Killing Your Characters

Warning: Spoilers for Harry Potter non-deaths.

It is common knowledge that- minus the immortal exception-with life comes death. As writers, we are creators. We build worlds, dream of universes, and perhaps most endearingly think up characters. It can be a very intimate process for some. I know it is for myself, so when our characters reach the end of their lives during our stories it can be quite difficult to 1) let them go and 2) do so sometimes less than peacefully.

Now, with each character it is different, of course. Some are predestined for their deaths to move stories and plots, created to do just that. I've killed many a character without so much as taking a moment to pause in my typing. Is this cruel? Maybe, but the story demands what the story demands.

However, there are the rare few who we get so attached to that it is difficult to fate them to anything more harsh than seasonal allergies or the occasional scraped knee. The story must go on though and not be hindered by personal qualms.

Some advice would be to not be afraid to off a few characters here and there! It's natural. It'll happen eventually...unless your protagonist is some sort of perennial jellyfish. In that case, there are many guidelines you can throw out the submarine window.

Some advice from the other end of the spectrum would be to kill only when absolutely necessary to the story. Uncalled for or random deaths will get you a parade full of pitchforks and torches at your back door. Even the most esteemed writers are tempted by the therapy or brutally murdering helpless characters to relieve one's self from everyday troubles. JK Rowling herself admitted to almost killing Ron Weasley during a time she was having difficulties in her own life. Thankfully for Ron and fans of his, she decided otherwise and he pulled through. (Congrats Ronald!) Crisis averted.

Anyway, final words of wisdom: Kill and do not kill. The balance of the universe rests in your pens. Treat it with care, fellows, and good luck.

The Idea ATM

The ATM doesn't dish out free money. It would be great if it did but things just don't work that way. It's the same with creating a story. You can't pull a lever and hit the jackpot with nothing but thin air to feed the machine.

People always tell me that they are stuck for ideas. They can't think of what to write. I've never had that problem myself. Sure, sometimes I don't know which direction to take a story or I get stuck on a character's motivation...but an idea is the spark of something, an inkling. My problem is having too many ideas and not knowing what to do with them. Or rather, not having the discipline to carry them out.

You can't grope a well-written story out of thin air. What you get out of your ATM only complies with your credit balance. If you want a brilliant tale, you have to stock up. Just like with a vending machine. You can't shake that thing and pray something pops out every time. Especially if it's empty. You have to stock it yourself.

Wait, stock the machine, operate the machine, pay for the machine and use the idea ATM all on my own?

Not necessarily. You can always collaborate with friends and fellow writers to come up with ideas and writing prompts which you can store in one place, whether it's a word file or a box filled with slips of paper. Of course, everything in the box is fair game for whomever decides to use it.

However, ideas are sparks. What you do with it is what is really imporant.

Next time you are stuck for an idea, remember that you can't hope to catch a fully formed plot. You need to ignite a spark first, even if that spark is seemingly simple and unoriginal.

Ideas are free. Developing them into stories is hard.

The Canterville Ghost by Oscar Wilde

In the English countryside, Canterville Chase has been haunted by the ghost Sir. Simon of Canterville, ever since he was punished for the murder of his wife. Sir. Simon has terrified each of the house's residents for years but now he faces a family, the likes of which he has never encountered - Americans.

A short novel about a ghost? Haunting? Not my area. I don't read horror. Wait, it's written by Oscar Wilde? Yes please.

Everything I have read by Oscar Wilde (and I still have a way to go) has been well worth the gander. In this novella, Wilde brings sentiment and hilarity to an otherwise eerie story. Sir. Simon of Canterville is not an innocent character but neither is he depicted as someone who is strictly evil or inhuman. Indeed, despite no longer being alive, he still has the capability to get depressed and catch a cold.

'The Canterville Ghost' is much a comment British and American contrasts as it is of Gothic literature. Wilde has fun with the societal differences but doesn't fail to create a story that is engaging and emotional. I didn't think I would enjoy it as much but I'm glad I did.

I listened to the novella on audio book, narrated by Rupert Degas. Not only did he do an excellent job of bringing the characters to life with his array of accents and theatricality but the sound effects used were some of the best I have come across. In fact, most audio books I listen to do not include sound effects at all. I'm not sure why because they enveloped me in the eerie setting of the story. Sir. Simon's presence was alive in the creaks, shudders and groans.

This is a short read/listen but well worth the time spent. Splendid.

In accordance with the FTC, Quill Café would like to disclose that the reviewer purchased this book. The opinions expressed are hers alone and no monetary compensation was offered to her by the author or publisher. Cover art is copyright of Naxos Audiobooks and is used solely as an aide to the review.

Writing in Style: Grammar Tip #2

Grammar: everyone hates it, but everyone needs it. Fiction writing allows authors a lot more freedom with how they craft sentences and meaning, but that doesn't mean you can ignore the basics entirely. Here's a series of quick grammar tips to help your writing sparkle.

Today, let's talk about cases.

2. All your pronoun problems are a matter of case. Confused by why we say "This is she" instead of "this is her" on the phone? Wondering why 'who' and 'whom' are different? Need to know why your teacher is always correcting 'I' to 'me' on your quizzes? The form of nouns and pronouns is determined by grammatical function in a phrase, clause, or sentence. These forms are called cases, and in English, there are three. They have funny names, but we'll call them subjective, objective, and possessive.

In order for you to use the right case, you need to know if the noun or pronoun is serving as a subject, object, or possessive in that instance. A subject is performing an action or is being described. An object is receiving an action. A possessive is showing...well, possession. Simple, right?

Subjective (nominative) pronouns: I, he, she, we

Objective (accusative) pronouns: Me, him, her, us

Possessive (genitive) pronouns: My/mine, his, hers, ours

• You and I are going to the store. (You and I are the subjects)
• Between you and me, I think she's lying. ('Between you and me' is an introductory clause, so neither pronouns are acting as subjects)
• She didn't want him to see the broken window. (She = subject, him = object)
• That car is ours. (Showing who owns the car)

Who, Whom, Myself

These pronouns often cause problems, even for native speakers. 

Who: Subjective
Whom: Objective

When you're trying to decide whether to use who or whom, ask yourself if the answer to the question would be he or him. (or she and her)

This is probably the easiest way to tell when to use who and whom. Who corresponds to the subjective pronouns she and he, while whom corresponds to her and him.  

Who is this? (Who is the subject: "It is HE.")
Whom should I give this to? (Whom is the object: "Give it to HIM.") 
Sarah, who is a veterinarian, cared for the guinea pig. (Sarah is the subject, and who is referring to her: "Who  is a veterinarian?" "SHE is a veterinarian.")

Myself: Reflexive, used as emphasis. ONLY use this when 'I' has been used (or is implied) earlier in the sentence. 

• I can't eat seafood myself. (Used after 'I', used to emphasize that you can't eat seafood)
• You and myself will go to the concert. NO ('I' has not been used or implied, so the correct form is 'I')

The same goes for yourself, himself, herself, itself, etc....  Reflexive pronouns are objective and cannot be used as subjects.

Please note, though, that language is constantly in flux and so traditional grammar rules can be altered or ignored in order to keep up with modern conventions.

In the case of dialogue or narratives in fiction, sticking to what sounds right is usually a good rule.

The Thin Line Between Provocative and Repulsive

There are so many characters and archetypes we know because of media and re-hashing, they become a part of the world around us. You might not have read Pride and Prejudice by Jane Austen but you may have heard an awful lot of references to Elizabeth Bennet and Mr Darcy or seen a movie which was based on a book which was inspired by Pride and Prejudice.

There are two quintessential characters who I have been interested in reading about first-hand: James Bond and Sherlock Holmes. I've not seen most of the film and television adaptations which these two characters have inspired but I still wanted to read about them straight from the authors' scripts.

Recently, I bought and listened to the audio book 'A Study in Scarlet' which is the first Sherlock Holmes novel. I enjoyed it and was keen to find the next installment. Luckily, it was available for free on Kindle. I read.

We all judge the characters we read about. How they act, how they treat other people, what decisions they make...it all affects our opinion of them. I was able to deduce from reading 'A Study in Scarlet' that Sherlock Holmes is very observant, patronising and has an obsession with hoarding his findings in a case until he can give his big reveal, something usually reserved for a cliché villain. In 'The Sign of the Four' I deduced that solving crimes was his obsession and when he was without a necessary conundrum, he wallowed in depression and turned to drugs.

Yes, Sherlock Holmes shoots up cocaine and he's still the quintessential detective. I thought, 'This is a well developed character. He may be exceptionally clever but he is far from perfect.' It proved that someone's drug habits do not define them. Few people think of Sherlock Holmes and then remember the needle marks all over his arm.

Of course, just because a character is well written and complex, doesn't mean that you agree with them or like what they're doing. Holmes can shoot up all the drugs he wants but if he pulls a gun on a black man for looking like - in Watson's words - a "savage, distorted creature" then it doesn't matter to me if the story is set in 1887, I don't really want to read on.

The ability to create evocative and layered characters is the sign of a good author, even if the character does something that irks or offends you. If a character gets under your skin, it's better than a character who bores you. Except...what if that character puts you off? I've talked about unattractive character traits before but what happens if a character does something that makes you stop reading the story?

That is the dilemma. You want to create a character who isn't made of sunshine and rainbows or shadow and sawdust...but you also don't want to write a character that rubs your reader the wrong way to the point that they can't read on. Where does being realistic to a character's actions and moods conflict with a reader's tolerance level?

All readers are different and we all like and dislike different things. We hate characters other people adore. We are drawn to some characters without being able to explain it. Some characters we want to spend our days with and others we want to shove into a rocket and launch into a supernova.

I don't want to send Holmes into a supernova but I am a little put off. I appreciate his character but I'm not compelled to read more about him. At least, not for a while.

You can't please every reader but when it comes to creating an evocative character, there is a wide range from bored and abhorred.

Are there any characters you appreciate despite their faults? What about ones that stopped you from reading?

They Are More Than What You See

Last year for NaNoWriMo we were given our choice of motivational stickers. Plenty of us stuck them on our laptops. There's one that says: "Whatever you think you are, you are more than that." It's a great point for everyone to remember in times of doubt - and writers have plenty - but it also makes me think of how we can use such a notion to develop our own creations.

"More than meets the eye" is the well-known phrase. Books may have snazzy covers but their substance is within. Someone may appear to be shy at first but there is a vibrant personality hidden inside them, waiting to burst forth. Fictional characters are much the same. They may not be real people but in every other sense they should be an individual.

I've read too many books where stereotypes have been stuck to. The teen heroine has a snarky arch nemesis whose entire purpose in life seems to be to thwart her. I know that inferiority complexes are very much real and thriving but it seems a bit much. Not every character in a story will be as developed or important but every one needs to have the acknowledgement that one aspect does not define them.

In the play 'A Midsummer Night's Dream' one of the heroines is taller than the other. Their exact heights are unknown but it becomes instilled in the reader's mind that Helena is tall and Hermia is short. This doesn't define either of the two characters but it does make for one point of bickering when their love lives become tangled.

Height is just one of the many ways in which people differ, so naturally it's one of the many things we notice about each other. I'm just over 5 feet 1 inch...I think. Around that, anyway. So, I'm short. People notice, people make jokes, I embrace it and sometimes it irks me. It's part of how people see me.

I love dramatic monologues. I may not be the greatest actor but it never stopped me from adoring acting and theatre. I love characters who express themselves in brilliant ways...and it doesn't take me long when reading a play to suss out which female characters have the best lines or who appeals to me the most.

When I was in primary school, I wanted to audition for the role of Titania. It wasn't 'A Midsummer Night's Dream' but an incorporation of the character into an original production. The teacher refused to let me audition because I was too short. That was over ten years ago. I'm still bitter.

In high school, when we studied Shakespeare's plays, the teacher would have us read character roles. At one of my schools we were reading from 'A Midsummer Night's Dream.' It was a scene between Helena and Hermia. Eager, I volunteered to read. A guy in my class also volunteered.

I turned to the girl sitting next to me and told her that the teacher was going to ask me to read for Hermia. She did. My friend started laughing. When the teacher inquired as to why, I told her that I knew she was going to ask me to play Hermia because even though the other reader was a dude and we were only reading, I was shorter than him. She was notably embarrassed and to her credit let me read for Helena.

Fiction and writing helps to shape how we see things. Clichés are born from original ideas that are overused and stereotypes stem from a truth and then stick to it until it's stunted. I do not believe that a fictional character who does bad things should be revealed to be the hard exterior for an endangered and fragile species of butterflies nesting inside* but I do think that they need to be more than the cookie-cutter baddie.

You are more than what you think you are and more than how other people see you. Treat your fictional characters the same way. The reader will thank you for it.
*Actually, that would be pretty cool. Save the butterflies by incubating them inside a criminal on Death Row, only to have him escape, become even more deadly...and no one can harm him because he harbours that protected species. Bonus points if the butterflies are an important factor in curing an illness.

Apostrophes – The Three Ways to Use Them Correctly

There are three different ways apostrophes are used:

1. Apostrophes to indicate Possession:

For all nouns EXCEPT POSSESSIVE PRONOUNS, apostrophes are used to show possession, e.g.

• The man’s shirt (the shirt belonging to the man)
• The ladies’ handbags (the handbags belonging to the ladies)
• The people’s voice (the voice of the people)
• The dogs’ collars (the collars belonging to the dogs)

Apostrophes are never used for possessive pronouns, i.e.

• your = belonging to you
• its = belonging to it
• whose = belonging to whom
• their = belonging to them
• our = belonging to us.

The most common mistake in the use of apostrophes is when an apostrophe is added to a possessive pronoun, confusing it with the use of an apostrophe in the next category:

2. Apostrophes indicating Omission:

To show the omission of a letter or letters, e.g.

• you’re = you are
• it’s = it is
• who’s = who is
• they’re = they are
• she’d = she would
• he’ll = he will
• don’t = do not

Another common mistake in the use of apostrophes is when an apostrophe should be used to show omission but is overlooked.

3. Apostrophes to show Distinction:

This last way to use an apostrophe is very rare and often misunderstood, but the apostrophe is used so that the reader can easily distinguish what the word is, especially in headings, e.g.

• DO’S AND DON’TS (compare DOS AND DON’TS where the first word looks as if it should be pronounced ‘DOSS’)
• A HISTORY OF THE 1980’S (compare A HISTORY OF THE 1980S where the ‘s’ almost looks like another number and is not so easy to distinguish when your eyes scan it quickly).

Keri: Article written by my amazing mother.

Close Your Eyes, Then Write

When I was little, I realised my eyes were like a camera and my brain was where the pictures were developed. I'd close my eyes and the last image on my retina would fade into black. I was left with only my imagination to process the memory.

You can sit in a park or stare at a photo, trying to word a description. The image is there but you are finicky about how to word the scene. "A picture is worth a thousand words," is the common phrase. A thousand words can take ages to write or no time at all. It all depends on you.

I can see you have a little of a perfection complex. Don't try to deny it. When you see an image before you, you want to do it justice in words. You study it and squeeze your brain cells, trying to figure out just what to write. Meanwhile, the only ink on the page before you is the tap-tap-tapping of the pen. Dot-dot-dot does not a fascinating tale make.

What to do about this dilemma? I have a solution.

When you are trying to write from a visual stimulus, your brain divides the task into two things: pictures and words, oil and water. They seem so different and refuse to mix. You are forced to create some kind of alchemical equation to turn pictures into words. Your result is dot-dot-dot and a headache.

Remember what I told you about your eyes being a camera? Well, I may not be six anymore but I still believe it's true. You can use your visual senses, memory and imagination to solve this conundrum.

1. Look at the scene you want to describe.

2. Close your eyes.

3. Allow that picture to stay there for as long as you can hold it. Savour it.

4. When the visual of it disappears, remember it.

5. Imagine it as something moving, not a still image.

6. Open your eyes at the page in front of you, not the image you were looking at.

7. Write without looking at anything but the page. Do not look back at the scene/image you are writing about.

Perfection is not your friend. Imagination is the sword which writers wield. Sure, it can be a little unruly at first but you'll master it before long.

Just remember, a writer's camera is never forgotten.

Writing in Style: Grammar Tip #1

Grammar: everyone hates it, but everyone needs it. Fiction writing allows authors a lot more freedom with how they craft sentences and meaning, but that doesn't mean you can ignore the basics entirely. Here's a series of quick grammar tips to help your writing sparkle.

1. Passive does not equal 'was'. There is a misconception in the writing community that it is bad to use the word 'was' in your writing because it's the passive voice. I don't know where this comes from, but it's not true. Although 'was' can signal the passive voice, it is not synonymous with it. You can use this word as well as other 'being' verbs (am, is, are or other words that describe states/condition instead of actions) and still have energetic prose. The real difference between active and passive is that:

Sentences in active voice focus on the subject, while sentences in passive voice focus on the object.

• The boy hit the cat with a water balloon.  vs.  The cat was hit with a water balloon by the boy.

The first sentence is active because the focus is on the subject, i.e. the person doing the action. The second is passive because it focuses on the object, or who/what is receiving the action.

So what about the word 'was'? Consider these two sentences:

• I was reading my novel when the phone rang. vs. The novel was being read by me when the phone rang.

Notice that while both are using 'was', only the second sentence is passive. The second sentence is also wordier without advancing the meaning, so you should avoid it. BUT sometimes the passive voice is preferable when the object is more important than the subject, or the subject is unknown. An example:

• John F. Kennedy was shot during a political rally.

JFK was a prominent political figure, so he will probably be the most important element to this sentence.

Although active sentences will probably make up the most of your prose, passive sentences are handy, too. Make sure you can identify both easily so you can use them with maximum effect!

Lindy's Diary by Alex Flinn

The companion novel to 'Beastly,' written from the perspective of the "Beauty," Lindy.

I only came across this book by chance. It appears to have been released less than a month ago. I snatched it up on Kindle due to the low price and an interest in reading the story from Lindy's perspective.

Lindy may be the "Beauty" figure in the story but she is not stunningly beautiful. She isn't ugly but neither is she presented as a sex bomb disguised as a Plain Jane. She is someone the reader can relate to.

When it comes to the story of 'Beauty and the Beast' there is a huge focus on the role of the girl. She is the one who is taken away. She is the one whom the sympathies of the reader should lie with. So, after enjoying stepping into the modern-day retelling of the story in 'Beastly' I was interested to see what a modern day "kidnapped" girl would have to write in her diary.

An important part of 'Beastly' was that Kyle had to learn that beauty was about what was inside and not all about looks. What interested me was that Lindy had her own variation of this lesson to learn. She might not have been shallow like Kyle but she was still drawn to Kyle's physical appearance.

What I most wanted to see was Lindy's take on living with the "Beast." There were plenty of references made to other adaptations of the original story, like the Disney film and 'The Phantom of the Opera' and "Stockholm" was not a word that was ignored. Flinn manages to write Lindy's voice in such a way that whether or not we can identify with her thought process is irrelevant, we see her own rationality in it.

'Lindy's Diary' is not a book I would recommend unless you have already read 'Beastly.' If you have and enjoyed it, go for it. You won't be disappointed.

I look forward to reading more of Alex Flinn's novels, particularly 'Cloaked.'

In accordance with the FTC, Quill Café would like to disclose that the reviewer purchased this book. The opinions expressed are hers alone and no monetary compensation was offered to her by the author or publisher. Cover art is copyright of Harper Teen and is used solely as an aide to the review.

Reading Space

Everyone has a favourite place to read, a favourite time to read. I’m a night owl myself. When the sun has set and everyone has calmed down for the evening that’s when I like to stretch out on my bed and lose myself in the pages of a novel.

I don't know why I like that particular time. The quietness would seem the obvious answer, but the days when I'm actually at home tend to be quiet, as everyone else is at work. Maybe, the more I think about it, it’s because I have the time to stop, relax and take in every word that my eyes absorb. Maybe it’s because my bed is just so dang comfortable. But in my room, at night, seems to be my time.

Don't get me wrong, I love to read any time of day, anywhere. But I never get as absorbed into the book. When I'm out at the shops, at a cafe or in the park, I just don't connect with what I'm reading. There is always this tingling sensation, that someone, somewhere, is watching me. Not in a ‘spying through binoculars’ kinda way, more along the lines of ‘I hope someone doesn’t look over my shoulder and see what I'm reading’ way. Am I the only one who has those awkward reading moments in public?

When I'm at home, in my own space (my own world of happiness more-like) the characters, the narrative and the wondrous place I'm discovering just seem that much better.

So, what are your reading habits like?

A Character's Gender

You hear about women reading books on the behavior of men. You see them leafing through volumes in movies. I never thought I would be one of them...but chance brought one to me and I had a look.

Male, female, other. There's a biological box for us all to tick. With that one little mark, we select our category and all its subheadings.

Men are strong, women are small. Men are insensitive, women are irrational. Men want sex, women want babies. Are these the things I should keep in mind when I'm creating a character?

No thank you. I don't bend to the belief that majority is fact. I don't think that because I am writing fiction I need to pander to poll numbers. The fact of it is, everyone is different: biologically, mentally, personally.

Some men are asexual. There are women who don't just cry and pray for babies. Just because a man is gay, doesn't mean he is going to be understanding of all your feminine problems. Some women abuse their spouses. Not all men need to have their egos pandered to. There are plenty of women who do not obsess over their weight.

Writers worry about clichés but there are just as many who feel they need to sidle up close to the rule and not stray too far into the exception. After all, who is going to take you seriously if your story has a perspective that turns your reader's on its head?

The book I was reading was well-written but it was too skeptical about gender and too quick to state something as fact. I don't think there is a guide to gender. Whether a writer is trying to dissect the ways of women or men, it's all too vague. Even biologically, we all started out the same.

I want to try and understand a character beyond whether they are male or female. It can be such a restricting thing to focus on and not at all what defines an individual. You could read volumes on what men do and think and still be stumped on that specific individual you're reading it all for. After all, we're all "other" in the beginning.

How does a character's gender affect the way you perceive them?

The Idiot Box

I don't think anyone can argue that television, as a whole, is the supreme time waster. Yeah, you could be watching National Geographic or the Discovery Channel and learning about wormholes, but let's face it - you're really watching Jersey's Shore and feeling bad about it, as you should be. Meanwhile, the book/pile of laundry/homework/starving unloved hamster is sitting beside you, ignored, until you realize six hours have passed and you have nothing to show for it. Worst of all, it seems you no longer have a hamster. RIP Mr. Jiggles.

But as bad as television is for productivity, I have to argue that computers and the internet are much, much worse.

TVs don't try to convince you that they're anything other than what they are. They whisper to you constantly: "Hey, I might not be able to help you with calculus, but omg you *have* to see this... Snooki just fell down AGAIN." Now, do you really need to look at the orange tinted pixels covering a drunken woman's crotch? Definitely not, but as the popular saying goes, it's a fiery train wreck and you can't look away. You know you should, and the TV knows you should, but you're trapped and everyone knows it. Say what you want about Hollywood executives, but they know what they're doing.

The internet, on the other hand, tries to convince you that not only can it help you do more, it'll help you do it efficiently. Need to look up a word in the thesaurus? Typing it in is much faster than using a book. Have to do research for class? We've got Google and Wikipedia ready and waiting for you. Want to finally finish that novel of yours? That's what the word processor is for. With a keyboard, you can type 100 words for every one you'd write on paper!

...Except you're not actually typing anything, because you're reading about semi-famous people drinking Red Bull on Twitter.

Even if the internet consisted of nothing but Wikipedia and dictionary.com, you still wouldn't get anything done. Because while TV is mostly one directional, your computer is interactive. Every little thing that comes to mind is worth exploring because it's so easy and fast to do. So although you started out reading about Vincent Van Gogh for an art history project, now you're reading about your favorite actor's fungal infection. By misleading you to think you're saving time, it's a lot easier to get distracted and get nothing accomplished.

So do yourself a favor every once and awhile and unplug - your brain and your productivity will thank you.

Cliff-hangers in Chapters

When I’m reading, a chapter feels like a milestone. It is one step closer to reaching the end. It’s something of an accomplishment. Sometimes it feels like a trial.

If you’re a writer, you want readers to be compelled to read on past a chapter, instead of finding it the perfect place to stop. If you’re a reader, you want that too. We’re all searching for that book we can’t put down. Why wouldn’t we want that for our own writing?

Cliff-hangers are taunting and cunning tools. If you can dangle a question or teeter on the edge of a compelling moment, readers will have more reason to continue on. It seems simple enough. Don’t end a chapter on a boring note. Still, I check my writing and too often I find that I end a chapter in a lyrical way instead of one that prompts the need to turn the page.

When it comes to writing cliff-hangers, your two best friends are tension and intrigue. If I’m reading your story, I need to feel either the rising stakes of the plot or a compulsion to find an answer to a clue you’ve teased me with.

Don’t just send your character to bed. Let them find something in their bed. Be disturbed from their sleep by an unknown figure. Whatever you do, don’t let your character lie there, stare at the ceiling and wonder about things. Just because your character is mulling over questions in their head, doesn’t mean that it will amount to any inquisition on the part of the reader.

Don’t hang your character off a cliff at the end of each chapter. Action is good but life threatening or strenuous situations at the end of each chapter are tedious, not to mention ridiculous. Yes, even if your protagonist is a super spy action hero man. Just because cliff-hangers are good literary tools does not mean that you have to constantly bash the reader over the head with them.

The important thing to remember is that to get the reader to continue with the story, they have to care. They have to be compelled to know more. If you can itch at their curiosity, you have them. If you have managed to make them care about what happens to the protagonist, they will want to know if they manage to catch up with the poachers on their rusty bicycle.

Cliff-hangers do not have to be extravagant and you do not need one at the end of each chapter. Still, take a look at the last sentence of a chapter you have written and think about whether it would entice you to read on or if you are just indulging in a clever line of purple prose.

A chapter doesn’t have to be a stop. It can be a pause and a brief one at that. You just have to keep up the pace and remember to add a little kick when the time’s right.

The Lover's Dictionary by David Levithan

How do you define love? Can it be done? Perhaps it can't be summed up in one word as so many people are led to think but something that belongs to all words and to the silence that falls between them. 'The Lover's Dictionary' is a story of "You" and "I" and seeking words that touch on so many sensations which aren't easily captured.

I'd wanted to get my hands on a copy of this for a while. The other day, I made a random decision to see what books by David Levithan my local bookstore had in stock and because of Valentine's Day, 'The Lover's Dictionary' was available. I snatched it up.

'The Lover's Dictionary' is a novel but not one that flows in the usual way, through chapters or sequential events. Instead, it is written in first person by the unnamed "I" under a variety of words, be they nouns, verbs and/or adjectives and adverbs. Instead of writing of love as a general subject, he tells the story of his relationship with "You", whose name and gender are never specified.

Despite only getting snatches of the relationship, without too many overbearing details, I felt that I was gaining a very personal insight. 'The Lover's Dictionary' treads the line between diary and love letter. It shows the narrator's feelings and reflections but he is writing to his lover throughout. It is a story which they share and have written together.

What is wonderful about the format of the novel is that it shows the relationship people have with words as much as they do with each other. When you first learn to speak and comprehend what a word means, you have no clue of its definitions. You just pick things up through context. Even now, I would be hard-pressed to recite an exact definition of a specific word. 'The Lover's Dictionary' defines words in a way which applies to how we feel and what we do and how words relate to the things we go through.

The book is a short read length-wise but one you linger on, whether when you're reading it or afterwards. The story isn't a tale of everyone's love. It is a specific couple and their struggles and sentiments. What 'The Lover's Dictionary' achieves is an insight into the difficulties and delights of making that connection with a specific person. "You" and "I" could be anyone and the story leaves room for the reader to wonder and reflect.

I would be quick to recommend this book to those looking for a romance novel but not one that gushes and grieves. I always appreciate writing that makes an impact without trying to punch you in the gut.

Perhaps next, I'll read The Devil's Dictionary...or more books by David Levithan.

In accordance with the FTC, Quill Café would like to disclose that the reviewer purchased this book. The opinions expressed are hers alone and no monetary compensation was offered to her by the author or publisher. Cover art is copyright of Farrar, Straus and Giroux and is used solely as an aide to the review.

Hedgehug: A Sharp Lesson in Love by Benn Sutton, Illustrated by Dan Pinto

All Hedgehug wants to do is give his heart to someone on Valentine's Day. Can he find a critter who is willing to see past his prickly exterior?

This wasn't the only ouchy hug book on the Valentine's display but I'm partial to hedgehogs over porcupines. It's written in prose rather than rhyme, which is better received by editors these days, who can find rhyming irritable. Even without the book before me now, it has made a definite impression.

Dan Pinto's imagery is warm and compelling, not too bright or stark. I have to mention that without the title or being shelved in the accompaniment of other spikey books, I would not have spotted Hedgehug for the animal he is. I believe that is because he is a European hedgehog, whereas Quillbert is an African hedgehog, which is where my mind is at when it comes to hedgepiggies. The colour of Hedgehug's belly isn't as distinct in comparison to the rest of his body.

Hedgehug is a book that makes an impression without being preachy. It highlights what many people feel on Valentine's Day: the need for love and the obsession of finding someone to fancy you on a superficial level. Hedgehug is so willing to give his heart away to animals he doesn't know anything about. They may judge him for his prickly exterior but his own desire for love isn't letting him see past the exteriors of others.

'Hedgehug: A Sharp Lesson in Love' is a book that shows the struggle for love can hurt. If you can find someone that compliments your personality and quirks, it is far more satisfying that dishing out your heart to anyone for the sake of Valentine's Day.

In accordance with the FTC, Quill Café would like to disclose that the reviewer read this book in-store. The opinions expressed are hers alone and no monetary compensation was offered to her by the author or publisher. Cover art is copyright of Harper Collins and is used solely as an aide to the review.

Oh, the Places You'll Go! by Dr. Seuss

The last children's book written by Dr. Seuss in the year before he died. The whole world is in your view but what you choose to do is up to you.

This is a book I have been meaning to buy for a while now. They have a pop-up version of it and a "party edition" but it was a travel-sized purple printing that I picked up for a low price. I love it.

'Oh, the Places You'll Go!' is an inspirational book but one which doesn't sugar-coat the realities of life. It is a book which everyone can relate to. Despite being targeted at children, I feel it is something that adults can connect with. There is so much potential in a person. When you reach an age where you can take advantage of the possibilities available to you, the message of this story hits home.

This is a book about the decisions we make in life and the circumstances in which we find ourselves. Sometimes things will not go our way and will leave us feeling down. Our mood will plummet and we won't feel as enthusiastic about what we can achieve. While Seuss shows us that this is inevitable, it is within our power to overcome our downs in life and focus on the ups.

I think everyone can relate on some level to "The Waiting Place" described and depicted in the story. We feel helpless or lackluster, waiting for something to happen, to be said. Waiting for our lives to begin...or the lives we want to have.

So, next time you're waiting or you're feeling depressed, you should "remember that Life's a Great Balancing Act" and while it isn't going to be smooth or easy, you can't limit your possibilities. You need to delve into life and take it someplace you want it to go.

'Oh, the Places You'll Go!' is a joyous gift from the great Dr. Seuss. It inspires us to take the wheel and go forth in discovery of new things and most importantly, ourselves.

You will find this book a marvelous read. "98 and ¾ per cent guaranteed!"

In accordance with the FTC, Quill Café would like to disclose that the reviewer purchased this book. The opinions expressed are hers alone and no monetary compensation was offered to her by the author or publisher. Cover art is copyright of Random House and is used solely as an aide to the review.

You Mustn't Canoodle with the Thesaurus

There is an itch which many writers have. It is hard to resist. Unless it is intentional, we are irked by repetition. When we see the same word too many times in one paragraph or page, we cringe. This impulsion to be rid of repeated words and phrases can turn a peeve into a plague.

Why does the thesaurus seem so appealing? I always associate it with my days in primary school. Back then, we were learning words and how to say things in different ways. The thesaurus was out friend and we were encouraged to consult it.

"Thesaurus" sounds like the name of a dinosaur. Not a carnivorous one but a grand herbivore. Thanks to the internet and word processors, he isn't restricted to the pages of a book. That harmless but huge dino is always available.

Only...is he so harmless? Do we rely on him too much?

Wait! Before you criticize, there are times when we need the thesaurus to conjure forth words which have escaped us. They are words we have always intended to place on the page but for all the brain squinting, they don't come. We sit there in agony, searching.

Sometimes we need assistance. Occasionally we misplace our words. Once in a while we need to...ugh, it's happening again.

Don't canoodle with the thesaurus. He may be your friend but let your dependance lie with you. Don't let him snatch your fresh thoughts away and replace them because you think it will make for a better result?

Do you have a compulsion to seek the thesaurus?

The Lorax by Dr. Seuss

This is the story of how the Lorax was lifted away. Read this book and come to understand you just may.

I had never heard - or at least had no memory - of 'The Lorax' before I saw the posters for the upcoming film adaptation. He was a strange orange sight I didn't understand. Now I've read his story and I intend to do so again and again.

This is a story of financial gain at the cost of the environment. It is a tale of greed and redemption. It shows us the benefits of standing up for others and not only thinking of ourselves. It is as relevant now as it was when it was first published.

The book does not begin as loud and colourful as many of Seuss' other stories. Instead, it is grey and dreary, pulling the reader in close with the eerie quiet of the scenery. The first words of the story are like a breath, pulled from the lips of the reader, lost in an echo of the landscape.

In the beginning, the Lorax is an unanswered question. Who is he? Why did he disappear? There is only one person who can answer that question - the Once-ler - and we never see what he looks like. Instead we are told the story in a way which feels right: through a Whisper-ma-Phone.

Seuss uses such fresh imagery to contrast the gloom at the beginning of the book, showing how drastically everything has changed from what it once was. More importantly, he writes of "back in the days" in such a way that you can smell, hear and feel the wonders that you see on the page.

The story pits two figures against each other: the Lorax and the Once-ler. The Once-ler is enamored by the Truffula Trees. He only means to make something with the materials available to him but it isn't long before he is carried away with greed and is putting the needs of his business before all other things. The Lorax is the voice of reason against all of this. He speaks "for the trees, for the trees have no tongues" and takes care of the other animals in the area.

This book really touches on the subject of human rights. The Once-ler has found an inventive opportunity and is taking advantage of it. He is producing a product which people are buying. A Thneed is seemingly ludicrous but his sales are skyrocketing. It shows people's attachment to materialism and how we are willing to part with our money and put materialistic values above environmental ones if we can be persuaded that we need something.

In the words of the Once-ler, "A Thneed's a Fine-Something-That-All-People-Need!" However, it isn't something that benefits the Truffula Trees or any of the other creatures around. Their opinions and needs go unnoticed, except by the Lorax. He speaks for those who can't voice their own agonies.

The Once-ler is a creature of his own making. He shows us that we have to live with the consequences we set out for ourselves. None of us are innocent. Books are made by cutting down trees* and we benefit from them so much more than a Thneed but that doesn't mean that there aren't consequences to cutting them down.

The Lorax is a figure that everyone should look to emulate. What we can't do is wait and hope he will come back. We have to summon him by finding the Lorax in ourselves. We must do it before it is too late and well all end up as Once-lers.

'The Lorax' is a book which everyone should read. It is a story with a message that all people need.

*My copy of 'The Lorax' is printed on recycled paper.

In accordance with the FTC, Quill Café would like to disclose that the reviewer purchased this book. The opinions expressed are hers alone and no monetary compensation was offered to her by the author or publisher. Cover art is copyright of Random House and is used solely as an aide to the review.

Hoglets School of Writcraft and Wordsmithery

HOGLETS SCHOOL OF WRITCRAFT AND WORDSMITHERY

Overlord: Quillbert

(Order of Hogwash, First Class, Grand Scri., Chf. Quiller, Supreme Hoglet, International Confed. of Writers)

Dear Quiller,

We are pleased to inform you that you have a place at Hoglets School of Writcraft and Wordsmithery. Please find enclosed a list of all necessary books and equipment.

Yours sincerely,

E.M. Jasper



Set Books
All Quillers should have a copy of each of the following:

• The Standard Book of Spelling (Grade 1) by Mythelda Galley
• Quillbert and the Literary Minions by E.M. Jasper
• A Beginner’s Guide to Thwarting Procrastination by Alfredo P. Fay
• Hoglets: A History by Erinaceus Quintessentius
• The Quiller Book of Quillers by H.Q. Dominus
• A Cynic’s Guide to Characters by Anonymous
• Conspiring with Creativity by Balderdash Jack
• Wrangle with Writer’s Block by Balderdash Jack

Other Equipment:

• 1 quill
• 1 ink pot (black or purple)
• 1 notebook (lined, standard A4)
• 1 monocle or magnifying glass
• 1 deck of tarot cards

Quillers may also bring a wand OR a sword OR a sonic screwdriver.

A REMINDER THAT OWLS AND PROCRASTINATION ARE NOT PERMITTED ON THE PREMISES.

Ericius Philologus Cultus Eternus

This is our homage to the Harry Potter series by J.K. Rowling. It is inspired by Harry's Hogwarts letter and student list from 'Harry Potter and the Philosopher's Stone' as well as the book list from 'Harry Potter and the Chamber of Secrets.'

Fat Book Phobia

We all know that it is bad to judge a book by its cover. Meaning, you shouldn’t allow what a person looks like to influence your opinion of them. Just because they have skin like leather or are covered in tattoos or are overweight or have purple hair, does not mean that they are not made of awesome.

I have a confession. I judge actual books by their covers. Well, at least, covers help me to notice certain books over others. I’ve discussed it before and it is what it is. What I admit to you now is that I am prejudiced of fat books. They intimidate me and I edge away from them.

The thing is, I’ve read fat books and they’ve been amazing. The fourth and fifth Harry Potter books are obese. In fact, I know a few people who were too intimidated to read on in the series because of their size, despite how much I convinced them that it was good reading. Even so, I’m still intimidated by big books.

Why?

The reason is that every new book is a risk. When I discover a book and start to read it, I am either extremely optimistic or pessimistic about it. Not a great place to start, on either end. The thing is, if I am not sure if I will like a book, I don’t want to venture into one that is so large.

Why not just stop reading if it doesn’t turn out to be as captivating as you would like?

Curse you and your rational questions. Well, I have another problem that I am slowly getting through. I know I am not alone in this. I have an illogical need to finish books once I start them, even if they suck. It doesn’t help that I understand that you can learn from reading bad books, so I torture myself through to the end.

What about all those books that didn’t suck that you still only half-read?

Shut up, voice in my head. You’re getting off topic.

Anyway, I know that this is a stupid peeve to have. After all, I have read some of the worst books that were mega short and it felt like they would never end. Still, when someone tells me, “Wow, this is the best book ever, read it!” only to put the book in my hand and have me fall over from the weight of it, I’m reluctant.

I have a family friend who bought me a book for my birthday last year. He told me it was meant to be really good. It was huge. I still haven’t read it.

He asked me at one stage if I had read the book yet. Awk-ward. The gist of my response – at least in my head – was, ‘That is the fattest book I have ever seen…and it’s in paperback!’

Fat books – I fear them. Does anyone else have this issue? Come on, raise your hands. I won’t judge. Okay, maybe a little.

The Night Circus by Erin Morgenstern

When one of my close friends e-mailed me this December going on about a book called The Night Circus, I must admit that I was hesitant to pick it up. She does not exactly have one of the best tastes (or, at least, her choices differ greatly from mine). However, this was one given to her by her cousin, and she was insistent that I read it just so that - hear this - I could write fanfiction for it.

She gave me the book about three weeks ago, and as soon as I read the first word I knew it would be a magnificent read.

And it was. Normally, I can finish books like that in around five hours, but this one was so rich and beautiful that I savoured every word this past month, finally ending last night. In fact, I was sorely tempted to pick up my laptop and write this review as soon as it ended, but I was in still in absolute awe (and besides, it was almost one in the morning).

The Night Circus is a tantalizing tale written by debut novelist Erin Morgenstern. The authoress has such a way with words that anyone could pick it up, choose a random page, and be drawn into the story immediately. While there are parts that separate it at first, and it can be a bit confusing seeing as some chapters take place in, say, 1883 and another would be in 1902, and it will switch back and forth for a little, but ultimately all the subplots tie into one thing - the circus itself.

A public venue, Le Cirque de Reves (The Circus of Dreams for those who do not speak French) is in fact a stage for two magicians - one man, one woman - chosen when they were very young. They've been pitted against each other in a test of endurance, skill, stamina. In other words, in the end, one of them must die. Despite the fact, they are, of course, destined to fall in love.

It may be about these two, and their struggle with their relationship with both each other and everyone else involved in their game, but the circus is the main point. It plays such a big role seeing as whatever they do. Whatever move either of them decide to make, affects it. And Le Cirque de Reves is a wonderful thing, with tents revealing feats one would have never thought possible. The imagination of the author is astounding, and everything from the clock at the entrance to the fortune-teller's cards are so incredibly detailed that it's as if one could reach out and touch them.

An air of mystery surrounds each and every chapter, and the cinematography of each paragraph is wonderful. If any a book were ever to greatly influence the way I write, I dearly hope that this would be it, because I could see ever striped tent and sparkling hemline that was described. The way it all plays out is curious and strangely satisfying, and though there will be no sequelto The Night Circus, I can assure you that this alone will be enough.

If my point has not been made clear by now, this is a magical book with a majestic plot and writing that is sure to receive the praise of many more readers to come. I have not been able to do it much justice in this review, and all I can really do now is strongly, strongly recommend that you purchase it from your nearest bookstore (or as an e-book) as soon as possible.

The circus awaits.

In accordance with the FTC, Quill Café would like to disclose that the reviewer borrowed this book from a friend. The opinions expressed are hers alone and no monetary compensation was offered to her by the author or publisher. Cover art is copyright of Harvill Secker and is used solely as an aide to the review.

Writer's Block is a Lie

They say everyone has suffered from it at one time or another, the dreaded writer’s block. It seems to loom over every one of us, threatening to cut off our supply of inspiration when we are in the middle of an important point in our story. It throws us in the lurch when we most desire to be productive.

Only, it doesn’t. I declare, in opposition to many, that writer’s block is a lie. It is an excuse people give when they are unable to rise up against the obstacles they face in their writing and don’t have the motivation to carry on when things no longer come easily to them.

There is a common notion that when you really get into a story, it is as though it is writing itself or the characters are just showing you what to do. That is all fine and dandy and that feeling is real. However, it doesn’t last. You need to take the wheel and work yourself in the direction you need to go.

If you come down from your easy cloud, you can still keep going. Regardless of how you are feeling with your writing, if it is not living up to your expectations – or you’re not as in love with it as you were before – there are always things you can do to change that.

1. Ask, ‘What If?’

What if my character decided to join a spontaneous expedition to a new world? That could mean a new country, a new planet or an alternate dimension.

What if there was a sudden shortage of supplies? No more food, no more weapons, no more sunscreen when the UV rays are getting even worse.

What if Earth had no gravity? Think about how the dynamics of everything throughout history would be altered and how people would function today.

2. Hoard Treasures

In times of desperation, you should have a book filled with things you love: character quirks, mythological creatures, ideas for plot twists, shades of purple, trinkets, Latin phrases.

Think of this book as an array of spices. You put all your gems inside it and when you are looking for something to give your story an extra zing, you can bet that you will find it within that book. Just add the new ingredient and see where it takes you.

3. Work Past the Sludge

We all reach points in our writing that do not turn out as we wish. The problem with writer’s block as a concept is not that you are stuck. It’s that you have given up on the prospect of something better.

When you get to a point that just isn’t working for you in your story, you have to work through it. I know that it is tempting to leave it and skip ahead to a better point but then you have to come back to it and that just looms over you and builds up that dreary feeling.

Keep in mind that better part of your story and work through the bad one to get to it as soon as possible. If you don’t have that gem to look forward to, ask yourself, ‘What if?’ or consult your spice book.

Writer’s block is a lie. It is something we build in our minds with our ‘can’t-do’ defeatist attitude when things don’t go our way. The only thing to do is own your story and give your self-esteem a kick-start.

Do you believe in writer’s block? What do you do to encourage yourself to write instead of drowning in a pessimistic pool of procrastination?

Secrets of Power Negotiating by Roger Dawson

"This is the one negotiating book that really opened my eyes and gave me practical tools I could use immediately" - Tim Ferris

I heard about this book in 'The 4-Hour Workweek' by Tim Ferris and to be honest my first reaction was, "That's probably a really good book but it's only good for sales people and big executives who negotiate business deals like Donald Trump." Anyway, my desire to one day be a big business executive (and an author, not unlike Trump) got the best of me and so I got it.

Only after I got this book did I realise all the situations where you could apply the content. It made me realise lot of dealing with people is negotiating. An interesting fact the book pointed out was that children get almost 100% of their stuff from negotiating. The only way to get things as a child is to negotiate with parents and in this way the book is just as relevant to children as it as to big business execs. You could think of it as a book that gives you practical tips on how to get that $50 out of your parents to buy the latest whatever or the book that will help you in your negotiation of a complex cross-cultural joint venture if you're a business exec.

If you are a reader of business books you will know many of them are quite airy-fairy and not very practical. This one is. This book gives you step by step instructions of how to start, continue and end negotiations, as well as selected techniques (or gambits as the author calls them) you can use.

It tells you how to get money off your parents, how to buy a car/house, what words to use, how to apply pressure and even how to negotiate with a terrorist.

This is a very practical book and I don't think there's anyone who couldn't benefit from reading it.

Save here on Secrets of Power Negotiating.

In accordance with the FTC, Quill Café would like to disclose that the reviewer purchased this book. The opinions expressed are his alone and no monetary compensation was offered to him by the author or publisher. Cover art is copyright of Career Press and is used solely as an aide to the review.

Did I Ever Tell You How Lucky You Are? by Dr. Seuss

Life sucks sometimes and we get down on ourselves. The important thing to remember is that we have it better than a lot of other people. Dr. Seuss shows us just how much.

This is a great book because it shows us we should appreciate the things we have in life, even when we are feeling our worst. What is clever about it is that Seuss writes the book in such a way that we don't feel more depressed for learning that people have a much harder time than we do but makes us feel uplifted and inspired by what we do have.

'Did I Ever Tell You How Lucky You Are?' runs a great risk of being a preachy book, which is never good in any work of fiction but particularly children's picture books. However, the way that Seuss presents the book and the characters who are less fortunate than Duckie (the "you" in the story) is a comical and clever portrayal of all different hardships.

You wouldn't think it would make sense to make light of someone's tough circumstance but it is the absurdity of some of them that makes them so interesting. When it comes down to it, Seuss shows us that some people are born with disabilities, some have to work hard at multiple jobs for minimal pay and some just create their own stress.

Everyone has their own problems but it is the thought of being in the shoes of some of these characters that makes the reader appreciate the message of the story, without feeling that it is being shoved in their face.

In accordance with the FTC, Quill Café would like to disclose that the reviewer read this book in-store. The opinions expressed are hers alone and no monetary compensation was offered to her by the author or publisher. Cover art is copyright of Random House and is used solely as an aide to the review.

It's Not Easy to Write for Children

There is a common misconception that it is easier to write for children than adults. Many people think "grown-up" means complex and "juvenile" is simplistic. It is one thing to think as much but when you've taken the first step to writing for children,* you'll learn so much more about the difficulties and satisfaction in writing for a younger audience.

Picture Books (0-8)

The foundation of reading, picture books are designed to be read to children. They teach young'ns to read with the aid of illustrations, rhythm and sometimes rhyme. It baffles me that so many people understand the complexities of poetry but see children's picture books as simple. Writing a picture book is easy enough. It's less than 500 words, with half the pages (about 32 in total) being pictures. Writing a good picture book, however, is not.

I'm currently writing a picture book. I've finished the first draft and it's already overshot the maximum number of words by sixty. The sentences don't flow when I read them aloud and the rhythmic scheme is scattered. It holds all the disaster and promise of a first venture into a new medium.

Only, I've written a picture book before.

I was ten years old. It wasn't a fancy of mine but a project for school. We had to write and illustrate a picture book...and then read it to a group of five and six year old kids. It was horrifying. Imagine the worst thing you have ever written and then having to read it in front of a select few critics at their basest form.

It got worse.

My teacher picked a select few students to read their picture books to a class of eight year old kids. For some reason, she picked me. I don't mean to demonise her but this was the worst thing she had done to me since she told me to stop writing fancy fs and made me write them the pleb way.

My cousin was in that class. The entire population of children of the age of eight were in that class. Anyone who ever tries to tell me that writing picture books is easy can kiss my fancy f.

Children's Books (8-12)

Some children's books suck. I'm not going to sugar coat it, the writing is atrocious. Of course, the same can be said for all fiction. A writer of children's literature needs to captivate their audience straight away and keep their attention fixed. They need to have a story that is always moving and make sure that they don't write down to children. In theory, every good children's book should be able to be enjoyed by an adult. That isn't always the case, since all readers - regardless of age - have different preferences but it is a fanciable aim.

When children reach this age, they are either delving into independent reading or still transitioning into it. So, if you write something that is tedious for adults, you're stuffed. If you write something that is stuffy, no children will want to read it. You need to have a compelling cast of characters with plenty of conflict, curiosity and plot development.

I do not have the best attention span when it comes to reading and I am twenty one. It doesn't matter if it is a picture book, a children's book, a young adult novel or a grown up piece of work. My eyes will glaze over if I am not entertained from the start. If I am able to find a great children's book - or better yet, series - I will devour it. The reason is, I find children's novels can hold the tension and obstacles required to empathise with characters and produce an exciting story without relying on the petty dramas that come from books targeted at an older audience.

Romance, jealousy, betrayal. There just seems to be less of it in children's literature, without there being a subtraction from the theatrics of story telling. There are so many teen and adult novels that revolve around "I love you so much" and "poor me" that I just need a break from that without having to settle for a cruddy story.

A writer who can develop a novel or series that captivates children and older audiences, while maintaining brilliant storytelling and without having to fall back on petty or cliché dramas, is amazing. Anyone who disagrees can talk to the hedgepiggy because I rest my case.

Young Adult (12-18)

These novels come the closest to adult literature, which makes them more appealing to an adult audience but they are still technically targeted at children. More mature children. "Young Adult" is not a genre as some people may think but a target audience. Thus, almost any genre can be written for this age group: science fiction, romance, mystery, tragedy... There is something to appeal to all teenagers looking for something to read.

There is one difference between writing for adults and writing for young adults. You are writing for teenagers and statistically as a writer, you probably aren't one anymore. Regardless of what genre you are targeting, an important part of all young adult novels is that time in a character's life when they are transitioning from a child to an adult. Whether your character is twelve or eighteen, they are going through significant emotional and physical changes. Capturing those feelings and events without coming across as preachy or implausible is no simple task.

Young adult fiction has boomed in recent years. You can equate that to certain popular series or trends but it really comes down to good writing. Of course, you can argue that you may not esteem the quality of writing in certain young adult novels or series but you have to acknowledge that if a writer is able to entrance such a large population of readers with their characters and stories, they have succeeded.

The reason that young adult literature is doing so well is that there is an exceeding amount of talented people writing for that target audience. They don't do well because writing young adult novels is easier. They do well because they enjoy and understand how to write a good story targeted at young people but also plenty of readers above the age of eighteen who can relate to that period in their life and revel in the storytelling.

Do you write for children? What are some of the difficulties you have?

*The first step to writing (whether for children or adults) is to write. Stop thinking and talking about it. Just do it.

And to Think That I Saw It on Mulberry Street by Dr. Seuss

The very first children's book by Dr. Seuss about a boy who is compelled to tell extravagant tales. When the mundane won't do, just what will he think up?

This is a book that every writer should read. Not only because it is the beginning of Dr. Seuss' display of creative genius in his children's stories but because it is a brilliant execution of 'What if?'

Marco is walking home on Mulberry Street, where he sees a horse pulling a wagon. He isn't satisfied with such a boring sight, so he uses his imagination to change details of what he sees. With each change his story becomes more elaborate and inventive. Just as all good storytellers should do, he asks himself, "What if this happened?" or "If I change this, what else needs to change?" but in the lyrical style of Dr. Seuss.

'And to Think That I Saw It on Mulberry Street' is a clever analysis of how adults can stifle a child's creativity. Marco's father tells him to stop making up stories. Stories are fabrications and thus lies. Of course, one could argue that Marco only sees a horse and a wagon, so anything else he tells is a lie but I would argue that Marco does see all these fantastic things, only with his imagination. Thus, they are truths.

This is another Dr. Seuss book I was unfamiliar with or at least couldn't recall. It is a must-read for children and adults, who would do well to test the limits of their own imagination, ask 'What if?' and remember not to stunt other people's creativity.

In accordance with the FTC, Quill Café would like to disclose that the reviewer read this book in-store. The opinions expressed are hers alone and no monetary compensation was offered to her by the author or publisher. Cover art is copyright of Random House and is used solely as an aide to the review.

A Study in Scarlet by Arthur Conan Doyle

John Watson has returned from Afghanistan and is looking for lodgings in London. An old friend introduces him to Sherlock Holmes, a consulting detective and the two of them take up abode in 221B Baker Street. Thus begins Watson's insight into the life and mind of Holmes.

When a man shows up dead with no signs of a struggle, the police are stumped. They call in Holmes to help them solve the mystery of his murder. The policemen are at odds, trying to trump the other by solving the case first but Holmes is clever. Using his powers of deduction, can he solve the crime before the killer strikes again? Or could there be more cunning to this murder scheme than even Holmes can catch?

Revenge is the agenda - but what could prompt such vengeance?

The only insight I have ever had into Sherlock Holmes has been through adaptations or hearsay. He has become such a quintessential character that he is threaded throughout modern literature and television. I had no idea what Sherlock was really meant to be like, so I was determined to get it straight from the source. I like to start at the beginning if I can and so 'A Study in Scarlet' was the only option. The very beginning of the Watson and Holmes duo.

The novel was divided into two parts, which I wasn't aware of before I began it. The first half is much the mystery and watching Holmes go about his business of being clever but refusing to tell anyone his conclusions until everything is resolved. My fascination with the characters and the cleverness of Holmes was what kept me intrigued. The second part, however, is all about the back story. It is the lead-up to the reason of the crime.

The mystery structure I am most familiar with is one that gives an insight into possible reasons for the murder and the background of potential suspects as it goes along. This one kept me in the dark for the first half and dished out the answers in part two. It was an interesting experience.

The second part of the novel did grip me. I had my doubts. I was thrown and I wasn't sure if I was going to be interested but it proved to be a gritty telling that got right under my skin and held my attention. It is up to the individual reader to decide whether they sympathise with the murderer but I found that it was empathetic at least.

A Study in Scarlet gives an insight into religious communities in that time period that I had a faint idea of but hadn't grasped. It is a story well worth reading...or in my case listening to. I purchased it on audio book, narrated by Derek Jacobi.

I have no idea which installment comes after this one but I'm keen to find out.

In accordance with the FTC, Quill Café would like to disclose that the reviewer purchased this book. The opinions expressed are hers alone and no monetary compensation was offered to her by the author or publisher. Cover art is copyright of Ward Lock & Co and is used solely as an aide to the review.

Oh, the Thinks You Can Think! by Dr. Seuss

There is no limit to what you can think up. Dr. Seuss explores the imagination and encourages the reader to push their creative mind to limitless heights.

This is another Dr. Seuss story I am unfamiliar with. It is inspirational. The book showcases Dr. Seuss' creative brilliance and originality in a way that touches directly on the reader's own creative mind.

From vivid imagery and conundrums to endless parades of his invented species, Dr. Seuss' words are as vibrant as his illustrations. His imagination is infectious.

Whether you're old or young or somewhere in-between, this book is a must-read. Particularly if you're stuck for ideas or lacking in motivation.

The thinks I did think amplified in a blink!

In accordance with the FTC, Quill Café would like to disclose that the reviewer read this book in-store. The opinions expressed are hers alone and no monetary compensation was offered to her by the author or publisher. Cover art is copyright of Random House and is used solely as an aide to the review.