Showing 26 Result(s)
character archetypes

Are Your Characters Running On Empty?

 

You have seen this cycle before. You’re writing a novel or screenplay. You have a great idea, so great that you dream it will become the next bestseller or award-winning film. You spend days outlining and writing the first few pages. Then… you lose steam. It becomes harder to write. The momentum goes down. Writer’s block sets in. You lose excitement. You tell yourself, “I should work on a different story because this doesn’t work.”

The problem is not you

Most of the time, the problem isn’t with the story, but with the characters. How can you move the story forward if your characters are running on empty? How can you tell exciting discoveries about your characters if they’re stereotypes? Did you think about how these characters will react to those plot points you put them into?

The characters’ reactions should drive the story forward, not the plot points. A character doesn’t need to get into a burning house because you want him or her there. The character gets into that burning house because it’s in his/her nature to do so.

A story is built on characters and reason.Steven Amsterdam

Archetypes

Archetypes are blueprints for building well-defined characters. It defines protagonists, antagonists, antiheroes, or supporting characters. 16 personality types based on the Myers-Briggs Type Indicator are good archetypes . Each type defines a role and a strategy on how their type of character act on things.

THE ANALYSTS

  • The Architect (INTJ – Introversion-iNtuition-Thinking-Judging)
  • The Logician (INTP – Introversion-iNtuition-Thinking-Perceiving)
  • The Commander (ENTJ – Extraversion-iNtuition-Thinking-Judging)
  • The Debater (ENTP – Extraversion-iNtuition-Thinking-Perceiving)

THE DIPLOMATS

  • The Advocate (INFJ – Introversion-iNtuition-Feeling-Judging)
  • The Mediator (INFP – Introversion-iNtuition-Feeling-Perceiving)
  • The Protagonist (ENFJ – Extraversion-iNtuition-Feeling-Judging)
  • The Campaigner (ENFP – Extraversion-iNtuition-Feeling-Perceiving)

THE SENTINELS

  • The Logistician (ISTJ – Introversion-Sensing-Thinking-Judging)
  • The Defender (ISFJ – Introversion-Sensing-Feeling-Judging)
  • The Executive (ESTJ – Extraversion-Sensing-Thinking-Judging)
  • The Consul (ESFJ – Extraversion-Sensing-Feeling-Judging)

THE EXPLORERS

  • The Virtuoso (ISTP- Introversion-Sensing-Thinking-Perceiving)
  • The Adventurer (ISFP – Introversion-Sensing-Feeling-Perceiving)
  • The Entrepreneur (ESTP – Extraversion-Sensing-Thinking-Judging)
  • The Entertainer (ESFP – Extraversion-Sensing-Feeling-Perceiving)

I use these 16 personality archetypes as an invaluable tool. Their essences give me a general idea of who they are but still force me to delve deeper into the characters. I don’t see them as Character 1 or “the policeman” but as a person who responds to a conflict in a specific way.

As a writer, I’m guilty of creating characters who act like me. Archetypes will help us avoid this. Each personality has its own set of motivations, fears, and cares that move him/her as the plot forward.

After selecting an archetype, other details follow. The details will shape how the character expresses that essence. Details like the physical, social, intellectual, and spiritual aspects of a character shapes their actions in the story.

Most memorable characters in books and in film are not bland and one-dimensional. They invoke strong emotions in us that either we want to be like them or completely the opposite. What makes them memorable is not the story they’re into but the depth of their characters. They are not perfect, they have flaws, own defense mechanisms, and a dark side that make them human, complex, and interesting.

A character arc shows the changes he/she goes through during the story. The character needs to emerge at the end as a new person who has learned something from the journey. It’s the archetype that inspires the discoveries and details that make it interesting.

Stereotypes vs. Archetypes

But beware of stereotypes, which are the complete opposite. Stereotypes are oversimplified generalizations about people usually stemming from one person’s prejudice. Archetypes stemmed from the entire human race’s experience of people and psychological studies.

Describing a character as a “typical librarian” makes you assume that all librarians are quiet spinsters and shows the writer’s sloppy characterization. Stereotypes may be used to describe an archetype but a stereotype is only a shallow imitation.

characters' goals

Character’s Goal

 

You have a story but it seems that the pages feel slow and aimless. You check the character and the premise, both are good enough to move the story. However, there’s a problem in the handling of the characters’ goals.

We as writers understand what a goal is in storytelling. It is what the main character wants to achieve at the beginning of the story.

What are the things we need to pay attention to when writing the main character’s goal?

  • Define an immediate goal at the beginning.

So we have a character who wants something, and wants it now. Okay, says your reader. “But why should I care? Let the character have it.” Hmm, that’s not going to be. Although the main character’s goal is something immediate, it should not be too achievable. Now, the reader has something to worry about. Will he/she get it or not?

  • Build around that goal.

We as writers tend to put in some background into the story to explain why the main character needs to achieve the goal in the first place. Cut it out, if necessary. Readers don’t want to be dragged through those kind of stuff. They want to be turning pages to answer the question “Will he/she get it or not?”.  Get the readers into the action. Use the writing tools of description, or dialogue in introducing the goal your main character wants to achieve.

When I’m writing, I want people to actually have a goal, something that’s dragging them forward.Kaui Hart Hemmings

  • Sharpen the conflict.

We already defined the main goal, but what is the main obstacle? To make the story more effective, the obstacle should be strong and meaningful for the main character to get through. It grows out of other characters in the story and bring out their personalities, fears, and world views. So you’re not just thinking of the protagonist’s goal but also the antagonist’s goal, too.

The clash of goals brings out the clash of world views. This way, we know who the characters are, their goals, and how are they going to get it. It is this kind of differences that moves the story forward, keeps the reader turning pages, and gives the story the depth and dimension.

Transform your good fiction to great fiction by keeping your characters’ goals clear, immediate, and complex.

 

Organize your writing

Organize Your Writing

Staring at a blank page is dreadful for a writer. The question, “What will I write?” is really not a problem. It’s the question “How do I start?” that matters.

Most of us often underestimate the planning of things because we’re obsessed with the goal. We have the clear picture of the end product but we don’t have a detailed plan on how to get there.

However, we also believe that planning is needed but to what extend do we believe that statement makes each of us different. Some would go for the general planning while others go for the much specific plan. In the end, we all believe that once the stage is set and everything is in place, we’re ready to go.

Let’s Start Organizing

So how does a writer organize his or her writing?

  1. RESEARCH. First things first: gather and organize the raw materials. Having all the research notes and reference materials at hand before starting saves a lot of time.
  2. OUTLINE. Next, sorting the materials into an outline will not only gives ideas but also provides an organization for us to fill in the details.
  3. DECIDE THE ORDER. Now that we have an outline, decide on what order are we going to cover the subject. Here are a few ways to do it:
    1. Chronological — the best bet for story telling: a beginning, a middle, an end.
    2. Synthesis — this is usually used in essays: from general to specific
    3. Spatial — this is usually used for descriptive writing: from left to right, top to bottom, exterior to interior, etc.

A story should have a beginning, a middle, and an end… but not necessarily in that order.Jean Luc Godard

However, flashbacks, reverse orders, and flash forwards have became common that others tempted to follow suit, too. But before doing that, be comfortable with the sequence first and try to check if they’ll work. Don’t forget that readers have to start somewhere, follow a path, and reach a clear ending.

Final Thoughts

Don’t worry about putting too much details. Be like a sculptor. Have the basic rough form first, and eventually chip off the things you don’t need until you come up with a work of art.

But before I end this, don’t forget to give proper credit where credit is due. So if you have sources that require permission or acknowledgment, list them down and keep them. Don’t discard your raw materials too soon. You’re going to return to consult these during the editing and revision processes. Dispense them only when you have the published work in your hands. Or better yet, keep them for future references.

genre

Genre

When we say genre, the first thing that comes into our minds is category. True, genres are categories of literary compositions. Each genre is determined by technique, tone, content, and even length.

The criteria used to divide literary works into genres are not consistent. It changes constantly and it’s even a subject for debate among literary scholars, authors, publishers, and critics.

Just see how literature as an art is divided into something like this:

1. Poetry

a. Lyric

(1) Song
(2) Ode
(3) Ballad
(4) Elegy
(5) Sonnet

b. Epic
c. Dramatic

(1) Comedy
(2) Tragedy
(3) Melodrama
(4) Tragicomedy

2. Drama

a. Tragedy
b. Comedy

(1) comedy of manners
(2) sentimental comedy
(3) burlesque comedy
(4) satirical comedy

3. Prose

a. Fiction

(1) Classic
(2) Crime/detective
(3) Drama
(4) Fan fiction
(5) Fantasy
(6) Historical fiction
(7) Horror
(8) Humor
(9) Mystery
(10) Realistic fiction
(11) Science fiction
(12) Short story
(13) Suspense/thriller
(14) Western

b. Non-fiction

(1) Autobiography
(2) Biography
(3) Essay
(4) Journalism
(5) Lab Report
(6) Memoir
(7) Narrative nonfiction/personal narrative
(8) Reference book
(9) Self-help book
(10) Speech
(11) Textbook

You might have noticed that a few genre overlap with another or the distinctions between them are thin. For example, crime/detective can also be mystery or suspense/thriller. Yet, their definitions differ and some scholars have made distinctions between each genres and subgroups.

Some people tend to use age categories as genre. In bookstores and libraries, literature may be classified as either adult, young-adult, or children’s.

Genre must not also be confused with format, such as graphic novel or picture book.

Also, literary techniques should not be confused with genres. These techniques may be loosely defined like any genre but they are not the same. Examples are parody, frame story, constrained writing, stream of consciousness.

On this site, we focus on a specific genre: crime fiction. It is defined as the literary genre that fictionalizes crimes, their detection, criminals, and their motives.

But what distinguishes crime fiction from the other genres like mystery and suspense/thrillers? We will discuss this on my next blog.

fiction

What Is Fiction?

When we say fiction we mean any story created by the writer’s imagination. Since it is a product of the imagination, it maybe or not based on history or fact.

In its original form, fiction refers to the major literary narratives. We refer them to as the novel, novella, short story, or play. Nowadays, fiction appears in various formats: writings, live performances, films, television programs, and games.

Since fiction involves creative invention, readers don’t assume its faithfulness to reality. Readers don’t expect factual characters or descriptions. This makes fiction open to interpretation even if it claims to be, or marketed as, “historical”.

This also makes the distinction between fiction and non-fiction thinner. Hence, we hear the term “creative non-fiction” these days. The thin line between the two may be defined from the perspective of the audience. If its people, places, events are all factual and real, it’s non-fiction. If it deviates from any of the elements, it’s fiction.

What we can distinguish is how a fictional work grounds on reality. A story is realistic when its basic setting is real and the possibility of events to happen in the world we live in. A story is non-realistic if it is set in an imaginary universe, or in an alternative history or timeline, or in some non-existent location or era.

In short, fiction is both artifice and verisimilitude. It requires both creative invention and a degree of acceptable truthfulness. Thus, the notion of a “willing suspension of disbelief”. Fiction brings the possible and the impossible together.

Truth is stranger than fiction, but it is because fiction is obliged to stick to possibilities; truth isn’t.Mark Twain

How do you define fiction?

DEAR IN SETS modes of writing

DEAR IN SETS

The title of this article, DEAR IN SETS, may mean nothing to us. Actually, that’s an acronym I used to remember the different fiction writing modes or forms of expression.

Just like essay writing, it has EDNA. No, not a woman but an acronym for its main writing modes: Exposition, Description, Narration, and Argumentation. However, since we’re dealing with fiction, which is a form of narrative, let me explain to you the different modes of fiction writing in DEAR IN SETS.

When we say modes or forms of expression, it is the way we write or present the story. Each mode has its own set of conventions on how, when, and where we should use it in writing. However, there is no consensus within the writing community regarding the number and composition of fiction-writing modes and their uses. But for me to remember these modes, I will use the acronym DEAR IN SETS.

D – Description

This mode transmits a mental image of an element of the story. One of the most widely recognized modes of fiction writing, description brings life into a scene by carefully choosing and arranging words and phrases to produce a desired effect.

E – Emotion

This mode conveys the feelings of the character. Emotions can make or break the relationship between the character and the writer. Connecting the character to his own emotions allows the author to connect with the reader on an emotional level.

A – Action

Action demonstrates events as they are happening in a story. It helps the readers feel as if they were participating in the plot.

R – Recollection

This mode allows the character to remember details or events. It helps writers to convey the backstory or any useful information from the past or before the story began. Although recollection is not widely recognized as a distinct mode of fiction-writing, it is a common tool. Some say that Recollection should be considered a subset of Introspection. Others say that its role in developing backstory separates it from the other thoughts of a character in Introspection.

I – Introspection

Also known as internal dialogue, interior monologue, or self-talk. This mode conveys the thoughts of a character, allowing the expression of normally unexpressed thoughts.

Introspection may also be used to:
*enhance a story by allowing the character’s thoughts to deepen characterization
*increase tension
*widen the scope of a story
*play a critical role in both scene and sequel

N – Narration

This mode shows how the narrator communicates the story directly to the reader.

S – Sensation

This mode portrays the character’s perceptions. It helps the reader feel the actual sensations of things comprising the story. Since the reader can only use the sense of sight, this mode allows the writer to provoke recall from the reader, or convey the experience. This draws the reader in and maintains his interest in the story.

E – Exposition

This mode simply conveys information. Exposition may be used to add drama to a story, but too much exposition at one time may slow the pace of the story. Show, don’t tell, they usually say. (But that’s another article.)

T – Transition

Transitions in fiction are words, phrases, sentences, paragraphs, or punctuation that may be used to signal various changes in a story, including changes in time, location, point-of-view character, mood, tone, emotion, and pace. This mode allows the writer to move from one scene to the next, or one chapter to the next, etc.

S – Summarization

Also called the narrative summary, this mode condenses events to convey, rather than to show, what happens within a story. The “tell” in the axiom “Show, don’t tell” is often in the form of summarization. As I’ve said, this will be another topic.

Given these modes of fiction writing, I’m sure you have tried all of them in your novel. Have I missed anything?

Writing

AIDA and What Does It Have to Do With Writing

 

It has been a year now that I’ve stopped teaching and somehow I miss the campus life. But learning doesn’t start and end in a school, it goes on continuously. So I turn my blogs into a form of teaching hoping that those who read them learn a thing or two.

Months ago, while discussing persuasive writing to my students, I asked my class to write a copy for a fictitious brand of beauty products. I’ve told my class that copy writing, or writing for an advertisement, is a good example of persuasive writing. It is the art of grabbing someone’s attention to act on the matter in brief statements but full of impact. Although most advertisements come in 5 to 60 seconds, the process of creating one involves copy writing.

So I told my students to think of AIDA. No, she’s not a woman. It is an acronym that spells out the process in copy writing.

A Stands for Attention.

The first part has to do with getting someone’s attention. Usually, it is a form of a startling question or quote. The “what would you do?” question works in most commercials like Sprite or Cornetto. And once you’ve attracted someone’s attention, you’ll have to go directly to I.

I Stands for Interest.

As I’ve mentioned earlier, once you got someone’s attention, you have to make a way of sustaining that interest. Whet his/her appetite without divulging too much information. Keep the suspense high then go for the D.

D Stands for Desire.

You’ve managed to whet the appetite, so it goes on to create the desire. Show, not just tell. Sell the benefits, not just the features. Do these and he/she will crave for it. Then you go straight to the last A.

A Stands for Action.

You already have his/her attention, you already kept him/her interested, he/she showed the desire to have it, so it’s time for him/her to take action. This is the part where you will provide the information they’re asking for: where to get it and how. This is also the part where to use the verb power. Use active verbs that influences action.

AIDA does not limit itself in copy writing. It also applies in other forms of marketing — SEO, PPC, etc. And as I always say to my students, whenever you write with a call to action in mind, think of AIDA.

Now it’s your turn. Try writing a copy using this method and see the difference. Let me know if you achieved something positive with it.

mentor

In Search For a Writing Mentor

It is not just a question of having or not having your own writing mentor. The real question here is: Do you really need a mentor or could you do without one? Opinions vary from writer to writer. But first, let’s take a closer look at what mentoring a writer is.

When we say “mentor”, it is synonymous to a “guide” or “counselor”. He/She is someone who could give sound advice not just on our writing career but also on life in general; someone who has been there and done that and has inspired you to become a better writer.

Most likely, the mentor a writer has in mind could be someone who is well-known or experienced, who have written and published numerous articles, stories, or novels, and probably still be busy writing his/her next book. How could that mentor squeeze in time for mentoring is something the mentor can only determine.

Another common source for writing mentors is from the field of education. Teachers, professors, and even workshop instructors are always ready to act as someone’s writing mentor because it is innate in their personality and job.

I don’t have a mentor in the strict definition. I take as much advice and inspiration as I can from the people I am close to.Natalie Massenet

Mentoring follows three stages which are:

  1. To lead — It starts with the mentor leading the mentoree the way, teaching what and what not to do most of the time.
  2. To follow through — The mentor will let the writer do things on his/her own, following through the steps — this time giving advice, commenting, giving suggestions, etc.  , and
  3. To let go — When the mentor feels that the writer is successful and can do things independently without him/her, the mentor starts to let go.

But the relationship doesn’t end there. The friendship still continues.

On the other hand, there are people who don’t maintain this kind of mentor-mentoree relationship with someone. These writers would just take advice from different sources and take it from there. They are too independent that they don’t need to be followed through. Others are those who had a bad experience with mentoring before that they decide to do things on their own instead. Which brings me back to my question: Do you really need a mentor or could you do without one?

Every writer would claim to have been taught and inspired by someone to write and be the person and writer he/she is now and would consider that someone as a mentor. To maintain a professional mentoring relationship with someone is his/her own choice.

research

Who Cares? Just Make It Up! It’s Fiction.

As a fiction writer, that title is something easy to say. But as a journalist, writing should be based on facts.

I’m not a professional journalist but I’ve been a news writer and managing editor for our school paper back in college. Writing news follows an inverted pyramid pattern and has to be factual and up-to-date. With that kind of training, my logical side has this tendency to put down facts in my fiction, yet my creative side wants to mangle with these facts to bring out an incredible story.

But readers nowadays could tell if a novel or story was well-researched or not. And once a reader had sensed a not-so-well-researched story, he or she could drop the novel and walk away.

All writers will agree that even crime fiction writing still needs to be researched. An author should take time to look for facts regarding characters, places, events, business establishments, and even the industry where these characters work. It could be by reading books and other printed materials, watching films and videos, or interviewing experts on the subject matter. Whatever kind of research and information related to the story has to be taken in and noted down.

Most of the time, I have more information than what I need or would use in the actual novel. But that’s okay, better to get the facts straight first and discard the unnecessary information afterwards.

How much research will I put in my fiction? I would say enough to make the characters, places, events, or business establishments realistic and logical for the readers to relate with. At the same time, something enough to provide me the creative liberty to put in fictional elements to make a story become larger than life.

Research should be used more as background information to give me the confidence to write about the story without sounding too ignorant or too all-knowing.

I’m taking my time to do research for this novel I’m currently writing. Good thing I have a good set of reference books and an online writing tool that helps me map out my story as I research. I’m even contemplating to interview a criminal lawyer cum police officer. If you know someone I could talk to, feel free to contact me through this website.

feel write repeat

Feel. Write. Repeat.

Imagine a friend has come to you for help. He/She dreams of becoming a writer but is burdened by fears. He/She worries he/she has no talent and has nothing to say. Perhaps he/she worries he/she’s taking precious time away from her family to pursue his/her selfish desire to write. For 15 minutes, write to that friend and give him/her hope.

 

I see you’re not smiling. Why that frown on your face? Your eyes seem to cry.

So you want to write? Then why are you not writing?

Who told you that you have not talent? If you’re not talented, then what am I?

You see, my friend, I see you as more intelligent than I am. I see you as more than talented than I am. Yes, really. You’re my idol. I look up to you. So what are you talking about?

So what? Don’t mind them! I mean, writing is something done alone.

Does that really mean you’re selfish? No, I don’t think so. Because when you write, you’re sharing much more than what others don’t. You’re sharing your mind… your heart… your soul. It might not be that intangible, but it’s the most beautiful to share because it touches the heart.

That’s why writers write.

Go on, cry. But I suggest that you write what you’re crying about. Write while you’re crying. That’s cathartic… and productive. After crying, step back. Don’t look at what you’ve written today. Return tomorrow, or probably next week. By the time your emotions are over, read what you’ve written. You’ll discover a gem, a true piece of writing from a soulful writer in you.

Come on, grab a pen and a paper. Write.

Don’t worry about your handwriting. Don’t worry about your spelling. Don’t worry about grammar. Just write what you’re thinking, and write while you think, just like how you would talk. Write!

There… go on… it doesn’t matter if you fill up a page or two. Stop only when you don’t have nothing else to write. Go on… continue writing.

Whew! You did it! How was it? Was it cathartic? Does it feel good? I know, right? Good job!

You’re welcome. Just don’t forget, whenever you feel like this again… do this kind of writing. Feel. Write. Repeat.

We write to taste life twice…Anais Nin

Tuhog

Tuhog

Tuhog

In Filipino, the word tuhog means to fasten in a skewer. However, in fiction, it means to put and connect things to form a complete whole.

I remember two Filipino films both entitled Tuhog.

One made by Jeffrey Jeturian and stars Ina Raymundo. I had the chance to see this film on a special advanced screening back in 2000 at the UP Film Center.

The other one stars Eugene Domingo which I haven’t seen yet but I will someday… soon. As what I’ve seen in the latter’s trailer, it is about three different and separate stories that are connected in an accident. It follows three different stories running parallel to each other in one single movie.

I remember writing my first screenplay, Sa Likod ng Puting Uniporme. The original concept has three different stories that would run in three days in a hospital. However, our mentor during the FDFPI Screenwriting workshop, Nestor U. Torre, suggested to make it 5 stories and he added two more interesting characters (an OB-Gyne who can’t have a child was one). He challenged me to finish the screenplay as my requirement for graduation and if possible, to enter it in the contest. I obliged and the rest was history.

Writing more than one story running parallel with each other is a challenge.

You have to find a good junction where they would merge into one to make a compelling story. In the case of Tuhog, it was the accident. In the case of Sa Likod ng Puting Uniporme, it was the hospital setting.

And once you have a common link between the different stories, you start to plot and position each event in some particular order to determine how you will tell the three or more stories as one whole.

Incidentally, I used the same method when I wrote The Vixens. The stories of six different women run parallel to each other and the common links are their high school reunion and some episodes of their lives.

I usually create a table where I would list the different plot points in the first column (the trigger, the turning points, the midpoint or the point of no return, the climax, the denouement, and the end). Each column after that would be the different characters or stories (story 1, story 2, etc.). And then I start to plot down the points where these should be. Once I’ve laid out the plan, I start writing scene by scene.

It looks easy at first, but when I came down to writing, it became harder. Somehow, the characters have lives of their own that move the story forward to where I didn’t plan it to be. I just have to trust my gut feel. The ultimate goal is to create a whole story ready for grilling, a secured skewer, in Filipino, tuhog.

How about you? Do you have stories that could be joined by one element like a theme, a place, or an event? Have you tried this technique before? If so, how did you do it?

Reasons Why I Write Crime

The Reasons Why I Write Crime

I started seriously reading books when I was 9 when I got interested borrowing books from our school library. There was something in the word “mystery” in “Nancy Drew in The Spider Sapphire Mystery” that made me borrow it. Since then I was hooked with the series, always looking for those Grosset & Dunlap hardbound books with yellow sides and has numbers on them. I don’t remember how many have I read out of the more than fifty in their list but something made me crave for more.

I was even more fascinated when while browsing inside a bookstore, I found a book that says “The world’s most popular mystery writer of all time…” That description pertained to Agatha Christie, the Queen of Crime. Why was she described as that made me research and found out who she was. I was 10 years old then, but I read my first Christie, Ordeal By Innocence two years later.

I, like everyone else, am curious about unsolved mysteries and whodunnits.

Who isn’t? I love coming up with conspiracy theories about things I thought I know more about. It’s easy for me to jump into conclusions. I love to pry on someone’s secrets. I don’t want things hidden from me. Spies, assassins, and undercover agents fascinate me. The bottom line: I always ask the how and why of things.

There is a feeling of affirmation that the Earth is still a good place to live in and life goes on.

These are some of what crime/mystery thrillers are made of. The story that begins with a crime and keeps me in suspense as I guess who did it every time I turn the page. I anticipate that the villain will get caught in the end. Cathartic in some ways, yet I ask for more; a good form of escapist entertainment.

I want to write something that can cross with other genres

That’s the main reason why I write crime fiction.  I can mix it with romance, drama, historical, comedy, sci-fi, paranormal, etc. It may require me to include police procedures, legal and medical facts, interviews with investigators and forensic experts, which could be a learning experience for me as well. I wish I could meet an actual spy or assassin for an interview.

Mystery/Crime fiction appeals to all genders, therefore it could reach wider audience.

There is something in pulp fiction that it still sells until today. Stories that thrill are most likely to be translated into film, TV, play, or other entertainment forms.

And speaking of translation, my first English novel, Number One Fan, was offered to be translated to Turkish by Altin Bilek Yayinlari for their 2014-2015 book season. However, it never happened. Now, here’s wishing for an offer to have it translated into film or television… 🙂