to the story.
4. Less history is needed by the reader than many writers think and can be presented in the current story in a less disruptive manner.
5. Longer flashbacks cause a greater risk of damaging the forward thrust of the plot.
6. A flashback from within a current scene is hard to segue into and then smoothly return to the action.
7. When some readers detect an impending flashback they simply jump ahead in their reading.
8. Many writers like to use flashbacks for their own convenience and not for its primary purpose.
Roerden goes on to explain in detail and through example the ways in which flashbacks and what are called mini-flashbacks can be used effectively. He cautions writers to avoid taking readers into the past if a way can be found to include “brief…selected highlights from the past” in the current action.
I highly recommend this book to anyone hoping to be published (aren’t we all?) and especially to a newbie like me.
Sunday, November 23, 2008
Dialogue Sets the Pace
By Beth Cotton
Writers must use dialogue to advance the story and develop character. Without successful dialogue, neither of these things happens, and soon the reader loses interest and closes the book. If the dialogue does not set the pace, it is simply taking up space on the page and does not belong there and/or it keeps the story from moving forward.
What, then, is "good" dialogue? It must contribute to the telling of the story and provide dramatic impact to move the story and its characters forward. Dialogue should promote action which shows rather than tells the reader what is happening on each page. Good dialogue causes the reader to get immediately involved, and the reader then begins to develop a kinship with the characters. If done well, the writer can make the characters become real to the reader with dialogue. The reader can get inside the characters’ heads by what is being said.
For example:
"Tommy, answer the door, will you? I have to finish putting the cheese on the casserole and get it back into the oven." She hears the door open and Tommy talking to another child. Tommy comes running back into the kitchen with a big smile on his face.
"I’m sorry Tommy, but you can’t go outside to play because you haven’t finished your homework."
"Please, can’t I finish it later, Mom? This is the first time Johnny has asked me to play since we moved here."
"How much of your math assignment do you have left to do?"
"Only two problems. And they are easy. I can do them really fast."
"All right, go to the door and ask Johnny to come in while you finish those problems and then you can go with him, but you can’t be gone a long time because dinner will be ready shortly. Maybe Johnny can call his mom when the two of you get back and ask if he can stay for dinner."
"Thanks Mom, you are so cool!"
What can the reader surmise about these two characters by the dialogue? Each line tells us something about the person speaking; the mother is a homemaker and cooks economical family meals, Tommy is a child who is polite and obedient to his mother, he does not have many friends because they have recently moved to town, the mom wants to help her son socialize with other children so that he will make new friends and will soon adjust to living in a different neighborhood. It shows her love and concern for her son. It shows Tommy is excited about the chance to make a new friend.
Is the reader curious? Does the reader want to know if the mother is single or divorced? Or widowed? Why is she not working? Who is Johnny, and how does he fit into the future story?
Their conversation is real, but it is not just conversation, it is dialogue which has a purpose in developing the characters and advancing the story.
Writers must use dialogue to advance the story and develop character. Without successful dialogue, neither of these things happens, and soon the reader loses interest and closes the book. If the dialogue does not set the pace, it is simply taking up space on the page and does not belong there and/or it keeps the story from moving forward.
What, then, is "good" dialogue? It must contribute to the telling of the story and provide dramatic impact to move the story and its characters forward. Dialogue should promote action which shows rather than tells the reader what is happening on each page. Good dialogue causes the reader to get immediately involved, and the reader then begins to develop a kinship with the characters. If done well, the writer can make the characters become real to the reader with dialogue. The reader can get inside the characters’ heads by what is being said.
For example:
"Tommy, answer the door, will you? I have to finish putting the cheese on the casserole and get it back into the oven." She hears the door open and Tommy talking to another child. Tommy comes running back into the kitchen with a big smile on his face.
"I’m sorry Tommy, but you can’t go outside to play because you haven’t finished your homework."
"Please, can’t I finish it later, Mom? This is the first time Johnny has asked me to play since we moved here."
"How much of your math assignment do you have left to do?"
"Only two problems. And they are easy. I can do them really fast."
"All right, go to the door and ask Johnny to come in while you finish those problems and then you can go with him, but you can’t be gone a long time because dinner will be ready shortly. Maybe Johnny can call his mom when the two of you get back and ask if he can stay for dinner."
"Thanks Mom, you are so cool!"
What can the reader surmise about these two characters by the dialogue? Each line tells us something about the person speaking; the mother is a homemaker and cooks economical family meals, Tommy is a child who is polite and obedient to his mother, he does not have many friends because they have recently moved to town, the mom wants to help her son socialize with other children so that he will make new friends and will soon adjust to living in a different neighborhood. It shows her love and concern for her son. It shows Tommy is excited about the chance to make a new friend.
Is the reader curious? Does the reader want to know if the mother is single or divorced? Or widowed? Why is she not working? Who is Johnny, and how does he fit into the future story?
Their conversation is real, but it is not just conversation, it is dialogue which has a purpose in developing the characters and advancing the story.
Sunday, June 29, 2008
FOUR GOOD BOOKS on WRITING
By Beth Cotten
Columbia II Writers Workshop
Most of the following books were written in the 1980s and 1990s; a paperback edition of The Weekend Novelist was released in April, 2005. No doubt there are newer books on the market, but I think you will find these to be useful and easy to read. I have read some chapters of each of them, but I still have yet to read them completely. I think my summer will be taken up by checking out these resources again. Enjoy!
Writing the Block Buster Novel: Author - Albert Zuckerman
Albert Zuckerman is a former novelist, TV writer, and teacher of playwriting at Yale and is the founder of Writers House. This book is a comprehensive look at all phases of writing a best-selling novel, from "Getting Started" to "Getting it Published and onto the best-seller lists." The book is excellent and should be read by anyone interested in publishing fiction. Currently available at Amazon.Com Be sure to check out the Writers House web site.
The Writer’s Digest Handbook of Novel Writing: Edited by Tom Clark, William Brohaugh, Bruce Woods and Bill Strickland.
A compilation of 37 writings by 30 authors, agents, editors, teachers and publishers. All of the material first appeared in Writer’s Digest Magazine and were compiled into this book with permission. The book is excellent and is also available, new and used, at Amazon.Com.
Show Don’t Tell-A Writer’s Guide: Author - William Noble
For those of us who stray into lecturing our readers instead of entertaining them, this is another very useful book. Currently available in paperback at Amazon.Com. Noble has written other writing guides, Steal This Plot, “Shut Up!” He Explained, and Make That Scene. All are also available through Amazon.Com. Check under used or textbooks by title.
The Weekend Novelist: Author - Robert J. Ray.
This is an interesting book, in that it is a 52-week program designed to help a writer produce a finished novel in a year, one weekend at a time. Some of us are very busy and at least I am inclined to use the excuse of not having time to write. The author says you can become a "real writer" if you only have time on the weekends. In 1994, when this book was published, the author had very successfully published eight "highly acclaimed books." The book is touted as a step-by-step program, the one Ray uses himself to produce a book from "the blank page to a completed novel." The book is also available at Amazon.Com, as is his 1998 book The Weekend Novelist Writes a Mystery.
Columbia II Writers Workshop
Most of the following books were written in the 1980s and 1990s; a paperback edition of The Weekend Novelist was released in April, 2005. No doubt there are newer books on the market, but I think you will find these to be useful and easy to read. I have read some chapters of each of them, but I still have yet to read them completely. I think my summer will be taken up by checking out these resources again. Enjoy!
Writing the Block Buster Novel: Author - Albert Zuckerman
Albert Zuckerman is a former novelist, TV writer, and teacher of playwriting at Yale and is the founder of Writers House. This book is a comprehensive look at all phases of writing a best-selling novel, from "Getting Started" to "Getting it Published and onto the best-seller lists." The book is excellent and should be read by anyone interested in publishing fiction. Currently available at Amazon.Com Be sure to check out the Writers House web site.
The Writer’s Digest Handbook of Novel Writing: Edited by Tom Clark, William Brohaugh, Bruce Woods and Bill Strickland.
A compilation of 37 writings by 30 authors, agents, editors, teachers and publishers. All of the material first appeared in Writer’s Digest Magazine and were compiled into this book with permission. The book is excellent and is also available, new and used, at Amazon.Com.
Show Don’t Tell-A Writer’s Guide: Author - William Noble
For those of us who stray into lecturing our readers instead of entertaining them, this is another very useful book. Currently available in paperback at Amazon.Com. Noble has written other writing guides, Steal This Plot, “Shut Up!” He Explained, and Make That Scene. All are also available through Amazon.Com. Check under used or textbooks by title.
The Weekend Novelist: Author - Robert J. Ray.
This is an interesting book, in that it is a 52-week program designed to help a writer produce a finished novel in a year, one weekend at a time. Some of us are very busy and at least I am inclined to use the excuse of not having time to write. The author says you can become a "real writer" if you only have time on the weekends. In 1994, when this book was published, the author had very successfully published eight "highly acclaimed books." The book is touted as a step-by-step program, the one Ray uses himself to produce a book from "the blank page to a completed novel." The book is also available at Amazon.Com, as is his 1998 book The Weekend Novelist Writes a Mystery.
Sunday, June 8, 2008
Beth Cotten
My true name is Elizabeth Cotten. My pen name is Liza Spencer; derived from my first name and my husband’s first name. I was born in Pine Bluff, Arkansas, but from the age of four I lived in California until I retired and moved to Columbia, South Carolina in January of 2003. I now consider Columbia my home. The best years of my life thus far were the 49 years I spent married to my husband who passed away in October of 2007. Approximately 17 of those years were spent as a defense investigator; 11 as a licensed private investigator and six as criminal investigator for the San Diego Public Defenders Department. I hold a Ph.D. in Clinical Psychology that promoted my employment in the field. I found it to be a very rewarding career.
I was influenced to write because I have a love for the written word and because I have always been successful throughout my life with written assignments- in both my education and career. Writing my doctoral dissertation provided excellent experience in the areas of research and writing skill. From the time of my childhood, I have been an avid reader of both fiction and non-fiction. My preferred choice of genre is the fictional novel, but I am also interested in learning about short story writing.
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