Think of the Reader

In The Writer magazine, August 1989 issue, Piers Anthony wrote:

The writer must know his readers...their hearts and dreams.

Debbie's thoughts:
By tapping into those desires and dreams, the writer can capture the reader's interest: his desire to see justice done, his longing to feel he can control of life in some small way even when it seems out of control, etc. The more the characters struggle with problems that everyone struggles with, the more the reader can relate to the problems and will read on to see how the hero deals with them.

Likewise, the most effective horror stories tap into the things we all fear: the unknown, loss of control, etc.

Avoiding "as you know" Explanations

In The Writer magazine, December 1989 issue, Jeffrey Sweet wrote an article on "An Object Lesson for Playwrights." In it, he writes:

You can often dramatize what is going on between your characters through the way they negotiate over an object.

He gives an example of a man stopping a boy as he goes out the door. The man demands to know what the boy has in his hand, finds out it's a key, wants to know where the boy is going, and then demands the boy give him the key or he'll ground him for another week. From the example, it's obvious the man is the boy's strict father, the key is to the family car, and the boy is currently grounded and is resentful about it. All of this was conveyed by how the two characters interacted around the key instead of by the author explaining the situation to the reader.

Keeping the Reader

In The Writer magazine, December 1989 issue, Phyllis A. Whitney wrote an article on "Let's Do It Over." In it, she writes:

If your characters feel nothing strongly, neither will your reader....The more your characters stand to lose or gain, and the more they care, the more powerful the effect on the reader.

She suggests starting the story with the heroine in a conflict that she cares deeply about and that she must take some action in or do something about. And make the conflict something the reader can care about.

Next, check your suspense level. She asks, "Is everything too out-in-the-open, too obvious or predictable?" If so, then the reader is less likely to continue reading. Add some mystery to the story.

Ending the Story

In The Writer magazine, October 1990 issue, Karleen Bradford wrote an article on "Do You Want to Write for Children?" In it, she writes about wrapping up the story.

The main character's problem is solved (and always by the character himself--no intervening hand of fate, no helpful adult stepping in, no discovery that it was all a dream).

[I would add that the main character doesn't always have to be the main person to solve the problem but he does have to add the critical element to the solution. For example, a child doesn't have to personally drive the sword through the evil warlord's heart as long as he somehow plays the critical part in making that action possible.]

She goes on to say that perhaps the main character only learns how to cope with the problem.

In any case...your reader must feel, "Yes, of course, that's the only way it could possibly have ended" and even if it came as a total surprise, your reader must be satisfied [and feel positive about the ending even if it isn't a happy one].

Wisdom Found in Fiction Books

I just finished reading Auralia's Colors by Jeffrey Overstreet. I liked this bit:

A single male and a woman married to a possessive husband have sneaked away from their work detail (their punishment for thieving). He asks her to run away with him. The man says softly,

"You can't deny you heart anymore."

She playfully pounded on his shoulder with her fist. "But my heart's a mess, and yours is reckless. If we're true to ourselves, we're in trouble. That's what promises are for, like the promise [my husband] made me." She looked into the shadows of the trees. "They give you something to bind yourself to, so you don't get carried off on a whim."

...only to regret it when you come back to your senses.

Travel Speeds

I'm trying to collect this information in one place so it's easy for me to find. I thought I'd put it on my blog so others can also use it.

Conestoga Wagons were drawn by 4 to 8 horses and transported loads up to 7 metric tons. They averaged 15 miles a day (usually over dirt roads).

Wagon Trains averaged 12 to 16 miles a day.

Two-wheeled loaded carts pulled by two horses could travel at 5 miles per hour if the horses were switched with fresh ones once or twice each day. If the same horses were used all day every day, the wagon could travel at 4 miles per hour.

A lone traveler on foot carrying very little can walk at about 3 or 4 miles per hour. How long he can keep it up depends on his endurance. A marathon runner can do 8 miles per hour but likely couldn't keep that up day after day.

A very fit person trained for travelling over mountain trails or through the desert can, with a heavy pack (containing food and supplies), at best do about 20 miles in one day. Without a pack, he can make about 30 miles if he hikes fast all day. An experienced hiker not trying for a record does about 2 to 3 miles per hour.

A messenger pigeon can travel 30 miles per hour normally and 60 miles per hour in a burst.

Foot soldiers averaged a pace of 3 miles per hour. The soldiers could do this carrying fairly heavy loads (their equipment and some rations). Rain and muddy roads could cut this travel rate in half (to about 1.5 miles per hour). Forced marches usually meant marching longer (which left the soldiers exhausted at the end) rather than faster.

An army has to take time each day to break camp, load tents and such into wagons, and then set up camp at the end of the march--all of which cuts into how far they can travel in a day. The larger the army, the slower it moved. The Romans, who built temporary forts every night, often travelled only 10 to 12 miles a day even when travelling along their stone roads. Smaller armies that made less-fortified camps might be able to do 16 to 22 miles a day, but that was considered a hard pace.

The cavalry could travel faster, but they generally kept to the pace of the foot soldiers or were sent ahead to the next camp site since they had to graze their horses on good grass for about 5 hours every day. The Roman cavalry, when on its own, could do 40 miles a day.

A less-organized army might average 8 miles per day for the infantry and 12 miles per day for the cavalry.

An average horse bearing an average rider with minimal equipment along a road or good, fairly flat trail can travel 3 to 4 miles per hour at a walk, 8 to 10 miles per hour at a trot, 10 to 17 miles per hour at a canter, and up to 30 miles per hour at a gallop. A horse can not keep up a canter or gallop for more than a few miles, though. Exceptional thoroughbreds can go over 40 miles per hour for a mile. Quarter horses can reach up to 50 miles per hour for a quarter of a mile. Rough terrain would slow all these rates.

How far a horse and rider could travel in a day depends on the time of year, weather, terrain, condition of the roads, load carried (rider and equipment), and condition of the horse. A fit riding horse ridden by a fantasy warrior might cover 50 to 60 miles in a day, but 30 miles would be more average. A fantasy farm boy riding an old plow horse would go even slower than that.

An endurance horse bearing a light rider with very minimal equipment can travel 100 miles in a day on a trail over rough terrain. The horse would need several short breaks (15 to 30 minutes) to rest during the ride and couldn't repeat the performance the next day. The horse mainly travels at a trot, with some walking (up hills) and some cantering (on flat areas). Keep in mind that these horses are highly fit horses specially trained for these distances. They are well-fed, healthy, and have plenty of water available. Take away any of these factors, and the horse can't travel as far.

The Pony Express was made up of smaller horses and ponies who carried 165 pounds (including rider, mail, and supplies/equipment). Ponies were changed for fresh ones every 10 to 15 miles, and riders were changed for fresh ones every 75–100 miles. The horses traveled at about 10 miles per hour, and the mail was moved an average of 250 miles in a 24-hour day. The trail was mostly one of dirt.

Riding camels can travel over 100 miles in a day. Racing camels travel an average of 20 miles per hour during 6-miles races. A camel can travel 60 miles a day across the desert carrying up to 400 pounds. Camels can carry as much as 600 pounds if loaded properly.

Writing Historicals

I picked up a batch of old magazines at a library sale. In The Writer magazine, March 1990, Rosalyn Alsobrook wrote an article on "When You Write a Historical Romance." Her advice is excellent for writing any sort of historical. To quote a small part:

Not only must the setting and the time period...be portrayed accurately, it has to be made an actual part of the story. The conflicts in your story should develop from true events or known customs of the time and place...

and

[Your characters] must be a product of their time....Their personalities and mannerisms must mesh with...the historical era...

She also points out that the historical elements should be accurate and interesting, but only included as backdrop or as a catalyst in the conflict.

For example, I read a historical novel where the author paused to explain the meaning of a tavern's name when that information wasn't needed to understand the story. Worse, that information was given in the middle of a "life-in-danger" scene and it totally drained away the tension.

Finally, she points out that heavy dialect can be very difficult for a reader to work through and will slow your story's pace.

Insert a word here and a phrase there to give the reader...the characteristic speech patterns...

And that's enough to get the idea across.