Writing Without The Drama

Blog Vacation...

2011-07-24T07:10:00.000-07:00

As you might have noticed I have been a little quiet of late. Actually I have been so insanely busy that I haven't had a chance to post here in a while.

My plan is to take the rest of the summer off and hopefully return in September to my regular posting schedule #fingerscrossed

As always though I will be on my Twitter stream @writingnodrama so stay in touch with me there :-) :-) :-)

Writing... The End Result

2011-06-26T11:21:00.000-07:00

So we finally faced our fears, wrote through all of our terror and end up with a finished book!

#woot #woot

But then what?

In the olden days (read three years ago), you shopped this manuscript around to agents and publishers and crossed your fingers that it sold. If it didn't... um... #crap That manuscript was dead in the water. You might as well stash it in a drawer, weep softly then start writing the next one (whose fate more than likely would be the same).

Oh sure, you could VANITY PRESS. But, um, with a name like that and the stigma attached to it, who wanted to do that?

Then the digital revolution happened. Amazon.com opened wide its 'doors,' inviting anyone to publish.

At the same time readers began flocking to digital books and avoiding the traditional brick and mortar stores (hence why Borders is practically out of business and Barnes and Noble is being sold).

The shift in the publishing world cannot be overstated.

And the biggest beneficiary, beyond the reader who now can shop from the comfort of their living room and start reading within moments of purchase? The indie author.

Me. You. All of us.

Now I know there are a lot of stiff backs right now and hackles up, and sure last year we could have argued the merit of self-publishing, but now? Now that the houses are clamping down on purchasing ANY books by new authors? Now self-publishing is nearly your only option.

The Big 6 and every small publishers is hemorrhaging right now. Privately they talk about "catastrophic" declines in sales.

There has never been a worse time to try and sell a book. And try to get a house to fork out any advertising money? Darlin', they just don't have it.

So indie it is... or... you know... store your manuscript's file on your harddrive and start writing the next one.

Luckily, many have gone before us though and shown the way and I have had a pretty good run of sales the last year (far better than the VAST majority of published (even mid-list authors) I know ($20,000 and counting this year so far).

And this week the book I wrote with my fellow Indie Book Collective's Co-founders, Amber Scott and Rachel Thompson...
"Dollars & Sense: The Definitive Guide to Self-Publishing" is launching.

"Dollars & Sense" can take the indie publishing neo-phyte from manuscript to publication, using a step-by-step method. The book walks you through making sure your work is in publishable shape, to formatting, to learning social media, to how to potentate your book sales.

And the best part? Thru June 29th it is just 99 cents! Crazy right? A total blue-print for indie publishing success for less than a buck!

So if you have any hopes and dreams about publishing (even if you go traditional publishing, you are going to need to know all this info since your house EXPECTS you to know how to use social media etc to gain name recognition), hop on over to Amazon and pick up your copy! #now #Imeanit :-)

Beating the Drama of Writer’s Block

2011-06-19T21:39:00.000-07:00

To create better drama in your writing, you need to beat the drama of writer’s block.

This may be obvious. But when your curser is sitting on a blank page taunting you with the repetitive blinking and your mind spins and lurches, sifting through everything and settling on nothing, writer’s block can be debilitating.

So, how do you beat it?

I’ll tell you a secret that may make you hate me.

I never get writer’s block.

Now, don’t get me wrong, I definitely get lazy, or distracted, or addicted to tweeting. I have many things that keep me from writing. But I never get blocked.

How?

I shall fill you in on my dirty little secret.

The Games We Play As Children

My brother and I have this game we play. I now play it with my fiancé, who is also a writer. (And no, not THAT kind of game. Get your minds of the gutter!)

How does it work?

1. Pick a subject, any subject.

2. Then pick a genre. (poetry, short story, scene, essay, anything you want!)

3. Now, TIME IT! You and your partner (or partners) decide on a short time (1-3 minutes) and write about what you picked.

4. Finally, share and laugh.

A real life example.

The Subject: A woman in a living room, naked with a gun.

The genre: scene

The results…

My brother Neil wrote a scene about a woman who was using her gun for some special time when… oops! It went off!

I wrote a scene in which a woman was pregnant, trying to give herself an abortion in a very unlikely way. #itdidntwork

Now, say what you will about our mental stability, we rocked those stories and went on to write more. Poems about cigarettes. The alphabet as a story. A Dear Mom letter from camp. (You DO NOT want to know what my bro did with THAT one!)

You get the idea!

Why this works.

These games free up your creative muse. They get you thinking about things in a new and fun way and force you to write from a new perspective.

They also break you out of any block.

These games stood me well when I went to college and had deadlines for papers.

They saved me when I wrote professionally for newspapers. When you are on deadline of a few hours to get a front page news story in, you don’t have time for blocks.

The truth is, we don’t really get blocked at all. We just get trapped in our own minds, over-thinking what should be a creative process.

By playing with our muse, rather than forcing it, we free ourselves to be the creative genius we most desire.

So get out there and play! If you don’t have a partner, play with yourself. #again #mindoutofgutter

Your muse will thank you. And so will your readers.

Kimberly Kinrade is a Young Adult fantasy author whose first book, "Bits of You & Pieces of Me," was not YA, but rather a collection of short stories, poems and essays that tell the tale of a young girl in love with love who discovers the demon of a splintered heart when that love turns violent.

Watch for her YA fantasies, Death by Destiny and The Reluctant Familiar this fall! Find her on Twitter, Facebook, or her website. She also writes a blog for Lifarre, the new women’s network, and is a staff member for the Indie Book Collective

Setting with Feeling

2011-06-12T18:10:00.000-07:00

A Guest Post By Dmytry Karpov

Things to Remember

A setting isn’t a place, it’s a character. Too often, writers describe what a location looks like and move on. The prose, if beautiful, may be memorable, but the setting will be flat and forgettable. Even action scenes deserve arenas, so locations deserve word count. With these three tips, make your settings three dimensional.

Add Drama

Atmosphere: You’ve probably learned about it in English class. (And no, it’s not the thing that floats around our planet. Homonyms, people!) It is the feel of a setting. It is the sum of sensations it creates. In order for a setting to have atmosphere, its descriptions must hint at mood.

If the room is dark, the walls peeling and covered in webs, feelings of decay and darkness are achieved. Add a little blood, and an atmosphere of horror is created. Mention a sunny day, and sensations of warmth arise.

Every detail helps create or destroy atmosphere. If present, it will pair your setting with an emotion, be memorable, and enhance your scene. It will draw sensations from your characters and readers. Atmosphere gives setting emotion. History gives it depth.

Dig Deeper

History: (Not the tedious heavy textbook kind.) Every location, unless absolutely and unrealistically untouched, has it. There are coffee stains on the table within a family’s home. There are pictures on the wall within a child’s room. Castles are built upon old ruins, marked in a language long forgotten. Space ships are covered in posters put up by the crew.

Such details make setting a character. They create interest, mystery. They allow the setting to change and grow. Not only can it have feelings and depth, it can affect people.

Don't Forget Action

Life: Most settings are filled with it. Drunks cheer at a bar. A spider crawls across the floor. Engines roar. Children laugh. A bird sits on the windowsill. A mouse sits in the corner. In fantasy, trees and rock may come alive. In Science-Fiction, computers may beep and talk.

Settings can move. They can change. They can affect characters and demand responses.

Don’t make your setting a place.

Make your setting a character. Make it important.

----------------------------------------------------------------------------------

Dmytry Karpov is an Adult Fantasy writer tired of cliches and girl-meets-vampire plots. His first book, The Nemean Lion, is set in a post-apocalyptic world where both zombies and fairytale creatures exist. And Ann, a fierce girl trying to return home, sets out on a quest with a leprechaun. Of course, she would have preferred a vampire, but not everyone's that lucky.

Dmytry is also the editor of numerous published short stories. Find him on Twitter and Facebook

Losing yourself in your writing

2011-06-05T14:34:00.000-07:00

A Guest Post by Nai'lah Carter...

As a writer, you have to become one with your story but also know when to step away from it. You have to give yourself time to write but also time to be, you. Even though the writer and individual are two in one, each needs breathing space.

When you write,

Live your characters—know who they are, their likes, dislikes and the way they would react in different circumstances.
Write the story the way it comes to you.
Don’t stop writing to edit or worry about logics. Allow your characters to tell their story.

Now, the story is completed and you’re excited to see the final product. Find something to do—knit or delve into a new book then return to your story. As you read it, even though you’re the author you are bewildered at the turn of events. Edit your story and assure that all dots are connected. If possible, have someone else read it.

What’s worst than a writer being his/her own critic? A writer trying to change the story their muse presented to them. “I don’t like the ending…let me change it.” STOP! Let your story breathe. This is the hardest task to ask a writer to perform but—remove yourself from your work and allow your story to, be. I can guarantee you, you will see how wonderfully flawed your characters are and they way they took control.

Often times the individual is broken into greater sub-sections: spouse, sibling, daughter, friend, and so on and the writer struggles to find time to devote to his/her work. The solution is simple in theory but not practicality. Every writer should:

· Schedule writing times.

· Give yourself deadlines

· When life’s emergencies come into play, your writing becomes secondary. In order to adhere to your deadlines, utilize your next ‘writing hours’ to make up for lost time.

· Pay attention to what you’re doing as opposed to what you didn’t get a chance to do. No matter how minute it may seem; you’re being productive.

If this is your dream, fulfill it by executing! Here’s where support comes in. Your family and friends should understand your goals—long and short term. However support should be reciprocated, just as your friends and family support you, you have to allot time to be there for them. Just as you find time to write, you must find time for them. Do not allow yourself to become so enthralled into your work that you lose yourself in it.

When you’re writing, write. When you’re working, work. When you’re spending time with your family, be there in action and thought. In addition you also need, ‘you’ time. Allow your, self to serve precedence over, The Writer. Hard work pays off but everyone needs time for him/herself. Ample rest is as important as producing material. It is critical to make time for each role you play to preserve sanity.

Wishing you all the best,

Nai’lah.

Nai'lah Carter is a full-time mother and wife attempting to make my dream a reality. I'm a passionate writer--focused and dedicated to my gift. With hard work, results are show to follow. I believe in creating opportunities as opposed to waiting for them.

Http://nailahcarter.com

www.twitter.com/nailahcarter

www.Facebook.com/TheNailahCarter

www.LinkedIn.com/groups?mostPopular=&gid=3933904

Writing the Drama with No Drama, guest post from Christopher Alexander

2011-05-22T18:15:00.000-07:00

Ironic? Hypocritical? Really doesn't make any sense, 
right?

Well, the fact is that most things in life that we do 
end up with some sort of consequence and we always 
hope for the best and never the worst.

Writers, my peers, do you know why the stereotypical 
writer is a "tormented soul" fast-bound to some sort 
of short life over loaded with cigarettes and whiskey? 
Well, as someone once said, "we kill ourselves as the 
price we pay for playing God in our creations."

Sounds epic, doesn't it? And not the Ke$ha (insert 
eye roll for word-generalization) kind, but think of 
it, why do we think we have to be so tortured and 
conflicted?

As Carolyn has stated time and time again, as a writer 
you are not your character. But, let me tell you, as a 
writer you must ask yourself if you write for 
entertainment or closure.

Sounds strange, right? Heh, maybe even freudian..? 
Anyway~

The reason why I've boiled it down to those two areas 
is because a writer who writes for entertainment is one 
who is going to write for fun, think of funny/crazy and 
things they find really interesting. The other kind of 
writer, the bull's eye-hit or miss are those who write 
as a way to cope and deal with something going on in
their life. Which is why the character(s) and story
are really awesome and powerful or... really awful
and emo.

The tricky part is, figuring out how to master that 
emotional vulnerability and make it detached from you.

I started out writing for fun, I had been writing dumb 
little stories since I was in elementary school and
picked it up again towards the end of high school. The
thing that very few people, if any picked up on, was
that some thought I was writing about me and my
situations that were going on at the time. After all,
it was high school. When was drama not involved?
Anyway, I think you get the point, and I never knew why
someone would even think that.

After a good while I realized I was writing for closure
but not the characters as myself and the people involved,
but I wrote the situation as a way to deal with it in my
own life. I even had a professor say that she did the
same thing when her daughter had to go over seas with her
husband for work, which made her really scared.

See? We all tend to do that at some point but there is
a point in which being too involved within that self-
created coping mechanism that suffocates the story you've
already began telling. Of course that means the readers
and the story pay the price because you were too involved,
which means the story became about you and no one else
to be able to enjoy, relate, and read.

We use anything and everything in our disposal to create
our own work of art, a story, book, poem, or something
along those lines that requires creative energy and just
a little bit of our soul for art. But we should write
only what we know, right? Its the best way to be
trustworthy for the reader, but if we know dramatic and
traumatic situations then we can write about them, right?
Of course! I encourage you to do so because already
you're going to have a flow of conflict to carry the 
story along. And that's what makes things interesting,
the conflict!

You always have to remember what your audience wants to
read, that's if you have an audience already reading your
work. If you don't have an audience yet, time to think of
what your target audience is and pull the trigger!

Being detached once you get started with your drama (in
the story of course), prevents hitting the hurdles
head-on of, "oh crap, this is me. I couldn't do these
things, why should that character do them?" Or, "this
hits too close to home... my own drama isn't over, how
can I ever wrap this story up?" Or better yet, "I give
up... why put this character through what I'm going
through. Its not fair for me and not for them."

Don't they really sound awful?

I think we've all bumped into those hurdles and really
hit the dirt and then the guilt hits us from starting
something and then axing it. Or better yet, the story
keeps going on and remains in the "planning" stages
that is itching to come forth and live.

That's why its important to remove yourself in order
to let the story flow on its own course and be the
middle-man just telling it as best you know how!

And like Carolyn has always said, no one knows your
story but you.

Now, write from the heart, tweak with your wit, and
edit with your audience in mind.

Use your drama to remove the drama in writing it!

Rise and Fall

2011-05-14T17:43:00.002-07:00

Yep, I am back after a brief sabbatical of trying to get not 1 but 3 books into publication shape!

I have also been doing a lot of writing coaching and as always I have sensed a pattern common to newer writers and I felt like everyone (even authors 5-100 books in have to remind themselves of this) could use a little reminder of making sure your writing has rise and fall.

What do I mean by that?

Simple. Your writing should breathe...

There are times when you will take quick, short breaths. Other times you will sigh gently.

Through out the book, section, chapter, paragraph and even sentence your writing should have a sense of movement.

You need to be not only going somewhere with it, but going with purpose.

Another analogy would be the make sure your writing is shaded. Not everything should be black and white. Especially your character's motivations. There should be a million shades of gray in there.

I know, I know... easier said than done.

But not really. You can truly breath life into a paragraph just by making sure that your sentences are not all the same length (and therefore the thought process behind them). Make sure that either external or internal dialogue rises from the character and not just from you. Make sure your prose is written through the eyes of the SPECIFIC character that you are in their POV.

Normally by applying these simple criteria, you can really get your writing MOVING :-)

Example:

The bedroom's walls were a dull white whereas the carpet was a light beige. There were not many knicknacks on the dresser however the closet was full to near bursting. All manner of clothing, shoes, and sports equipment threatened to tumble out at any moment.

Explanation:
There is nothing really wrong with the above paragraph, except of course it is told in passive voice. However, beyond that it is monotonous and lacks any rise and fall.

Rewrite:
Dull, dull, dull. The walls, the carpet, even the bedspread looked like they had been washed in the same dirty creek. Even weirder the dresser was so spare it felt Spartan yet the closet was like a level-5 Hoarding situation. Who the hell lived like this?

Can you feel the difference? The difference in sentence structure. The difference in SPECIFIC language and an internal POV evident.

How about you test your rise and fall. Go pick a random page. Point out at least 5 places where you demonstrate movement and draw the reader in.

Feel free to comment below with a sample and I will swing by and critique it if you like!

#Goodtobeback :-)

Going Crazy for Character, a guest post from @actingnodrama

2011-05-08T18:16:00.000-07:00

The first thing I'm going to say about character I'm sure will raise a couple of eyebrows. Characters don't really exist.

Now before you go all postal on me, stop for a moment. I'm not saying character isn't important, or that I don't love character work, or that everything you've been doing up to this point with your character development isn't worthwhile. Not at all. I'm an actor, fercryingoutloud. Of course I think character work is vital to what we're doing as writers.

What I'm saying is that sometimes, in our quest to make our characters "real" we forget that they... well... aren't. They are two-dimensional constructs made up of black characters on a white page (typically... and typographically... speaking). Can they feel real? Absolutely. Can they begin to act and speak for themselves in our work? Hopefully.

And...

Along with that, I think it's good for us to remember that our characters are capable of an almost limitless range of choices. We sometimes box them in with our desire to be "realistic". We don't allow our characters to truly surprise us. And while characters should be consistent, one of the truly consistent things about real people is that they have the ability to change. Sometimes rapidly. There's always motivation for the change, but that change can be quite shocking, both to outside observers and even to the people themselves.

Use some caution here--I'm not talking about the writer's hand. In other words, don't just make your character do something because you need them to, regardless of motivation or established character traits. What I'm discussing is allowing characters to go in unexpected directions. Allow them to surprise you.

Because as much as surprises in real life may not appeal to everyone, in fiction they are GOLDEN. :)

Ben Hopkin (@actingnodrama) is an actor, as well as a writer, director and producer. He teaches online acting classes, and hosts an online radio show on Thursday evenings at 8pm PST. If you're interested in acting, you can check out more of his ideas at www.actingwithoutthedrama.blogspot.com.

Cheerleaders, a guest post from @MelissaTRomo

2011-05-01T17:32:00.000-07:00

About the time I started writing my first novel, a friend of mine, who had been working on her first, was just starting to swim in the dissolving bits of her marriage. It turns out that she was married to a person I call the “anti-cheerleader.” Maybe he thought he was being helpful, but he wasn't. You can't do this. It's a long shot, you shouldn't really try. When are you going to move on to something else? I don't want you to be disappointed.

When we met recently to catch up, she marveled that I was at the point of being able to pitch my novel to agents. She had never gotten that far. How did you ever do it? she asked. Guiltily, I immediately knew the answer and didn't really want to confess it to her. It had nothing to do with me being a better writer, or more disciplined. I just had this ace in my corner: a spouse who knew how to be a good cheerleader.

Whenever I tell my friends that he's the reason I was able to finish a novel, they all offer a that's nice kind of smile. That can't be the only reason. But, really, I'm here to tell you it is. The voice of the spouse or significant other is insanely loud, for good or ill. Her novel was in a drawer. Mine was ready to pitch.

Why do the cheerleaders and anti-cheerleaders in our writing lives have such an impact? For me, it had something to do with staying on the course I set for myself. There are moments during my writing life when I definitely start scanning the room for the exit. It's not because I don't like writing. I love it. Stringing together words that work just right is the best drug there is.

But sometimes writing can seem just plain difficult, and rewards and validation only seem to come so often. I hate to admit it, but sometimes the question Why am I doing this? does enter my mind. I can't tell you how many times I've called my husband, reciting a posting for a “real job” from Monster.com. But he knows I want to write, so he hangs up on me.

When a writer has those moments when they might want to throw in the towel, that’s when cheerleaders make the difference. Even by hanging up. Spouses, significant others, friends, family, whoever.

But like I said, the spouse’s or significant other’s voice in particular is insanely loud and powerful. This person tied their life to mine. They must know something I don't know.

I thought about myself in those moments of doubt and having the anti-cheerleader saying things to me like what my friend's husband said. I would have headed for the exit in the first five minutes. A lot of good, talented people would have. Like any long, lonely race, writing can challenge your fortitude. Like a long-distance runner, you might hear a little voice that says Owww, this hurts. When can we take a break?

But I got very, very lucky. Every time I get close to the exit, I hear the voice of the person I had the dumb good fortune to tie my life to whispering Keep going. Come back around after you've done a little more. You can do it. And the other cheerleaders who've since looped arms with him say the same thing. You can do it. Don't give it up.

I'm nothing special. If I make anything out of this journey, it's because of the cheerleaders in my corner who keep me on course. If you know a writer, especially if you're the spouse or significant other of a writer, be their cheerleader. And if you can't, then say nothing. Don't be an anti-cheerleader. Because as full of doubt and fear as a writer can be, they really don't want to find the exit. What they really want is for you to bar the door that leads out to someplace that's not the dream in their heart.

Melissa Romo writes about her writing journey at http://thebookorbust.blogspot.com. She lives in Hoboken, New Jersey with her cheerleader and two cheerleaders-in-training.

5 Common Dialog Pitfalls and How to Avoid Them--Guest Post from @AnnetteLyon

2011-04-24T18:37:00.000-07:00

My high-school creative writing teacher taught me a lot of great things, but she was dead wrong about one: dialog.

Miss Winn insisted that the best way to learn how to write realistic-sounding dialog is to record actual conversations and then mimic them in your writing.

Slight problem: real conversation is almost always drier than burnt toast, and it doesn’t accomplish what dialog in fiction needs to.

Even when real conversation is interesting, the speakers often meander from topic to topic. (My sister and I can cover 30 subjects in a 10-minute car ride. Not even almost kidding.)

In addition, most talk isn’t propelled by conflict. It rarely has a tidy, logical progression that advances events. Conversation doesn’t have to make sense. Plus, we often repeat ourselves or loop back to earlier topics. On top of all that, real speech is littered with pauses and non-words like um, so, well, huh, and more.

None of that makes for compelling dialog in fiction. Using actual speech as a template would create mind-numbingly bad fiction.

The truth about great dialog is that it creates the illusion of reality. It resembles what we think real conversations are actually like. Good dialog rings true. It can’t be awkward or stilted or overly formal, or readers balk that it’s not “real.”

Give readers solid dialog, and they’ll be happy—even though it’s not close to the real thing.

Here are five things great dialog does do:

#1—It Doesn’t Meander

Unless you have a compelling reason for making a conversation take side roads (revealing character, setting, planting foreshadowing, or something else), keep the dialog on topic. Meander can include covering irrelevant information, long internal monologues, and those icky filler words (um, yeah, well, etc.) that are a little too real to be believable.

#2—It Has Natural Movement

This means that Johnny’s reply refers to what Jenny just said and that the conversation logically moves from point A to B to C. You as the writer may need you characters to eventually discuss F, but don’t jump there just because the story demands it, and don’t twist the conversation into a convenient pretzel to get it there. Pay attention to what each character says and what the response is—and be sure the progression makes sense.

#3—It Has a Purpose

The most common purpose is usually creating conflict. What’s at stake in this? For whom? Because dialog can serve other purposes, try to have each conversation do more than one thing—reveal character, establish setting, foreshadow, or something else. Beware of scenes with no solid purpose, like the one I read in a manuscript where a bunch of characters sat around discussing what they ate for dinner last night.

#4—It’s True to Each Character’s Voice

To use an example most people are familiar with: think of Hagrid, Dumbledore, Snape, and Hermione. Each has his or her distinct way of speaking, and we’d never mistake Hagrid’s speech for Snape’s or anyone else’s. Keep your characters sounding like themselves—which means they don’t sound like you, the author.

I once read a story where a poor, uneducated, immigrant started spouting off with eloquent English like some Harvard professor. Any illusion of a story world collapsed.

To make your characters unique, take account things like age, gender, geographical background, likes and dislikes, personal quirks, educational level, and more. The way my teenage son asks for a cookie is very different than the way his grandmother does, which is different from how my husband does. They all use different vocabulary, sentence structure, and tone.

#5—It Isn’t for Dumping Information on the Reader

Dialog can be a great way to give reader important information, but too many beginning writers use it as a crutch. Avoid long speeches where a character explains backstory, technology, or—my personal peeve—things the characters already know. I call this the “As you know, Bob” problem.

For example: If two women are best friends, they’d know one another’s family, lifestyle, and so on. So if Betty’s husband gets laid off, she wouldn’t tell her best friend about it like this: “My husband, John, was just laid off from ABC Software.”

Her friend would already know his name and where he works. “John was laid off” is enough. The reader can figure out that John is Betty’s spouse, and if we need to know where he worked, we can fit that into the story or conversation later (in a natural way!).

My favorite example of telling the audience crucial information in a non-info-dumpy way is from an episode of M*A*S*H. Hawkeye looks at a microscope slide with the blood of a wounded soldier. He sits back, visibly upset. BJ comes in and looks at the slide too. Both doctors know the patient’s problem, but the audience doesn’t.

Having either doctor say, “As you know, that slide means he has . . .” would feel utterly fake. How did they tell us about the soldier’s condition without an info dump?

They had BJ look at the microscope again. Then Hawkeye shakes his head and says, “It doesn't matter how many times you look at it. It’s still going to be leukemia.”

Pow. The audience feels the weight of the diagnosis—and we learned about through words Hawkeye really would have said.

Dialog is one of the best tools writers have for creating vivid stories. Avoiding these five pitfalls will help you create powerful writing with character, conflict, and emotion that keeps the reader turning pages.

Blog: The Lyon’s Tale

http://blog.annettelyon.com

Web Site:

http://annettelyon.com

Twitter:

@AnnetteLyon

Bio:

Annette Lyon has been writing ever since second grade, when she piled pillows on a chair to reach her mother's typewriter. A cum laude graduate from Brigham Young University with a degree in English, she has had success as a professional editor and doing newspaper, magazine, and business writing, but her first love is creating fiction. Band of Sisters, her seventh novel, is about five women who come together during their husbands' deployment to Afghanistan.

Her newest release, a cookbook called Chocolate Never Faileth, is a delicious departure from fiction and the culmination of over five months of test kitchen craziness and fun.

In 2007 Annette was awarded Utah’s Best of State medal for fiction. She’s a two-time Whitney Award finalist and has received three publication awards from the League of Utah Writers.

How I Stay Focused--Guest Blog from @GP_Aldrich

2011-04-17T15:25:00.000-07:00

How do I stay focused and block time to write?

My motto is “always writing”, because that keeps me focused. But there’s more than just those two words to staying focused and blocking out time to write.

A long time ago I noticed that I was flitting from writing project to writing project to some other project. I lacked focus, I needed something to keep me on point. I found it by looking at the big picture and then cutting it down to those two words.

Let’s start at the time. At the begging of every quarter I decide on two projects. That means on the 1^st of January, April, July and October, I pick two projects. Read that again, TWO, is not TWENTY or even three. Just two projects. I don’t waver for that quarter. I am working on one of those two projects.

If I can’t work on the main project, meaning there’s a part of the story I want to think about more, or maybe there’s something that stops me from working on it, then I can branch over to focus on project two. Since there is no project three, I have to work on one of these two.

In my case my two projects this quarter are a murder mystery and promoting my writing. I think this guest blog post is evidence enough that I am working on project two. Project one is coming along fine as well, you just can’t see it.

As most creative people do, I have my doubts, what if I pick the wrong two projects? I don’t let that even enter my thoughts, because I am focused on COMPLETING these projects. The project is not to test to see if this is a good concept, but rather the project is to write the story. I can make the re-writing, or editing, or throwing on the trash heap, of this quarters project, a project for NEXT quarter.

Focus on those two projects, not the doubts or concerns.

OK, now we have two projects. How do we block out time? First of all, I have dirty dishes in my sink. I’m a single guy and as long as they aren’t stinking or making little science experiments, the dishes can wait. They wait because my focus is writing, and I have two projects. But life is busy. We can’t just drop everything to write. My method is to set a mini-project when I know I have another task to accomplish.

When I walk my dog, I am thinking about character background. I could be thinking about work, or family, or the dishes in the sink, but I set a goal for the walk. At the end of the walk I will know more about my main character.

If I am awake, I know I can be writing because I set these mini goals.

Let’s talk about actually sitting down and putting words on paper, or screen as the case may be. I have been setting these mini goals ever since the last time I was in from of my computer, I know what will happen next in the story, what the dialog is, how the setting will change, it’s just a matter of typing it. Think about it, is the act of typing, writing? No. Writing is the creation of the story and therefore doesn’t require paper, only your active imagination. By the time I get to the typing part, the story is flooding out my fingers. That makes those short times I can block out, highly productive.

I don’t believe there is a writer out there who sells his first draft. I think the first draft is a mental dump of everything the writer thinks should be there. I don’t worry about rules, or if my grammar is perfect. I set all of that aside to let the story flow. My project for the quarter is to get it all out, not to get out only the good parts. Open the dam, watch the water flow.

Wrapping it up: “Always writing” means set the big project, the mini goals and set the rules aside as your imagination flows. And it WILL flow because you’re focused on this project for the next 90 days.

G.P. Aldrich lives with his dog Carmen, in San Francisco California.

You can find him on Twitter @GP_Aldrich, that is, when he’s not writing.

His blog can be found at: www.gpaldrich.blogspot.com

Writing Group--If You Don't Have One, Get One

2011-04-10T15:56:00.000-07:00

Today's guest blog comes to us from Jo Ann Yhard, @JoAnnYhard. Enjoy!

Do you have trouble fitting in writing time? Don’t feel alone, we all do. But it can be done. After all, this is our passion, right? We need to do it.

How does a writing group help?

I’ve found it to be the key to completing writing projects. I can be the world’s worst procrastinator – even though I love to write. Our group meets weekly and commits to bringing fresh writing. That weekly deadline is a powerful motivator. No one wants to get ribbed for continually not bringing anything. Most of us write YA and middle readers and try to bring a chapter a week. It adds up!

How do I form a writing group?

Our group evolved from a series of children’s writing workshops. We didn’t want to stop when the workshops ended, so naturally formed into a writing group. I know it’s not always that easy. But through Twitter, Facebook, blogs, and your local writing community, you can find others who write in similar genres and have common goals. Names are probably coming to you as you read this. If you aren’t able to meet in person, consider forming an online group. Our group shares through email for feedback when we can’t meet.

What is the format of meetings?

A lot will depend at what stage you are in your writing and what the group’s goals are. In our group, we provide hard copies to everyone, read our chapter out loud, then listen to feedback. Many write notes and edit on the hard copy. It can be scary, I know, sharing your work. And reading…OUT LOUD??? But having a regular group builds a trusting and supportive environment. One member used to break out in hives when she read. Not anymore. Hearing your work out loud, you become aware of issues in your stories that were not evident before. And if you can’t meet, read your writing out loud to yourself. You’ll be amazed at what you notice.

But negative feedback will hurt my feelings…

It does sting a little at first. But it’s not negative, it’s constructive. In the beginning, our meetings focused on positive feedback and encouragement. But while praise is a wonderful thing, it alone doesn’t help to improve our craft. So, as we got more comfortable, we still encouraged each other, but used more of the time to concentrate on trouble spots – things like point of view, pacing, plot, dialogue, voice, even brainstorming to stimulate ideas. So toughen up your skin – feedback improves your work! Include guidelines for the group to ensure respectful feedback. And keep in mind that in the end, you’re the boss and feedback is opinion. Be true to your work and try to balance incorporating only the feedback that strengthens your piece.

How is spending time on others’ writing useful to me?

While we share the meeting time, I’ve found that giving feedback has strengthened my own writing skills. Noticing trouble spots in others’ writing helps you to watch for those same pitfalls in your own. Also, I’ve learned things about writing in general by listening to discussions in the group. You benefit from everyone else’s knowledge.

Are there other benefits to me?

Definitely! And it’s not always when things are going great. Don’t get me wrong, the champagne corks fly for the happy times! But we’re also there to help each other through the disappointment of rejection letters. And there have been plenty of those. It can be heartbreaking and easy to give up. But the support and understanding of your group, the ones who have been in the trenches and experienced it, helps you to survive those tough times and keep writing.

Will it help me get published?

If publication is your goal…

None of us were published when we started approximately seven years ago. Now, various members have three published novels, with three more coming out in 2011/2012, along with assorted writing contest wins and placements. And we’ve all grown as writers, both in our skills and self-confidence. So, if you haven’t been in a writing group, think about it. It’s one of the best things you can do for your writing journey.

About me:

My first middle grade mystery, The Fossil Hunter of Sydney Mines, was released by Nimbus Publishing in April 2010, and is a Canadian bestseller. My new book, Lost on Brier Island, is coming out in May 2011.

Website www.JoAnnYhard.ca

Facebook Page http://www.facebook.com/#!/pages/Jo-Ann-Yhard-Author/161198207246873

Twitter. http://twitter.com/JoAnnYhard

Books:

The Fossil Hunter of Sydney Mines http://www.amazon.com/Fossil-Hunter-Sydney-Mines/dp/1551097605

Lost on Brier Island http://www.amazon.ca/Lost-Brier-Island-Ann-Yhard/dp/1551098199

Thanks, Jo Ann, for that very informative post.  If any
of you writers out there are interested in having a guest
post on Carolyn's blog, please feel free to submit your
ideas to writingnodrama (at) aol (dot) com.

"The 7 Deadly Sins of Querying" Guest post from @DorothyDreyer

2011-04-03T17:51:00.000-07:00

So, writers... while Carolyn is on hiatus this month,
we are going to be treated to some wonderful guest
entries from some great writers from the stream.
Today's post comes to us from @DorothyDreyer.  Enjoy!

Bad querying is a sin and can guarantee you a one-way
ticket to Hades.  Okay, not really, but it certainly
won't help you get an agent. To help you avoid damnation
on your querying quest, let's go over the seven deadly
sins you must not be tempted by.

GLUTTONY: Do you stuff your query full of more junk than
found in a Vegas buffet? Does your email query address
EVERY agent who ever lived? Is your pitch ten fat pages
long (and still doesn't get the point of the story across)?
We know you want to quadruple your chances by telling as
many agents as possible every single detail about your
BEST NOVEL EVER, but avoid doing this. Keep your pitch
simple and concise with a killer hook, address one agent
at a time, and you shall be saved!

ENVY: Do you use sentences like "My book is ten times
better than the crap found in bookstores nowadays." or
"All the bestsellers I've read suck. I'm a REAL writer!"?
Could it be what you really feel is jealousy that you're
not published? Could it be that you just insulted every
single client your dream agent has? Avoid putting down
other writers, big or small, and you shall be saved!

LUST: Do you slut yourself out in an attempt to land an
agent? Do you send provocative pictures along with your
query letter? Do you offer time-share condos in the
Bahamas or send coffee cups stuffed with your lacey
underwear in hopes to sway an agent's judgement? Do not
try to seduce your way into the hearts of agents, and
you shall be saved!

PRIDE: Do you brag that your mommy says your novel is
the best piece of literature she's ever read? Do you
claim that all your friends think you are the smartest
person alive? Avoid proclaiming how great a writer you
think you are and let your writing speak for itself, and
you shall be saved!

SLOTH: "My fiction novel is attached." Is that your best
attempt at a query letter? Do you address the agent with
To Whom it May Concern? Do you even know if the agency
you're querying represents the genre you write? Don't be
lazy. Do your research, follow submission guidelines,
and take the time to perfect your pitch, and you shall
be saved!

GREED: "My novel is so good I'm certain I'll get six-
figure offers from multiple publishers." "I know the
publishing industry usually takes time, but my novel is
so kick-ass that I'll land an agent, get a publishing
deal, and my book will be in stores IN A MONTH!" We
know this is your dream, and you have every right to
chase it. But don't let your greed make you delusional.
Be sensible, and you shall be saved!

WRATH: "How dare you reject my masterpiece! I'm going to
write a scornful blog post wherein I tell everyone I know
how much you suck!  Agents are just jealous because they
can't write!" Have you seen the statistics of how many
query letters an agent gets a week, and the percentage
of those writers who actually get requests for submission,
and the percentage of those writers who actually land an
agent? Do not let rejection make you a monster. Be
professional, and you shall be saved!

Special thanks to Dorothy for that wonderful post!  If
any of you writers out there are interested in having a
guest post on Carolyn's blog, please feel free to submit
your ideas to writingwithoutthedrama (at) aol (dot) com.

Checking in on your commitments...

2011-03-20T15:53:00.000-07:00

You made a commitment to your writing this year, didn't you? Right? Right???

It has been three months since the start of the New Year so let's take a look at how your dreams and aspirations held up to the real world. LOL

If you did not make a commitment to your writing, how about doing one now? Seldom do amazing things in life just happen by chance or luck. The things that really matter usually require dedication, persistence, and patience.

Writing your book or selling your book are perfect examples.

But let's say for the purpose of this blog that you did take me up on my "Absolutely No Excuse" challenge to write your book, and market it, this year.

By now, writing 25 pages a week so you should be at about 200 pages.

For YA, you are in the home stretch.
For many genre novels you are over 2/3 there.
For larger works you are 1/2 through.

Doesn't it feel great???

Oh, wait. You mean you aren't at 200 pages?

Let's see... Life got busy. The kids got soccer. Your boss expects overtime.

Ok, no worries. Let's be realistic and cut the hopeful page count in half.

So, awesome! You've got 100 pages of your novel done!!!

What? Not even 100 pages?

That's okay too, because I am not here to guilt you (perhaps in other blogs, but not this one - LOL).

I am just here to remind you how much you love your story.

How excited you were when you first sat down to write your book. How many hopes and dreams you had when you could see your book, written, in your mind.

I am a big believer in the 'never too late' motto.

Ok, so life got in the way. Your dedication wavered. That doesn't mean you can't re-commit. It doesn't mean that you can't find a way to time manage better.

All you have to decide is... how important is your story to you?

Then, once that is decided, simply.... act like it :-)

P.S. I wanted to thank everyone that shouted me out, DMed me and commented on this blog. Your kind words really were appreciated.

With that said, my schedule is so busy that I think I am going to take a month-ish long break from the blog and radio show until May when my two large projects are done.

I will however still be on Twitter so feel free to hit me up there!

Until May (when you should have another 100 pages done BTW. I may be gone, but don't worry, I will still be cracking the whip in the background :-)

Your Tent pole. Is it high enough...

2011-03-06T16:08:00.000-08:00

Yes, let the giggling begin!

Once you compose yourself, we can move on to the topic at hand!

But while you are still trying to control the snickering, let me give you an update on "30 Pieces of Silver's" Bestseller for a Day showing...

Ok, now that you have sobered a bit, let's talk Tent pole.

No, not that one that engenders giggle-fits, but the one that is at the heart of your story.

For those of you who haven't read my other structure blogs, you can head here to start.

Today, I am not so much talking about the Tent pole in relation to the 3 Act structure but about what the Tent pole means to your story.

This action sequence (and remember you can have INTERNAL action as well as bombs and stuff) is a MAJOR raising of the stakes, which we know is key to build any story and satisfy a reader.

This Tent pole also helps to punctuate, carry, and motivate the character work that occurs in Act 2. You need something in the middle of that long Act 2 to kind of not only spice things up but also kick your Hero in the groin... again.

This Tent Pole action shakes up the group dynamic. Many times killing members, making us know how very serious the stakes are becoming.

This is also the point where your villain shines. He isn't just a nuisance, he is a THREAT.

So in summary, the Tent Pole (mine, not yours #wait, #thatdidntcomeoutright) has to be MAJOR. Your villain needs to hit your Hero and hit him good. It is what the entire first portion Act 2 leads up to and the aftermath of this major battle (whether internal or external) is what drives the last part of Act 2.

Build your Tent Pole right, and it primes your audience for your climax. And yes, I do know how that sounded, but you know what I mean!

Alright, onto a more serious-ish subject.
This blog. My Twitter stream and radio show.

Basically I am super, duper, wooper busy and obviously maintaining Writing Without the Drama takes a certain amount of time and energy.

If you want me to continue with all of this, I need to feel the LOVE.
You need to follow this blog. You need to leave comments, you need to RT or @ me on the stream. You need to call into the radio show or leave comments on the BTR page.

If you want the free advice to keep flowing, I need to know that it is doing some good out there!

I will be at SXSW speaking as an expert in digital publishing so there will be no blog next week... well, depending on your response, there may never be another blog! We will just have to see.

Of course if I see that this blog/twitter stream/radio show is really helping people, I will continue. If it turns out I am talking into a vacuum...well, my time is probably best spent on my own writing and marketing of my books :-)

So tell me... Do I continue????

A Call to Action

2011-02-27T16:34:00.000-08:00

I try to keep the Writing Without the Drama stream and blog about you... the writer.

Today, however I am going to make it about me.

Well, not actually about me, but about my book and what it can do for the indie market, and therefore for you too.

You see I also founded the Indie Book Collective to help any author whether self or traditionally published learn how to use social media to its fullest potential to sell their books.

Today (2/28/11) is a huge day for the IBC and for myself.

Why? Because my controversial historical thriller, "30 Pieces of Silver" is up for "Bestseller for a Day."

This is an event where the selected author and the Collective join together to drive an indie title as far up the Kindle charts as possible.

And today is my turn. I could not be more thrilled. #seriously #Iamdoingthepeepeedance

I have practiced what I preach.
I have written the best book I could.
I had it professionally edited (twice, but that is a whole other blog).
I obtained a blurb from thriller-great James Rollins.

I have even lined up my 'dream' agent to be watching the results of today's sales. If I can hit it out of the park, I am represented by an A-list agent. If not... well, let's try to dwell on the positive.

What do I need from you, my precious blog reader?

All I ask is that you spend 99 cents of your hard earned money and go to "30 Pieces of Silver's" Kindle page and purchase my novel. #likerightnow #prettyplease

Then watch my kindle numbers rise, baby!

Not only will you be doing me a favor and potentially changing the trajectory of my writing career, but if you ever hope to publish and/or sell you book as an indie, this event and my level of success can only help your career too!

Oh and did I mention if you purchase "30 Pieces of Silver" today and go to the www.bestsellerforaday.com website you can enter to win a FREE KINDLE?

My little way of saying 'Thank You.' :-)

Also don't forget that my Patterson-style thriller with a dash of Hannibal, "Plain Jane: Brunettes Beware" is the "Bonus Buy" today (find out more at www.bestsellerforaday.com.)

Yep, if you purchase "30 Pieces of Silver" along with "Plain Jane" you can head on over to www.bestsellerforaday.com and get a full rebate for your purchase price of "Plain Jane!"

That's 2 amazing books for the less than $1!!!

Again, thank you so much for your support and next week we will go back to our regularly scheduled program...

The topic "Is That Your Tentpole... or are you just glad to see me?" Yes, you can start making the jokes now :-)

To Theme or Not to Theme

2011-02-20T16:40:00.000-08:00

First off, not all novels need a theme.

As a matter of fact if a theme doesn't naturally bubble up from your subconscious, you probably don't want to try and wedge one in there just because it sounded cool to have a theme.

We have all read those books where the author thought the color chartreuse was awesome and found some way (usually not a very pleasant way) to interject it freaking everywhere.

If you are going to have a theme it really should be subtle.

A theme is the perfume of writing.

Its essence should be pleasing and help create an overall ambiance, but not be overpowering.

A light hand is usually called for.

You also can't really say that you have theme and introduce the notion mid-way through your book.

That is like saying you have a rooster themed home (which how awesome would that be), but when you walk in the house, not a rooster in sight. As a matter of fact, no roosters until the second floor. What a let down! You could not charge for that admission.

The same goes for your theme. Subtle but consistent.

For the most part you want that theme introduced (or at least hinted at) from the get go.

Again, if you aren't organically feeling the need to paint your first few chapters with your theme's brush... um... it probably isn't a theme. You can certainly have reoccurring elements to a story but unless they are woven deeply into the fabric of your story, they are not a theme.

Why did I devote an entire blog to this subject?

Um, because I see a lot of new authors tout their amazing 'theme' and present it as a high point in their artistry, yet the book does not live up to the hype.

Again, so much of the reader's experience is about fulfilling their expectations.

Do NOT set yourself up for that kind of fall!

Your assignment...
Decide if you really have a theme or not.
If not, go write some pages.
If you do, make sure that it spans the entire novel and is pleasing without becoming overbearing!

Romantic Tension - A Valentine's Day post!

2011-02-13T15:39:00.000-08:00

Whether you write mysteries, historical fiction, or straight up romance, you need to know how to generate romantic tension.

Notice I did not say sexual tension. Sure, if you write erotica you probably are going to focus more on the physical attraction, but for just about every other genre, we are really talking about the emotional attraction, the romance of it all.

Even in more male oriented genre fiction, the more crackle you can create, the better it compliments the other 'action' in the piece.

Now many people's first instinct is to go to the "opposites attract" model. You know, the "Moonlighting" or "Romancing the Stone" type of romance where the couple bicker the whole time.

Now if the dialogue is witty enough and the story moves along fast enough you can pull this off, however not all romantic tension has to take the form of confrontation.

The sideways glance or accidental brushing of the shoulder can go a long way to building up tension without all that annoying arguing. Not to say that your couple should be all lovey-dovey and agree on anything. That is on the other end of the spectrum... boring.

So somewhere between annoying and boring is an entire land of romantic tension just waiting to be generated.

The single most important factor to generating true spark is you must have some reason why the couple doesn't just fall in love and spoon constantly.

Because if you do your job and show the couple's attraction, you now must create a reason to keep them apart. Obviously bickering can do it. The two can't get over their pride to show their true feelings.

But what about it you don't want them bickering? There are an infinite number of other ways such as...

One or both are in another relationship or promised to another (although you need to be careful on this one because disloyalty is a major sympathy-crusher for a character)

One or both are afraid of commitment

One or both knows or holds a horrible secret about themselves or the other and fear if they are too intimate, they will spill the beans

One or both have a body issues that make it difficult for them to feel intimate

One or both of them have a task or quest that feels like it does not allow for romance

One or both of them have either parental or mentor related interference to the romance. (Romeo & Juliet)

Now that was a very short list of a very long set of techniques that can be used to distance your lovers.

There should be a yearning (or awakening to yearn) with an equally strong reason they can't get together. That is what creates the tension part of romantic tension :-)

Join me on Saturday at 2pm PST on my LIVE radio show as we discuss all the various forms of romantic tension and how you can ratchet yours up!

Want to see romantic tension in action?
Then check out Amber Scott's romantic comedy "Play Fling." This is her "Bestseller for a Day" event 2/14/11 so "Play Fling" is only 99 cents today!
Click on "Play Fling" to go to her Kindle page and help her march up the charts.

There are also two "Bonus Buys" associated with "Bestseller for a Day." Basically if you purchase "Play Fling" at the same time as Amber's erotic novel "Love Lust" and/or my contemporary romance "Indian Moon" you can get your full purchase price of "Love Lust"/"Indian Moon" completely rebated.

That's right, if you work it right, you can get 3 amazing V-day reads for less than a buck! #awesome. Just had over to the www.bestsellerforaday.com site for more details!

Turning a Phrase

2011-02-06T16:13:00.000-08:00

In fiction we hear that term a lot... "Wow, that author really knows how to turn a phrase."

You probably think, ya for them!

But unless you are getting spontaneous compliments about how you turned a phrase well, you probably... um... you know... aren't turning them well!

For any new writers out there wondering what in the heck I am talking about, here's the dictionary definition...

A sequence of words intended to have meaning.
a. A characteristic way or mode of expression.
b. A brief, apt, and cogent expression.

Okay, ya, that didn't help me out either. In my world "Turning a phrase" is when you take a fairly routine notion such as folding laundry and find a way to say it so much cooler.

Ex: Elizabeth sighed as she folded yet another towel.

Not a bad sentence. We've got sighed in there so we know her emotional state and the 'yet' adds to our characterization of Elizabeth.

However, that is not turning a phrase, I simply wrote the sentence well.

The towel was her nemesis. The hamper... her Everest.

Is that the best turned phrase I have ever written, no (give me a break , it's 5 in the morning)! But it does show you the basics of what I am talking about.

Usually turning a phrase means taking your point off the nose and flowering it up.

It is when you read something that is not action or dialogue related and think "That was so freaking cool."

I know I am being by far more vague with this blog but that is because we are not talking structure here, we are talking art.

How 'well' you have turned a phrase is completely subjective. Some people may love it. Some people may not.

The point of this blog is to bring your mind to the subject. We have all 'felt' when we needed to turn a phrase.

You wrote something down, but the words just aren't rising to the occasion. You know you could make it cooler somehow, but just don't know how.

That is when you instinctively want to 'turn the phrase.'

So when those moments happen and your fingers stall on the keyboard remember that you want to 'turn' the phrase. That means actively doing something to it.

Look at what you just wrote as a place holder. Now describe in your head all the things you wished you had said. Ramble. Riff. Think far afield. Go for it.

You will usually have 3-5 ideas in there and usually the next to last or last one is the best or closest to the essence of what you wanted to say.

Now re-write the sentence. If you didn't hit it out of the park, no worries. Many times I will come up with the best turn of phrase hours later on my walk or in the bathtub.

Also don't let a 'turn of phrase' stall let it stall your writing for the day. Sure, take a few moments and ponder how you could improve that section, but if nothing comes to you, then move on.

That's what editing is for :-)

All right, that is it for the day.

Your assignment?
Go forth and find some phrases to turn!

And don't forget we will be taking about this subject and answering any questions you have about any aspect of writing craft (which you can leave either here, on my twitter stream @writingnodrama or call in LIVE) on this week's radio show on Saturday at 2pm PST!

Know Thy Genre

2011-01-30T16:51:00.000-08:00

You would think this one would be a no-brainer, yet you would be surprised!

There seems to be a movement within the unpublished/self-pubbed author community that is rebelling against genre.

That some how being 'labeled' and 'branded' is the antithesis of art.

Um...we could debate a lot of finer points about this, but I am simply going to ask you one question that I know ask any pre-client that chaffs at the concept of identifying 1 major genre with 2 minor sub-genres...

Do you want to sell your book?

If no, then great. This isn't a very helpful blog for you and you might want to go read some of my story structure or dialogue blogs.

If the answer is yes, then you really need to not only embrace your genre, but research it as well.

Know the top 5-10 authors in your main genre. Know what they are doing. What stories they are writing, what elements they are hitting hard.

And no, I am not recommending that you write for the market, although in this new digital age it actually is becoming more and more of an option if that is your thing. I am advocating that you know WHAT the market is.

I love my colleague and fellow Blog Tour de Force author ("Irish Moon"), Amber Scott's take on this... If we were about to start a T-shirt company, any business consultant worth their salt would tell us to research, research, research our competition. Writing is no different.

Can you imagine if we put in all the time and effort to build a company, get vendors, hire employees only to find out that someone else (usually much larger) is already making "Team Edward" t-shirts?

Your time investment in your book is equally valuable. Don't squander it!

Also can you imagine if you were making "Team Edward" t-shirts and ardently refused to call your product a t-shirt and refused to use any reference to "Twilight" in your marketing campaign.

Plus, you are writing a book meant to be read (if, of course you answered 'yes' to the above question). And each genre has their own set of 'rules' and expectations from the reader.

For example, most high fantasy novels tend to be long since the reader expects a lush world building experience and lots of description. You could turn in a 500 page fantasy manuscript and no one would blink.

A 500 page urban fantasy manuscript? WHAT? Way too long for the most part.

That is why I advocate that you go and buy the top 5 books in your genre (plus more if able) and check page count. Read for similarities and differences.

Then, and only then, figure out a way to put your unique spin on it, because after all that is why someone would want to buy YOUR book!

I will be talking about this subject in depth on my radio show at 2pm PST on Saturday so tune in or better yet, call in with your questions!

Also today is the last day of the Blog Tour de Force so head on over to the IBC blog to join in on a scavenger hunt to end all scavenger hunts to get entries to win that Kindle!!!

And to anyone who commented on my last blog for a free eBook of "HeartsBlood" please have patience! I also hosted on @craftycmc blog and had over 128 comments so I am slowly working my way through those to give away. If you haven't gotten yours yet, please check your comment and be sure that I can easily contact you (either through your blog, an email or twitter handle).

Thank you so much and see you next week!

Work Shopping Your Writing

2011-01-23T16:22:00.000-08:00

There are lots of techniques out there for improving your writing, but I have found none to be as helpful across the board than work shopping.

Actually I learned this from screenwriting where it is ESSENTIAL your dialogue crackles and your plot holds together (since you only get 100 pages to get it right).

I also went to a few prose writer's groups that did something very similar.

Trust me, hearing your words read aloud can either be the equivalent to angels singing in your ear, or finger nails on a chalk board.

Big gaps or slight imperfections are brought to light.

Now the only problem with work shopping is the caliber of the people you have in your group. Because let's face it, in most writing groups there are those people you just don't respect but they do great line edits so you let it pass.

Work shopping is a bit different. There needs to be a little bit higher level of trust. You have to really respect the other writers opinions to get the most value out of the experience.

Then it comes to who is going to read it.

Do YOU read it aloud? I usually don't recommend that since you know the work fairly well and many times, without you even knowing about it, you fix grammar, spelling, and word choice as you read along.

No, it is always better for someone else who is unfamiliar with the work to read it. But let's face it we are writers, seldom talkers. To get the best effect of a work shop, it truly is best to have a trained actor read your stuff.

Actors have great instinct about character and story and if you find them consistently 'not getting' your style, that is a good indication that you take a look at 'your style.' :-)

Again, this is one of those things where the caliber of actor you get is going to influence the how much benefit you get from the work shop.

Even outside the major metropolitan areas there are great actors. Look on-line for them. Post a Craigslist ad. A meetup group. Go to the local college or even high school.

Actors are always looking for new and different ways to perform and are usually eager to jump in. I can't tell you how much my own experience with actors (thank you Ben, @actingnodrama) has vastly improved my writing.

Work shopping (even more so than a writer's group) also has the side effect of being incredibly motivational (which of course you need if you are going to fulfill your "Absolutely No Excuse" campaign pledge to finish a book and publish it this year). There is a thrill like none other when you hear your words read and they work #trustme

Don't believe me? Tune into my BlogTalkRadio show every Saturday at 2pm PST where we talk craft, craft, and more craft! But this week we will be focusing on work shopping to improve your craft!

Tune in and listen LIVE or better yet call in and ask your questions live. If you aren't available on Saturdays at 2pm PST, no worries, you can subscribe via iTunes and listen to the archive! Listen right now!

If you would like to have your work read-on air, please email me at writingnodrama (at) aol (dot) com. Also if you would like to join on-line classes where we do a lot of work shopping, also just drop me a line or DM or @ me on the @writingnodrama stream!

Until next week! #keepwriting

Blog Tour de Force!!!!

2011-01-16T16:17:00.000-08:00

Stop #1 HeartsBlood!

That's right, people!

The Blog Tour de Force has officially begun and this little ole blog is where the fun begins!

For any of you who have been living in a cave, I am one of the founders of the @IndieBookIBC @amberscootbooks, @rachelintheoc and @LMStull we threw together the mother of all blog tours! plus I write a bunch of stuff. And I would love a bunch of people to read my bunch of stuff. So with

"Get Loaded...Your eBook reader that is"

That's right, 12 authors banded together to put together a Grand Prize package that includes... wait for it... a Kindle!

That's right, you can win a Kindle and not only that but have it loaded with all 12 authors books plus a gift basket filled with gifts from each author.

Even the 1st Prize is off the hook with all 12 authors giving your their eBook for free! And those are just the overall prizes.

Each stop on the way will have its own set of prizes from the author. Free eBooks. Free signed paperback copies. Individual gift baskets. You name it, it'll probably be given away!

But, let's get back to me #myfavoritetopic

Today we are celebrating my paranormal romance/urban fantasy "HeartsBlood"

How would I describe it? Um... how about I let a few reviewers do it for me?

“Oh. Dear. God. I loved HeartsBlood!

When I was reading it, I couldn't put it down. When I wasn't reading it it was all I could think about. I loved that I couldn't figure out what was coming next. The plot was truly spellbinding.

Seriously, I laughed, I cried, I worried. And when I finished the book I wanted to pick it back up and start from the beginning again.”

Lori W. (@funkycakes)

“HeartsBlood is a paranormal romance? I hate to argue with Carolyn, but this is a kick-but-and-take-names urban fantasy. No, it is a thriller. Wait. I think it might be an action packed story of love and magic that defies classification!

I fear only women will read HeartsBlood when it was one of the most exciting thrillers I have read in a long while!

Guys, take note HeartsBlood is for you too!”

Ben Hopkin (@actingnodrama)

Also please check out my review sponsors...

I really appreciate all their kind words! Please check each and every one of them out for their opinion of "HeartsBlood" (because Lord knows you shouldn't trust me!) plus find even more ways to enter the Grand Prize Drawing for that "Loaded Kindle!"

So Amber told me I needed to write something really pithy and fun for this blog. You know, something I hadn't told any other reviewer. That I really needed to hit it out of the park.

Obviously she has never read anything previous on this blog otherwise she would have known it was a lost cause (and thank gawd I am going first so you can't judge me against the others!).

But what I can say is... If Tyr (the uber-hot, stubbled, tall, dark and dangerous hero from HeartsBlood) came walking down the street...

a) I would swoon

b) He would step over my unconscious body

c) I would be okay with that!

The other really cool thing about the Blog Tour de Force is that I got meet a lot of really great other indie authors. The first I'd like to mention is Kris Tualla. Her "A Matter of Principle" is historical fiction at its best.

The third in her series, you are going to love the chemistry and romance of Nicholas and Sydney. Set in St. Louis during the 1800s, the plot unfolds like a delicious meal. Tempting tidbits of mystery to start, building to an incredibly satisfying conclusion, with, of course, a silky smooth dessert to finish it all off with.

You are going to want to immediately go out and buy books 1 & 2! I know I did!

"A Matter of Principle's" Blog Tour day is tomorrow 1/18 so hit her up here! #seriously #Iwillbewatching

Then there is Susan Schreyer's "Death by a Dark Horse." Being a veterinarian you can imagine how hooked I was by a book with one of the main characters being a horse suspected of murder! I mean, come on! I get to use my veterinary and my love of police procedure to solve a crime! How often does that happen #notnearlyenough

Even if you aren't a horsey-girl like myself, I think you will find the complicated relationships and exquisite mystery more than satisfying in and of itself.

Susan's blog day is January 29th. Mark your calendars so you can hit her up here (or better yet sign up for our newsletter so you don't have to 'remember' anything! Get a daily reminder along with author news and super secret BONUS ways to enter the Kindle give away!).

Also don't forget that the tour will conclude at the Indie Book Collective on January 31st with an incredible scavenger hunt for loads of different ways to enter the Grand Prize drawing for that free Kindle!

Plus you can go to www.blogtourdeforce.com and sign up for our newsletter - just that alone gets you 5 entries into the drawing for brand spanking new Kindle, plus you get fun content from the authors and EXCLUSIVE ways to rack up lots of entries! Sign up NOW!

But what about HeartsBlood you ask? What spectacular prizes are you giving away TODAY?

Why, I am so glad you asked!!!

First off, anyone who follows this blog and leaves a comment (even 'yo, Carolyn') gets a free eBook! #howawesomeisthat

Second my gift basket is in my opinion, kicks some serious booty!

Not only do you get a free eBook, but you also get a signed paperback copy of "HeartsBlood" along with a gift basket that includes some blood red nail polish (for obvious reasons), a cut crystal necklace just like the one in "Heartsblood," and a hand-stained and burned-in leather bookmark. A truly unique keepsake! And a "Hello Kitty" pen, just to keep it real. #Iamsuchagiver

How do you enter for the "HeartsBlood" gift basket? Simple!

Simply go to smashwords.com and download your free 100 pages. Then simply leave a comment with your favorite line from pages 24-30! #toldyouitwassimple!

Oh, and did I mention that I need your help to kick the other author's butts? Because for us authors there is a free book trailer at stake! And I know how much you want me to be the proud winner! So please remember to go the the Indie Book Collective blog on Jan 31st and vote for me!!! #youknowyouwanna :-)

Alright, I am going to wrap this puppy up with a great big THANK YOU to all my readers, hope you enjoy "HeartsBlood" and I can hardly wait to see who wins my gift basket!

You have realized you are a writer... But no one else seems on-board???

2011-01-09T16:02:00.000-08:00

Yes, I have heard you loud and clear on the stream.

Maybe you have even embraced my "Absolutely No Excuse" campaign and are determined to write and publish a book this year.

But......

No one else in your world thinks that's a good idea. Maybe your parents think it is a total waste of time. Your kids see it as a real inconvenience to their taxi service, and let's face it even the dog wants to go on more walks.

So what do you do? Give up? Throw up your hands and let yet another year go by in which you dream of writing, but you know... don't write?

Or is this the year you figure it out? You figure out how to politely nod to those nay-sayers yet still apply some time management skills to your life and find the time to write... consistently?

It would be wonderful (and for those of you who do have support on the home front, I am a little jealous so just count your blessings and don't rub it in :-) for everyone in our lives to embrace our writing and help us in any way possible.

Ya, right! Most of us have family and friends that look at us like we are crazy and either exude a kind of apathy at helping you achieve your goals, or sometimes are downright determined to sabotage you.

Yes, that sucks. But hey, that's life.

Remember your story is YOURS. It was given to you by whatever muse you believe in. It was not a small gift, but an extraordinary one. No one else in the world has one exactly like it.

It isn't your family or friends decision to see that story through to the published end. It is yours.

So... you know... write it.

I am here to help you in any way possible :-) :-) :-)

How can I help you ask (ok, you didn't ask, but throw me a bone :-) ...

I have the BlogTalkRadio show every Saturday at 2pm PST where we talk craft, craft, and more craft! Tune in and listen LIVE or better yet call in and ask your questions live. If you aren't available on Saturdays at 2pm PST, no worries, you can subscribe via iTunes and listen to the archive! Listen right now!

I am also offering on-line writing classes for the new year. Actually more like coaching. No lectures per se but evaluating work and giving advice/critique/techniques to take your writing to the next level :-)

If you want more info on the classes just @ or DM me on Twitter @writingnodrama or email me at writingnodrama (at) aol (dot) com. I offer group/semi private/private classes!

And on a final note, next week I will be hosting my stop on the #BlogTourDeForce blog tour for my new paranormal romance HeartsBlood. Please stop by the blog will be fun and there are a ton of prizes up for grabs including a brand spanking new KINDLE!

For more info just hit up www.BlogTourDeForce.com

Until next week!

Wriiting Workshops...The Writing Without The Drama Way!

2011-01-06T13:45:00.000-08:00

So after putting out the "Absolutely No Excuse" challenge I got flooded with requests to help people not only embrace the challenge but to get their story into publishable shape.

After threatening to do this for months, I have finally been convinced to start workshops.

These are an intense 1 hour to1 & 1/2 hour group workshop where I look at each person's (if 5 people are in the session, it is an hour if we have more it will run 1 1/2- 2 hours depending on the number of people maximum of 10 people) writing and pin-point its strengths and weaknesses.

Each person's work will get about 10 minutes each, but I am telling you that you will want to stick around for the whole session because you actually learn more when it ISN'T your work being discussed. You aren't nervous, or tense and can take in way more information plus you learn things you didn't even realize you could use until 2am a month later when you go "Ah-ah! That's what Carolyn was talking about!"

Any level of writer can join the workshop. If your stuff is nearly ready for publication, I can help polish it until it shines. If you are just in your first edit stage or even still writing the manuscript I can give invaluable pointers to make your life easier and your writing more powerful.

We don't hold hands. We don't sing around the campfire, we just roll up our sleeves and analyze and enhance our writing!

The cost is $10.00 per session.

The sessions are on Saturdays and start at 3pm PST (right after my radio show on Blog Talk Radio at 2pm PST which has TONS of tips and tools for free). Please schedule at least 1 1/2 hours of time to dedicate to the workshop since part of the workshop is getting feedback from your peers as well and for you to give feedback to your peers :-)

If you are interested simply email me at craftycmc (at) aol (dot) com.

I will put your name on the list and give you instructions on how to pay (all payment must be made by Saturday at noon to make it for that day's session).

Once you have made your payment, you will be sent instructions on how to attend the webinar (you will need a computer and either call in or use your computer's headset to listen in). I will be sharing my desktop so everyone can see the words on the page and any notes I may write about them ;-)

I can't wait to workshop with you!!

***Additional information...
Okay, I have already gotten a bunch-o-questions so let me address them here...

Yes, this workshop is geared towards the serious writer looking to get their work in shape to be published. That includes anyone that has just written their first chapter ever to someone who is polishing their fourth novel. It isn't the stage of your career that tells you whether this workshop is for you, it is YOUR level of dedication to improving your writing.

Yes, this will be a loving, emotionally safe and supportive environment... and at the same time be very honest. Too many authors attend class or workshops or get told by family and friends that their writing is 'great' only to spend all the time and energy on publishing only to find it, you know... sucked... or worse wasn't commercial.

See below for the list of questions I ask all participants to answer for their fellow writers. I know I will be honest. Not brutal, but honest in my assessment of your work. If I feel it is not in publishable shape, I will tell you so. If I would not buy the book based on the pages submitted, I will tell you so. The beauty of The Writing Without The Drama way is that I will then give you very specific ideas on how to improve any weakness I detect :-)

*** More details on how this writing workshop will be conducted.
Before each session, everyone will submit 10 pages. If this is your first session that will be the first 10 pages of your book. And that is all you submit. Just the title of the book, your name and those 10 pages. Do NOT include genre, age group or other information. I want these reads to be COLD. This gives us all the best information back without any preconceived notions that muddy the waters.

Everyone signed up for the session will read all participants' 10 pages.

Everyone will answer the following 3 questions for each submission:
What genre did you feel these pages represented?
What age group do you feel these pages were geared for (ex. Everyone, Grade 12+, YA, etc) ?
Based on these pages would you buy this book?

Okay, hopefully that answered this round of questions, I am sure I will be back with more info and the questions roll in :-)

The "No Excuses" Campaign...

2011-01-02T15:45:00.000-08:00

Ok, so not so much a campaign as me just telling you that there is no absolutely no excuse IN THE WORLD that you can't write, edit, and publish your own book this year.

NONE!

If you want to go the traditional route, no worries, let me rephrase. "There is absolutely no excuse IN THE WORLD that you can't write and edit a book and submit it to every appropriate agent/editor and if you don't get picked up, publish your own book this year.

I don't care if you don' have a word written yet. I don't care if you haven't even outlined it. Doesn't matter, you can do it.

And for all those frustrated NanoWriMos out there.... yes you can either take that hot mess you created in November and edit a book out of it or simply use the skill set you developed in November to write a whole new book.

Got a manuscript you abandoned to your drawer 5 years ago? Cool, let's work on that.

The whole entire point of this "campaign" is simply to get us ALL in the head space that there is nothing scary, difficult, or daunting about writing a book and getting it out into the world. NOTHING.

Is there editing? Sure.
Is there crying into our hands that we can't write as well as Stephen King (I refer, of course, to the early years)? You betcha.
Is there staring down our inner critic and firing their ass? Um... definitely.

But the question simply becomes, do you want to write a book or not?

If the answer is yes, please leave the ennui at the door and come on in.

Now I can hear the outrage, the pounding of fists, and general clamor.

I'm too busy! My kids have soccer! My boss is a taskmaster!

Perfect. You have just described in one way or another just about all of us. We are ALL busy. We all have time constraints. We all wish we had a three month vacation with free beverages alongside a sandy beach to write at a leisurely pace.

Um... we don't. So now is a perfect time to figure out how you are going to work in writing (then editing, then marketing) into your schedule.

We find the time to brush our teeth (ok, most of us), we can find time for this.

I am probably going to write 2-4 books this year. I know I am going to. Because, you know, I have done it before.

But did I know that the first time I sat down to write a book? Nope. I had to take it on faith.

So here's to the "Absolutely No Excuse" Campaign!

Leave your commitment in the comments below!!!!

I will be checking in at least one a month to keep everyone on track!

Oh, and if you need more help than that I am getting together on-line writing classes. Actually more like coaching. No lectures per se but evaluating work and giving advice/critique/techniques to take your writing to the next level :-)

If you want more info on the classes just @ or DM me on Twitter @writingnodrama or email me at writingnodrama (at) aol (dot) com. I offer group/semi private/private classes!

Also don't forget that I have a BlogTalkRadio show every Saturday at 2pm PST where we talk craft, craft, and more craft! Tune in and listen LIVE or better yet call in and ask your questions live. If you aren't available on Saturdays at 2pm PST, no worries, you can subscribe via iTunes and listen to the archive! Listen right now!

Have a great (writing) week! :-)

Getting Ready for a New Year

2010-12-19T16:16:00.000-08:00

As the holiday season pummels us... I mean greets us, it is a great time to breathe in the winter air (or summer depending on your hemisphere) and think about what writing means to us.

Many of you participated in NaNo this year and I commend you, at the same time I am hearing a lot of burned out people on the stream. Or maybe you didn't do Nano but wished you had. Or maybe you just fear your book will never, ever get done.

I am hear to tell you, time will fix everything. If Nano spent your energy, take this time to regain it. If you didn't do Nano, set your own goals. Remember if you simply write 3 pages a day in 100 days you will have 300 pages done. That is SO doable!

If you haven't gotten your book done, there truly is only one thing standing in your way. Fear.

You are afraid of being exposed. Most of the time you are afraid of both ends of the spectrum. You are afraid of being exposed as a hack, but also as a success.

I can't believe the number of authors I meet on social media and in real life that are too timid to do an interview or go on our IBC radio show. Um... I know writers aren't talkers, but come on!

If you aren't going to want to shout your book's virtues from the rooftops, then who will?

So I say let's take this whole, time for reflection and look forward.

Pretend your book is already done. How are you going to promote it? What do you want interviewers and reviewers to say about your book?

For some of you this exercise is terrifying. You quake at the thought of approaching strangers to read your book and give a critique. Great! You might as well face the fear now, rather than when your book is out and needs your help!

If the thought of getting out there and talking about your book excites you... Great! Let that feeling invigorate your writing. Let it motivate you to finally sit down and get a writing schedule.

Whatever you feel your shackles are to writing unfettered, spend these next few weeks releasing them. Start the New Year with a New Attitude!

Embrace your writing and it will embrace you back :-)

Obviously for the next few we won't be talking. That doesn't mean we aren't thinking about our writing (at the least!)

Have a fantastic holiday season and see you next year! :-) :-) :-)

Structure - Your Nemesis. Your Friend

2010-12-12T16:12:00.000-08:00

This week I kept track of every time I used structure to help a my own writing or that of a client/student's. I lost count after about 107.

With the exception of word selection, structure pretty much informs every single line you write. And if it informs it, it can help it!

Let's say you aren't sure how your Hero is going to get out of a fight with your villain.

Now of course you want to find a super creative way to handle this, however structure can at least get you in the ball park.

Let's say this situation is in the first act. Well, first off we know that the Hero cannot win. Not even close. As a matter of fact, if this event is happening in the first act, this villainous situation is usually going to propel your Hero to take the Opportunity.

If this event happens in the second act I can nearly guarantee you that your Hero is going to fail... miserably. Usually lives will be lost.

The 3rd act is the ONLY place where your Hero really has any shot at all of winning (and even then at a high cost).

Each scenario requires a different set of events to take place to move you along to your next plot point.

Remember everything in your story needs to be moving forward. No event in your work can be suspended in a bubble. If you can get rid of a scene without having to MAJORLY rework your story, that scene needs to be cut.

Your story is a tightrope and structure is well... the tightrope.

Hopefully you can see how structure has helped color your options. Now it is still up to you to figure out the details, but at least knowing where you are in the story (and trust me we can go down much deeper into the sub-acts and come up with some even more fine-tuned advice) helps you to figure out your options.

Here is my challenge...
Either call into the radio show (2pm PST Saturday)or Tweet your question onto my Twitter stream @writingnodrama about a problem you are having with your story and see if I can help you with structure! #game #on

Writing for an Audience

2010-12-05T16:14:00.000-08:00

The main difference between writing for yourself and an audience is well... your ego.

I'm not saying don't like what you write. I mean, we all want to savor the words on the page.

I am saying though, EVEN if we like what we write, if it isn't resonating with your Beta readers, we need to rewrite.

If you are writing to sell, the page is not the place to have a therapy session and exercise your demons. It is a place to entertain.

But, but, but... you say... you told us to dig deep into our personal experiences and put as much of ourselves and our flaws into our work.

Why, yes I did. And I meant it. However when I give advice about using external research or experiences, I always mean for you to put all that information through your Hero's filter.

There is no way your Hero feels exactly the same way you felt after the experience you had. If they do, then you are really writing an autobiography, not fiction.

So even if you have your Hero go through a hold up at a diner, your Hero can be INFORMED by your own experience as a robbery victim, however the words on the page should be about your Hero, not you.

Once you put your ego aside and really roll up your sleeves to write your Hero's story and let that their journey go where it needs to go, even if it was EXACTLY the opposite of what you experienced yourself under the same condition, you are on your first huge step to writing for an audience.

We talk a lot about structure, the Hero's journey, pacing and scene setting. But why? I mean besides the fact we want to grow our craft?

It is because we want the reader to ENJOY reading our work. We don't want them to skim. We don't want them to have to go back and read something over again to understand it (unless of course you just blew their mind with a paradigm shift).

Now you can guess at what the reader's experience is going to be and hope you get it right, or you can understand the modern reader. You can get inside their head and know what their hopes, dreams and expectations are as they read.

Because if you have a good idea of what they want... you have a great chance of fulfilling it!

And a fulfilled, satisfied reader creates a loyal reader. One who will buy your next book. One who will leave good reviews. One who will spread word of mouth. And for an author there is nothing so coveted!

We discussed all of this in-depth on my radio show this past Saturday at 2pm PST.

If you have any questions about this subject or any other, call in to have them answered LIVE! Or if you feel too shy, just submit your questions on my Twitter stream @writingnodrama!

Also don't forget to contact me on Twitter @writingnodrama if you would live any of your work performed by our resident MFA actor Ben Hopkin then critiqued on-air!

Remember you can also subscribe to my show through iTunes and listen to it on your iPod, computer or Mp3 player!

"Talk" to you Saturday 2pm PST!

Your Hero's Journey Starts with a Single Step...

2010-11-27T16:02:00.000-08:00

So don't mess it up!

This topic came up after starting to edit a client's manuscript. You see the problem was her Hero was... perfect.

I don't mean just physically perfect, but emotionally perfect. Self-aware. Motivated. Loyal & honest. I kept reading waiting for that veneer to slip, but it only became more gilded.

Um... that's not a Hero or at least not one people are going to connect to.

And I'm not talking simply about the literal definition. I am talking about the bottom line of will readers be satisfied with the novel and give it good reviews and buy your next book.

Heroes MUST be flawed. Yes, I know some people get up in arms when I use the term must and especially when I capitalize it, but it is simply true.

Without an emotionally flawed Hero your story is nothing more than a series of events that happen TO your Hero. If your Hero is not emotionally affected by your story, then how is your reader going to be affected? #howIaskyou :-)

Now you can start with a Hero that seems perfect and let that facade crack as we get deeper into the story until it completely shatters. However I tend to let my Hero's flaws 'all hang out' so to speak. I want that immediate bonding with my reader.

"See. My Hero is just as whacked out as you are."

So take a look at your Hero. Point out at least 3 flaws within the first 10 pages. If you can't... Hmm... you might want to go add some :-)

To listen to Saturday's radio show archive on just this subject click HERE. And while you're at it, set a reminder for next week's episode "Turning Your First Act - A Guide to Getting it Right" Saturday at 2pm PST/5pm EST.

Pacing - The Key to Engaging Readers

2010-11-21T16:41:00.000-08:00

Pacing is probably one of the least talked about aspects of writing, yet is critical to creating a 'must-read' novel.

There's got to be a rise and fall to your story. At times there should be a sense of urgency and foreboding. At other times, a few quieter moments for reflection or revelations.

The last thing you want is for your story to 'drag,' but nor do you want the opposite and have your story feel 'chaotic' or 'rushed.'

Many writers fall into a common pattern of 'dragging' out the first two acts, then rushing through the climax. Never good #underanycircumstances :-)

I know I was writing a book and I was having trouble landing it. When I finally finished I said "Thank gawd they are dead!" Luckily my writing buddy said... "Um, I don't think that's how your readers are going to feel."

He was right. Just because as I writer I was ready for my Heroes to die, I needed to make their deaths more poignant and meaningful. #duh But sometimes you get so wound up in your process you forget about the reader's experience.

Pacing is not just about how slow or fast your story goes but the weight with which you give certain aspects of your story. In may case the pacing was fine. It is an action packed paranormal romance.

My problem was I did not give enough 'weight' to their deaths. Think of the number of words as having a physical weight or emphasis. If the weight is too light, people will feel gypped.

So what to do with my example. I need a fast paced, taut ending, but I also need to make people feel satisfied.

Therefore I keep my pace, fairly quick sentences with lots of action, I simply extended the scene. I popped around my POVs to keep the tension up. I threw in another surprise. Basically I spiced it up without losing my original vision of the ending conflict.

Want to hear more about pacing? Then check out my last radio show episode HERE plus set a reminder for next week's episode "Your Hero's Journey starts with a single step... So Don't Screw it up!"

Your Opening Line...

2010-11-14T16:31:00.000-08:00

Does it knock readers socks off?

Many people lament that so much emphasis is put on to these first few words. But why shouldn't they be weighted heavily. After all first impressions truly are lasting.

On Saturday's radio show (click HERE to listen to the archive) we discussed the many facets of this first, crucial set of words you present to your reader.

But here are a few pointers...

You must gain reader's trust... NOW. Think of this from the readers stand point. Why should they shell out their hard earned money if you don't excite them with this first sentence? Why should they trust that you will pull out the stops later, when you aren't clear in this first line?

Be SPECIFIC. If ever there was a time to conjure up your best description, it is now. This does not mean spend seven sentences elaborating on the color of the bathroom tile. However it does mean if you mention the bathroom tile, let me know why this detail is important. Is it stained? Squeaky clean? Smeared with blood? Let the reader know you know what you are doing and give them a taste of the goods to come.

Let your GENRE shine through. Again, if ever there was a time to let your reader know what genre they are reading, it is now! If I am going to read a paranormal romance, I better get some paranormal or some romance (or a whiff of love on the horizon) NOW. gain my trust by showing me you know my genre and how to pull it off.

SURPRISE me. No, not the 'boo' I jumped out at you surprise. I mean legitimately show off a little and make me either smile, cringe, or laugh (whatever is appropriate to your genre).

Make this sentence COUNT. Now, if you bookend your story, this line will need to be referenced in the last few pages of your novel, but even if you don't plan on book-ending, then this sentence MUST have some relevance to your story and your hero. Even if you write a prologue a century and two continents apart, you've gotta make it relevant.

Alright, if you want more of this, click HERE to listen to Saturday's radio show (2pm PST). Plus while you are there, set a reminder for next week's show "Pacing - The KEY to engaging readers!" (Sat Nov 20th @ 2pm PST/5pm EST). "Talk" to you then! :-)

Dynamic Dialogue

2010-11-07T16:24:00.000-08:00

or a.k.a. how not to sound lame... :-)

Dialogue is possibly the hardest aspect of writing fiction to really nail.

Because let's face it, everyone hears people speak all the time, so they know what it should 'sound' like.

The problem is, if you were to write dialogue EXACTLY how we speak, it feels muddled, confusing or worse stilted.

Why? Because we get so many more clues in tone and inflection when we speak. Even when signing, the attitude and hand motions add layer upon layer of depth to the words themselves.

Just imagine the difference between trying to convey a really painful memory to a friend when you are in person, then if you were trying to do it on the phone (less visual information), or in an email.

How many times have you written an email which you thought was perfectly clear (and how many words did you elaborate in) only to have the recipient scratching their head.

Now try to be clear, evoke emotion and do so in a dialogue exchange.

Which doesn't mean it can't be done. Now everyone has heard the advice to listen to how people speak and I completely agree with that, however seldom does anyone talk about how to take that info and pack it into punchy dialogue.

While we will talk about this at length on my radio show the single best advice I can give you is, especially for an important scene to write your dialogue, get what you need to say out, then go back and gut it.

Figure out what you REALLY need to say. In a break-up scene it may not be about her leaving him so much as her having too much trouble dealing with her previous abuse. Or the Hero may say he can't go fight the villain but he is just too scared to fail #usually #again

Now make whatever is the single most IMPORTANT fact they need to get across a secret. Have them do everything in their power to NOT talk about what they really want to say.

Even if you don't use this new dialogue, just creating this tension and friction between truth and secret will help you ground your writing and come up with some taut dialogue.

Listen to the archive of my radio show for an hour of dynamic discussion about how to make your dialogue jump off the page!

Also remember to set a reminder HERE for Saturdays a 2pm PST so you don't miss my show on "Your Opening Line... is it knocking the socks off your readers????"

Reinventing the Wheel...

2010-10-31T16:07:00.000-07:00

I love getting feedback on my Twitter stream. It helps me know what you guys are needing and how I can help.

The only time I cock my head and go 'huh?' is when I get negative feedback about structure.

I mean, structure? Some people even say they don't 'believe' in story structure.

Um... ok, #awkward. Story has structure. Whether you wish to use it as a guideline is up to you!

Now what I think these people are trying to tell me is that they fear I am somehow hampering or squashing their own creative input.

That somehow I want to take away their creative license and flatten their story into a cookie cutter novel.

Not true!

First off if you are doing great, then ignore my tips. Most of my tweets are aimed at people struggling to write and need as many tools in their toolbox as possible to help them when they get stuck.

Second of all... I would respectfully ask you to simply think about whether or not you would like to reinvent the wheel.

Archetypes and the mechanism of the Hero's Journey are what makes a story universal. They are simply the underpinnings of EVERY great story. But the underpinnings only. The rest is up to you.

Simply when I was struggling with writing and writing every day and then writing well every day, I found structure to have my back. Even now, if I feel stuck, I simply look to where I am in the story, trace my archtypes and go 'Oh! Crap, I got lost in the plot and forgot about story.' This usually gets me back on track immediately.

So feel free to ignore my advice about story structure and archtypes. No hard feelings :-)
However, if in the dark of night you simply run out of gas and can't figure out how to get your Hero from the Tentpole to the Climax... go ahead and read my blogs about Act I, Act II, and Act III.

Don't worry. I won't tell anyone :-)

You are hosting a WHAT?

2010-10-24T16:30:00.000-07:00

Yep, that's right. I have decided to take our relationship to the next level...

Radio!

While I love the quick tips I am able to give out over the twitter stream, I have so much to say about so many subjects (as you could probably imagine).

So after we went live with the @indiebookibc radio show on marketing (if you have a blog and/or book - and everyone #should - check out the #IBC show as well for tips and tricks on how to sell your book), I thought, how perfect would a radio show be for my writing stream!

Our first show will air October 30th (this upcoming Saturday) at 2PM PST (you can sign up for an automated reminder for the show here). I figure what a great way to get everyone motivated and ready for their new writing week than on Sunday to get their booties kicked - I mean to hear some tough love... no, I mean to be embraced by warmth and light #ok #fine #Iammoreofawhipcrackingkindofgirl

Want to talk about your Hero? Great!
Need help with a plot point? That's what a call-in radio show is ALL about!

I am telling you if you like our tweets and our blog you are going to LOVE the radio show!

So click here to 'follow' the show and don't forget to sign up for Blog Talk Radio's automated reminder so you don't miss a word!

Can't wait to actually 'talk' to everyone!

#now #gowrite #Imaybeexcited #butIhaven'tlostmymind :-)

Another Year...

2010-10-18T07:51:00.000-07:00

Another novel?

Unless you can answer yes to that, then go on with your day.

However, if you bow your head in shame and mumble 'no', you need to meet me at camera 3 (or if you don't watch Jon Stewart you can just read the rest of this blog).

Did you have hopes and dreams and aspirations of getting your first (or second or fifteen) novel written?

What happened? #no #seriously What?

Writing a novel is no big deal. I know, I know I can hear the wailing from here, but really if the task itself didn't seem so epic and your very soul did not hang in the balance, the actual physical act of writing a book is no big deal.

On average you need 350 pages (more or less for each genre). There are 52 weeks in the year. Just the simple math means that you just needed to write 6.7 pages per WEEK. Not day. Not hour. Per week.

That breaks down to less than a page per day.

I mean, come on. I know we get busy and life is hectic but less than a page per day?

Not that, that is doable.

As I have stated before, consistency is the key. Writing every day. Thinking, plotting, and editing becomes a routine part of your life. There is no more 'carving' out of time.

Why did I write this blog now? You know rather than Dec 31st?

Well because NaNoWriMo is coming up in November. It is an event where you write a book in a month. While it is not my cup of tea, it has helped jump start people by getting huge chunks of a book or a complete book done.

But what about it you can't throw your life to the wind for an entire month?

Just remember that 0.96 pages per day will get you a book in a year. 0.96 #totallydoable

Do you really want to be here next October having to hang your head in shame saying that yet another year has gone by without your book done (or marketed, but for advice on that head on over to @indiebookibc).

So for anyone not participating in NaNoWriMo this year, how about you accept a different challenge?

My 0.96 pages per day challenge.

For accountability please make a pledge down below in a comment. I will have a blog once a month to see how our 28.7 pages per month are going.

Don't let another year slip by! #duh

Embrace the Journey

2010-10-10T18:20:00.000-07:00

I am here to tell you a fact...

You will ALWAYS wish you wrote better. It doesn't matter at what level of success you are. Award winning. NYT Bestselling. Your childhood sweetheart finds you because of your book and falls madly in love.

You will ALWAYS wish... Damn, I wish I had turned that phrase better. Or I wish my characters had more depth. Or that final battle could have been more dynamic. Or my dialogue in that scene could have been crisper.

I have heard all those concerns from writers at every stage. No one is immune to introspection. And nor should we be. If we do ever get to the point where every word we write is golden... well... you know those authors and how badly their writing declines. #dontbuyyourownhype

My point though is, most writers feel that somehow they will reach a point in their writing where 'everything will be alright.' That somehow a magical moment will occur and everything you write you will be thrilled with (not to be confused with the truly magical moment you cross the 1,000,000 word threshold - check out my blog on that truly special moment).

So why not embrace the journey? Why not relish every moment you get to write? Whether you get to write well, poorly, or absolute crap? Why not just hug your inner writer and say 'job well done!'

Because it was a job well done (even if you delete every single character and then do a wipe of your hard drive to eliminate any trace those words were ever typed). You wrote. And the only way to become award-winning or best-selling is to write (check out my other blog "Writing Through It" for more help if you are struggling).

Every day you get to write is a great day. How about we all start to act like it????? :-) :-) :-) #notetoself

If you are getting 100% Rejection Notices...

2010-10-03T17:59:00.000-07:00

I hate to be the one to tell you, but it is guaranteed your query letter and first 3 chapters aren't strong enough.

I know, I know, there are some that are going to rail against such a notion, but as writers we must put aside our ego and our love for our project. We must listen to our audience and in this case our audience is the 50 agents you sent out to then subsequently rejected your work.

Now, your writing may be fine. It could be that you are sending out to the wrong agents. Your query may not 'sell' your project as much as you like. Or your writing just isn't 'there' yet.

No matter the reason for the rejections, you received them for a reason.

It is now for you to decide why.

Before we get much deeper into the causes I want to remind you I am on YOUR side. I want you to succeed. I believe in you. And I am here to tell you that rejection letters truly are a gift.

They cause us to reevaluate and really look at our work with fresh eyes.

The first place I want you to look is your query letter. A great query letter should get you about 10% response back to read the entire manuscript, or at the very least a nice note that they liked the work but it just wasn't there thing.

If you aren't getting 10% or more requests for more pages, then your query could be your problem.

Is it dynamic enough? Have you excited someone enough to read more? Are you knowledgeable enough of the market? Are you realistic enough that your work belongs in this agent's hands?

Your query letter is a MARKETING document. It needs to sizzle. It needs to excite. Workshop your query. With people who know your work (to make sure the letter is representative of your story) and people who are not. Did they 'get' it from a cold read.

Take in those notes from people. Punch the query up. Don't send a single one out until you are just blowing people's minds with your query letter.

Now let's say your query is rocking the house and you are pretty sure people are reading those first 3 chapters (and yes, I recommend you send them if they say they don't want them. Especially with digital queries, there is no wasted paper etc).

Again, this query/1st 3 chapters should get you about 10% requests for the whole manuscript.

So now you need to workshop those three chapters. Especially the first 3 pages. If you can't hook an agent, you won't be able to hook a book buyer or the public.

You need to let go of your 'baby' and get honest, constructive criticism. Are these pages not just publishable but do they scream 'buy me.'

Unless the answer is 'yes.' You are going to be waiting for that phone to ring... for a very long time.

Now what about the final category of people. Those that do get 10% or more requests for the full novel but then still get a final rejection (no matter how nice)?

Well, it depends on the reason. If you are getting specific notes back in your rejections that sound similar, then it is worth a re-write. If however the agent's notes are all different or you get back 'great work I just can't take you on right now," then you might want to look into self-publishing.

The number of books that actually get printed versus the number of great books out there is just a fraction. Digital eBooks are making up the difference.

Head over to @indiebookIBC if you are even entertaining

Rejection Letters are...

2010-09-26T16:16:00.000-07:00

GREAT!

I know, that wasn't the answer you were hoping for, but they are.

Recently I saw a tweet by @agentgame "A rejection is not an invitation to debate the merits of your book" They are an agent's assistant so you can imagine how many nasty calls, emails, and letters they get after sending out rejection notices.

My advice to anyone hot under the collar at a rejection notice? Um... How do I say this... GET OVER YOURSELF!

Maybe your novel is the next Da Vinci Code (remember, that wasn't Dan Brown's first book even). Ok, so it is awesome. That doesn't mean this agent likes it. And if the agent doesn't like it, they can't sell it.

Remember even if the agent likes it, they have to consider (in the current economic times/trends/movement of the industry) if they can sell it.

Remember agents get told "NO!" all day long, all week long, all day long. Especially with new writers. The industry has simply moved away from 'developing' talent.

These days for an agent to take on an unknown author they would have to be INSANELY in love with your novel and basically be willing to do a bunch of pro bono work, knowing they might not see a sale, and even if they did it would be for pennies on the dollar.

So give agents a break. They are doing the best they can and have a right to have an opinion which may be that they are not the one to represent your work.

Therefore the rejection may have everything to do with the quality of your writing, or nothing to do with your writing.

Now the question becomes how can you tell the difference?

Writing groups for one. Share you work with your peers, find out if there is any way to improve the writing and... dare I say it... make it more commercial.

There are also services to evaluate your work and get it publish ready.

And lastly if you feel your work is the true opus you think it is... go Indie, baby. If you think you can sell 5,000 copies, get out there and sell 5,000 copies.

If you are thinking of going Indie, then you really need to check out @indiebookIBC a stream devoted to all things indie (writing, publishing, marketing) :-)

Next blog we will discuss the nuts and bolts of evaluating your query letter and 'package' to up your chances of NOT getting that rejection letter (now that you are all Zen with it :-)

Until next week!

As many of you know, I have gone indie myself with my pen name, @cristynwest's Plain Jane. You should click here to read 50 pages of this Patterson-style thriller with a dash of Silence of Lambs thrown in to freak you out. Find out why indie doesn't have to mean bottom of the slush pile :-)

Consistency

2010-09-19T16:32:00.000-07:00

There is something magical that happens when you write consistently. The words flow more easily. The ideas are sharper. Life is simply better.

Then why don't we ALWAYS write consistently?

That is a good question.

I think sometimes when we get into that groove it scares us. I know I have written the best I have ever written then found some excuse, any excuse to not go back to the keyboard for days or even weeks.

It is almost like we fear we can never live up to that again. That giving ourselves permission to suck goes out the window. "But, but, but, I just wrote WELL! Don't make me go back to the salt mines of despair."

Why can't we simply be happy for that golden moment and then write daily until we experience it again?

I think because as writers we are superstitious. By thinking 'that was good.' Or 'that was easy,' we just doomed ourselves to never repeat it.

I am here to tell you that is NOT true. There was nothing magical or jinxing about feeling good about your writing.

It is also an exact moment in time you can NOT recreate. Whatever next good writing experience you have will NOT be exactly like you one you had.

And that is okay. It is okay to keep sucking and getting pages done because you WILL hit your stride again. The clouds will part and the heavens will smile down upon you.

As a matter of fact I find the more I simply embrace sucking and get my pages in for the day, the more frequently the skies above are clear. Actually the better I feel about sitting down to write, the better I actually write.

How about you try it for a week? Write consistently, every day. I don't care if it just 10 minutes, but write. Embrace the fact you are a writer.

ENJOY the process, not the perfect pages it may or may not create.

That is how I finished Plain Jane in 2 months. Simple, deliberate, day by day writing.

Want to see the result? Read 50 pages for FREE here and if you decide to buy, here is a 50% off coupon: RH88E

Announcing the Indie Book Collective

2010-09-12T16:19:00.000-07:00

If you are an author, either traditional publishing house or indie digital, you need to join the Collective!

Why? Because, let's face it; it's hard out there for an author (whether or not you have a publishing house behind you).

Sure you can write the book yourself and in theory even edit and then publish it all by your lonesome, but selling that puppy?

That takes a village. Or a collective :-)

Basically, we are a group of like-minded authors who are promoting our books through a combination of social media platforms and brick and mortar book stores.

How does it work? Well, I will refer you to our website for the entire down-low, but in a blog nutshell, the collective was formed to sell books through cross promotion.

If someone likes your book, they may like mine and vice verse. Do this over dozens or hundreds of authors and you've got yourself and marketing platform that you simply could not reach by yourself.

The core group of the collective have years of experience in indie publishing and marketing and are more than happy to share that with anyone who is willing to listen so you don't have to go through the 'growing pains' of the Indie life :-)

So check out @indiebookIBC and click here for the website!

Let me know what you think!

In the spirit of cross-promotion, I would love to do some cross-promotion for Plain Jane with anyone who has a mystery/thriller! Let me know by leaving a comment in the box below :-)

Even if you don't have a novel in my genre, I would love for you to read Plain Jane and give it a review! Click here to read 50 pages for free before you buy! #Iamagiverlikethat

3-Dimensional Characters

2010-08-29T16:32:00.000-07:00

We hear that term all the time and I think there is an unspoken rule that we are supposed to create them or our work is 'pedestrian.'

I am going to say it is IMPOSSIBLE to write a 3-D character in any piece of work. Including film. It is a completely unattainable standard, and a standard that can freak people out enough to stop writing altogether.

Does that mean we should trot out cardboard characters and be happy with it? No, of course not. I want my characters (and yours) to have depth and feel organic. However, this lofty 3-D goal is simply silly.

Sure, on your fifth NTY Top Ten Best Selling novel, when you have a yacht and a winter home in the Caribbean, I give you permission to toil and fret about finally creating the world's first fully 3-D character...

Until then? How about we go with the characters we have and get a book written?

And yes, I do read a lot of genre material that is not known for its character work, but I have read the fine literary works as well. You know, the ones with real 3-D characters. But sorry, even in the best of hands, the character is still... a character.

There is no way in the space and time allotted within a work of fiction to bring every subtle nuance and quirk that makes up a human being. We can add depth, just not to the point of creating a flesh and blood person on the page.

Why do I bring this up? Because I see author after author lament their character work and keep going back and fiddling with it so hard and so long they give up on the project entirely.

So, I am here to give you permission to write the best characters you can write, RIGHT NOW. Then put them through your writing group (don't have one? check out next week's blog) and do a rewrite based on those notes or take a class on character, but then move on with the story.

At some point you must accept you are the author that you are for now... with room for improvement.

Your assignment this week is to check in and see if you are hung up on your characters. Do you spend an inordinate amount of time tinkering with them? If the answer is yes, then STOP for goodness sake.

Go look at the Bestsellers on the shelf. I can almost guarantee you that none of them have fully realized 3-D characters. So just because you don't have them, why should that stop you from finishing your work (and learning along the way ;-0

Want to check how fully realized (or not) my characters in Plain Jane are? Click here to read 50 pages free and here is a 50% off coupon: RH88E

Until next week!

When I write poorly I...

2010-08-22T16:40:00.000-07:00

Tend to have a lot of words with the ending 'ly'

I also tend to throw in a lot of 'buts,' as well as start out my paragraphs with prepositions.

Luckily I know this and scan for these frequently.

Now, of course, if I am having a bad day and am struggling just to get words on the page, I write all the adverb, conjoining, run-on sentences I want. I go to town. Let 'em rip.

But at some point I need to make my work, you know, enjoyable to read.

So over the course of a decade, I have learned my bad habits. I know where I go when I am not in the zone. I can easily identify when I wrote at not-quite-the-level I would like.

Let's be clear there are times when I think I DID write well. Then see all those 'badly,' 'hungrily,' 'angrily,' entries and go wow, I wrote 'crapily.' :-)

For me, this makes any re-write so much easier. I know where I screwed up and since I have had to fix it so many times, I have gotten pretty good at it.

So my assignment to you this week?
Figure out your 3 worst bad habits when you are not writing in the zone. Now go back to a section you are not happy with. Check for the big three. What can you do to 'fix' them?

Now how about you head over to Plain Jane here and see if I managed to recover from my addition to conjunctions :-)
If you decide to read the entire novel, here is a 50% off coupon: RH88E

Stakes - Make 'Em Big or... well... your story will suck

2010-08-15T16:25:00.000-07:00

And not in the good way! :-)

I can't tell you how many people I coach/critique that when I ask them what their stakes are in the first act and they look at me funny.

Well, ok, that happens frequently, but they also clearly do not know what I am talking about.

Everyone seems to have a vague sense of what stakes are; events that worsen the situation for your Hero, except they are so much more than that.

A good example is that in Act 1 your finger is being threatened to be cut off. In Act II, your arm is at risk. In Act III your head is on the chopping block.

Many times in action books the sequence of escalation is the Hero's life is in danger. Then the Hero's loved ones. Then the community or world is imperiled.

This not only applies to action novels, but even dramas/literary works. Usually the escalation for those genres is: The Hero's pride is in jeopardy, then his heart, then his soul.

You should be able to point to specific characters/forces/situations in each Act that acts as an escalator. If you can't, then more than likely there isn't enough threat in your story.

Remember the stakes must go UP each act. Each act's stakes must grind the Hero down a little bit more. Make it seem more impossible for your Hero to ever see the light of day.

Now, instinctively most people do this at the darkest hour. And most even up their game at the Tentpole.

It is the first Act, and most importantly the first chapter, that many don't make sure they have clearly defined stakes.

Look at your own work. What are the stakes in your first chapter? What risk is your Hero in? Where is the source of tension?

Now, the only caveat to this advice is that sometimes you have to build you Hero up before you bring him down so this first chapter may have him: win the lottery, get a juicy assignment, sleep with the girl.

This is one of those the higher they are, the harder they fall type situations.

But remember, that is building up process is done with a purpose and rapidly the stakes (taking away not only everything they just 'won' but everything else near and dear to them is at risk) must be escalated.

So either you need to be building your Hero up for a fall or putting the screws to him IN THE 1st ACT! If you aren't; you've got a problem (fixed by stakes luckily :-)

Want to see how I ratcheted up the stakes in Plain Jane?

Click here to read 50 pages for FREE (that way you can see if I followed my own 'first chapter' advice)

And if you wish to purchase the thriller, here is a 50% off coupon: RH88E

Thanks again and see you next week!!!

Don't Be Afraid to be Bold.

2010-08-08T16:00:00.000-07:00

Which is of course a follow up to my "Don't be afraid to suck' blog.

Why is this the subject of this week's blog?

Well, I got reminded of this as I have been hired to do a page 1 rewrite.

I kept trying to 'honor' the original work(which was deemed by the editor as unpublishable so a little lapse in logic there) and I would quell my own instincts and try to write within the framework of the first draft.

Um, while that all is true, really what it came down to was the fact I was afraid to be bold on this new project.

How did I figure out, that once again, fear was the culprit?

I had a bold instinct. I did not act on it.

I turned in a scene. I got a note back from the editor "I know the scene works but what about if we switched the POV to the child?"

Urg! I could have kicked myself. I not only wanted to do just that but I wanted to ditch the stupid villain involved in the scene.

So I wrote back and relayed I agreed and suggested we ditch the villian.

She wrote back, "That's what I was thinking too!"

Now here I am having to rewrite (again) five pages because I didn't trust my instincts. I was so worried about putting together a decent draft that I forgot to write well.

I am being paid basically to write boldly.

Now, if you are having trouble writing consistently, don't worry about boldness. Just write daily.

However if you've got the giving yourself permission to write poorly thing down and are writing consistently, think BOLD.

The #1 thing that bugs me is if a writer just writes stuff that we've 'seen before.' When they take the safe route. When they give me the most obvious choice.

We talk all the time about 'digging' deeper. Most of the time your first thought is the easiest option. Most of the time the first 2 or 3 thoughts are your brain just skimming your creative waters.

Your creativity runs deeper than that. Utilize it!

Whether on the first draft or the third draft, stop and for every scene think "How is this bold?"

Now don't think I mean bold to mean stupid. I am not telling you to just throw everything and the kitchen sink into the mix.

What I mean is choose an unexpected POV. Commit to your descriptions. Be specific and somewhere along the way surprise us.

Your assignment? Go to a scene that you just aren't happy with. Imagine you had no rules to follow (internal logic, word count, suspension of disbelief). How would you 'fix' this scene? Think bold first, then make the solution follow the rules. #inthatorder ;-)

And if you would like to see how 'bold' I was with "Plain Jane" (so far most people are shocked I 'went there' so I feel like I fulfilled my boldness pledge) here's a link to read 50 pages for FREE.

If you decide to read the entire thing and find out EXACTLY how far I went (I am warning you, I went further than most consider acceptable), here is a 50% off coupon code: RH88E
Just use it at check out, then let me know what you think! :-)

Until next week!!!!!!!

Advanced Dialogue Stuff :-)

2010-08-01T16:23:00.000-07:00

I am telling you, dialogue is the downfall of even the biggest NYT sellers.

Seriously, read the stuff out loud. Yikes! Then start going down mid-list and below and it can become downright painful.

Why? Because most of the time authors subconsciously use dialogue to their own purpose.

I need my Hero to say that he used to live in New York. Now, unless you are sitting around a new work or on a date, you not going to casually mention that you used to live in New York.

It is going to come up as part of a conversation:

"Wow, I really love this pizza." "Oh no, clearly you have never been to New York then because this crust is way too thick."

Ok, that was lame too, but at least it made sense that New York came up as a topic.

A better way to hide this important plot item would be in what your Hero DOESN'T say. Everyone else is reminiscing about New York and your Hero stays quiet. Someone, of course, notices this and probe into the subject.

Anything you can do to not blatantly state "Hey, I lived in New York" is best.

Another way to make your dialogue crackle is to have the two people in the conversation in conflict. Whether it is an all out fight or simply them arguing over where they are going to dinner, is up to you.

Also 'dragging' the info out of someone is better than blurting it out. Have your Hero duck, dive, and dodge the subject.

How important the information is to the plot, the harder it should be to get out of him.

Now my favorite way (no surprise here) is to relay critical information during a car chase or defusing a bomb, or some other incredibly awkward time to have a 'chat.'

Why do I love this technique so much? Well, besides the fact I get to write action?

I like this because it automatically fragments the conversation. Even my instinct is to have a conversation flow in a logical manner to a neat resolve.

But if the bullets are flying? If they are running for their lives? Having to whisper since the bad guy is approaching.

It forces me as an author to figure out what is truly pertinent. It forces me to find unique, interesting ways to put the information out there.

Plus it makes sense to cut off dialogue before it wanders into cliche-land if you've got ricochets to worry about.

Let's say you aren't writing a piece with physical action. That doesn't mean you can't use external circumstances to 'goose' your dialogue along.

Children, pets, crowds, mother-in-laws, meddling neighbors can all act as a 'distraction' away from a straight forward conversation.

Whenever you are up against having to use dialogue to impart vital information think, "What is the most dynamic way to say this?"

What makes this conversation interesting... besides the words coming out of my Hero's mouth?

Alright, that's it for this week.

Your assignment? Find an important plot point that is revealed in dialogue that you aren't happy with.

Experiment with one of the techniques listed above to 'freshen' it up!

And if you would like to see a real life example of my dialogue, hop on over to:
Plain Jane and either read the first 50 pages for free or use this 50% off coupon code: RH88E

Then leave a comment below on what you thought :-)

I Give You Permission To SUCK

2010-07-25T15:23:00.000-07:00

Yep. My blog topic for the week is... suckage.

And how, as writers, we should embrace it.

Now before everyone gets up in arms thinking I am saying they DO suck. I am not.

First off, I am just talking about your writing, not you. And secondly, I have no idea if your writing sucks or is amazing.

What I am here to say is that I DON'T CARE if it sucks. I still INSIST that you write.

I can't tell you all the writers I talk to on the stream, in DMs, and in life that are petrified and paralyzed by the concept their writing may suck.

So you can imagine the shock and horror of when I way... Um, okay, let's say that it does suck, why is that stopping you from writing?

I mean, I write crap sometimes. Do I want that to end up in the final product, no. Does it sometimes, yep, probably.

Think about it. Who are your FAVORITE authors? Is everything between those covers a sterling piece of work? No. Some of it... wait for it... sucks.

Ok, maybe your absolutely favorite authors don't suck, but go into the bookstore and pick up a random bestseller. I can guarantee you that there is some suckage in there. And even the mighty literary giants have written some really sucky stuff.

What distinguishes an 'aspiring' or struggling writer from a true author is that an author accepts the fact they may SUCK yet KEEPS WRITING.

No one can help you with the story that is stuck in your head. I know it seems all perfect and cozy locked away in there, but it is miserable. Your story wants to come out and play.

And I am hear to tell you that your story would rather be out on paper with major suckage, rather than confined to a life sentence in your brain.

Why? Because even the utterly worst writing in the world... can be improved. Once it is on the page it can be fixed. You can apply structure and style. You can develop your voice. Eventually your writing... won't suck.

Writing has a learning curve that unless you write, you will never complete.

So, accept the fact your writing may suck. Also accept the fact that EVERY other writer in the history of writing has sucked.

Join our illustrious ranks! And WRITE :-)

Ok, I've got to wrap this up... I have writing to do... that may suck. #Iamdownwiththat

Until next week!

P.S. Yes, I wrote crap while writing Plain Jane, and the 7 other books I have written. And yes, some people that read it may feel some of that suckage still exists on the page.

Okay, um #awkward, but I'm not going to let that effect how I promote the thriller or in writing the sequel.

Writers, write and in writing, they improve :-)

If you want to sample 50 pages of Plain Jane for free to witness the ratio of suckage to absolute brilliance, click here!

Re-Writing: A Second Chance

2010-07-18T15:50:00.000-07:00

As we know, I love writing, but for me I love re-writing even more.

Even though I don't find the blank page scary at all, I do feel a certain pressure to get the story out. To figure out all those stupid, you know, facts that have to go into the plot.

Like if my Hero is in Bulgaria, how long will it take him to fly to Paris. You know stuff like that. I have to be sure that is my Love Interest is a pilot she uses, oh I don't know aeronautical terms.

So for me, that is a little stressful. I want to make sure that my tentpole really is a tentpole, standing in the middle of my story with enough intrigue and action to carry the reader into the second half of Act 2.

This first draft is the nuts and bolts of the story. I have to get my Hero from point A to point B and have it not only make sense, but have it come out organic.

However for the re-write? Ah, all those pesky facts are hopefully taken care of. All the major angst over how I am going to break the laws of physics and still have the story make sense are over.

Now, I just get to play. For me, this second draft is the most fun. This is when I dig into character. When I find the super cool way to solve sticky situations. When I can concentrate on turning that phrase just right.

The backbone is laid in and now I get to flesh out the story.

I know so many writers that groan at re-writing, but I really can't see it. The work of grinding out that first draft is over and while the tedium of line edits is on the horizon, it isn't here yet.

So enjoy this golden time for your story. When you take it from a draft to a full grown book! :-)

Your Assignment: Take a small section of your book that's been bugging you and do a re-write... with JOY! I don't care how dark and twisted your work, that doesn't mean that you can't embrace the rewriting process and make it work for your story!

And don't forget, my novel under my pen name @CristynWest is available in so many formats it will blow you mind! #seriouslyitwill

So hop on over to Smashwords: http://bit.ly/b60jVe And just for being so awesome and reading this blog, here is a 50% off coupon: RH88E

Trust Your Reader

2010-07-11T16:26:00.000-07:00

I have been reading a lot of new fiction lately (like 10 books in the last week).

And what has struck me most is how little newer writers trust their reader.

I had forgotten how much this single factor affects readability.

As writers we ask every reader to suspend disbelief. They need to let go of their preconceptions and the 'rules' of their reality and enter ours.

However, it is our job as writers to honor their surrender and help them sustain it.

The less you trust that reader to follow along, the more frequently you state the obvious, or repeat key phrases, the hard it is for them to stay in this holy pocket of 'suspended disbelief.'

She drove up in a Caddie with a rock on her finger. She's rich. We get it. You really don't have to go into her Sax 5th Ave shoes. Or her Vera Wang dress. We GOT it.

Now I'm not saying you can't sprinkle those items later. Or if you are writing a character who is fascinated by fashion and those descriptions help define your character that you couldn't go into a whole laundry list.

I am just saying, do it with PURPOSE. Don't just keep going on and on because you, as the writer, are uncertain if you got your point across.

Remember the reader WANTS to go along on this journey with you. And the VAST majority of your readers have... oh I don't know... read a book before.

You can slip into a sort of fiction 'short-hand.' Trust the reader is getting what you are putting out. Make sure every bit of description has a point and a purpose. Cut out anything that seems to belabor an idea or is 'over-written.'

Less truly is more.

The more you trust the reader. The less you have to write! Simple #buttrue!

Your assignment? Randomly pick 3 pages from each act. Read them aloud to someone unfamiliar with your story. Ask them when they got 'it' (the central idea of the scene) and when did you keep writing past that point.

Then, you know what to do next. Rewrite if needed! #duh

Now I am sure by now you know I've got a book out #unlessyouhavebeenlivinginacave :-)

I am getting a ton of great reviews and I would love to hear your opinion if I 'practice what I preach' :-)

Read up to 50 pages of Plain Jane for free here: http://bit.ly/60jVe and here is a 50% off coupon code if you decide to read the entire thriller: RH88E

Any review posted on Smashwords or GoodReads will be featured on this stream and my pen name's @cristynwest. And if it is totally kick-a** I will promo it on my personal account @craftycmc

Thanks again!

Sticking Points, Oh Sorry, I Meant Plot Points

2010-06-27T16:02:00.000-07:00

You have to have plot points. Well, I mean if you want to have a plot that is.

There are just points along the way where you HAVE to have something happen.

Let's say you started the story with your Hero HAVING to get to Los Angeles. So we are heading to Los Angeles.

However your big climax happens to occur in the French Quarter.

Ok, we have to at some point take a left turn and go down to Louisiana, right?

YOU as the writer has to make that left turn because gosh darn it, you want to get New Orleans.

However, the reader should NEVER know that you HAVE to get to Mardi Gras.

This 'turn,' this plot point that must be executed, however we want to 'cover' this fact up.

We want this plot point to feel organic and a part of your story and not feel the author's 'hand.'

But how to do that?

Seeding things helps.

I like to reference Lord of the Rings here. Clearly Tolkien needed to get Frodo into Mordor. Equally clearly he needed to make that journey intimate.

However the thrust of the plot was to get to the GATES of Mordor. But ultimately Tolkien knew he was going to go the 'secret' back way.

Luckily he seeded this. Gollum had suggested it. Sam, who has been WELL established to not trust Gollum, shot him down. Only by being in peril and the impossibility of scaling the main gate, do they finally decide to go the 'secret' way.

This was a massive plot point that could have stuck out like a sore thumb, but instead felt organic and you felt as desperate as the characters to have to take this perilous journey.

The lesson here is that if you have a major plot point coming, seed it. Mention and discard the idea. Put up resistance to the Mardi Gras. New Orleans simply is NOT an option.

Then when you get to the plot point you need to make Los Angeles simply unattainable. Whatever they feared about Louisiana becomes so much less than the disastrous conditions in California.

Or they are forced to Mardi Gras. Someone has been kidnapped. A vital piece of information or item has been moved to New Orleans.

Whatever it is, it must MAKE sense. It must feel motivated by the story, the characters, and the environment.

Your Assignment: Find a major plot point in your story. Does it feel like a major plot point? #RutRo

Find at least 1 way to 'soften' and camouflage this point.

Now do it to the rest of them :-)

Until next time!

Don't forget that "Plain Jane" (a Patterson, "Kiss the Girls" style thriller) is out!
Read 50 pages for free at Smashwords: http://bit.ly/b60jVe
To sweeten the pot here's a 50% off coupon: RH88E

Scene Setting... So Simple...

2010-06-20T16:52:00.000-07:00

Yet so hard.

Even though I love writing with every breath I take, setting a scene or the 'travelogue' portion of the novel is probably my least favorite.

I want to get to the action, damn it! LOL :-)

But scene setting is essential to any great story. We, as the reader, needs to be oriented to the environment.

Scene setting is also a place to allow your writing to shine. This is a place where you generally have enough room to turn some phrases and get away with a few more descriptors.

However, beware. Too much of a good thing is still too much. Narrative drive must always be maintained.

Even while standing perfectly still on a snowy field under a lone tree, your story must be moving forward.

But how to keep the momentum going forward when you want to pause and sit a while under the tree.

Luckily you can do both. The trick is to allow us insight into the character setting the scene (looking around, smelling, feeling, tasting their surroundings).

Each character in your story would look at that winter scape completely differently. (If that isn't the case, then you have bigger problems then scene setting).

One might look at the stark scene and consider it harsh and barren. Another might find the meeting of the white of the snow and the blue of the sky on the horizon as beautiful and yet another might notice the tiny droplets of dew falling from the branches, creating tiny crystalline pools in the snow.

Each are describing the same basic physical landscape but HOW each is describing the scene gives us incredible insight into not only their character by their word choice (intelligence, education level, etc), but also their current state of mind.

Perhaps at the beginning of Act 2 our Hero hates the snowy field. But by the end of Act 2 he would die to defend it.

Test your scene setting skills.

Read a section of scene setting a loud.

Do you have WAY too many descriptors? Did you not give us vital information (like the tree has mistletoe in its bare branches that is later important)? Can you tell EXACTLY to character and even the Act in which that scene was described?

If not... you know the drill. #Rewrite!

Also, I would love some feedback.

Could you head over to smashwords.com: http://bit.ly/b60jVe

You can read the first 25% of my new novel Plain Jane for free there. Take a peek then leave a comment here and let me know if I practiced what I preached about scene setting!

Now if you have to happen to fall in love with Plain Jane and want to read the whole thing, here is a 50% off coupon (TF93S)which makes it only $1.99 to purchase the entire novel!

Also if you are on GoodReads, please 'friend' or 'fan' me and I will return the favor!

Why do we write?

2010-06-09T09:25:00.001-07:00

Just stop for a second and ask yourself that question... "Why do I write?"

For me, I write because I have to.

The stories inside of me are quite persistent. Trust me, I have wanted to stuff them down and ignore them, but they would come out while I was driving or in my sleep or simply pester me every time I sat down at a keyboard.

I was a born a storyteller. My guess is if you are reading this blog, you are to.

So the next question becomes... If I love writing so much why aren't I doing it more often?

Usually because well... we love it... almost to much.

What we put on paper feels so much like a part of our soul, that it is hard to send our stories out into the harsh world to be criticized. So a part of us feels 'we can't write it otherwise it will be judged.'

And do you know the one thing that I realized that help me get over that and put my stuff out there?

My stories are tough little boogers. They aren't flail little things that will faint at the first whiff of critique. They are hardy and hail.

It turns out they are far stronger than I am!

My stories would rather be out in the world, strutting their stuff and taking their lumps rather than being cooped up inside my head.

Of course work on your craft so that you can tell your stories better, but take it from me folks, your story is going to do just fine out in the big bad world.

So WRITE ALREADY!

And don't forget my book "Plain Jane" is out. Below is the book trailer. Also you can read more than 25% of the book for FREE at SmashWords: http://bit.ly/b60jVe

Plus of course email me at writingnodrama(at)aol(dot)com for workshops on... you know... craft stuff!

Self-Publishing Is Where It's At!

2010-06-02T07:34:00.000-07:00

The stigma is gone, guys. #finally

Thank God!

Now I have made a lot of money off my writing. The only problem is I can't tell you how. As a writer, my life is bound by confidentiality agreements. So iron clad are they that I can't even tell a new agent about them.

Which found me in an awkward spot this year. I had to let my agent go last fall. I really can't blame her for not being able to pimp my work since she can't point to anything on the shelf to claim my sales track record.

And I wasn't satisfied with a five or heaven forbid 4 figure advance. Not out of arrogance, but because I know how the house handles publicity and marketing if the advance isn't in the 6 figures.

Um, basically they don't do anything! Nothing. Nada. Sure your book is out. A few thousand copies, buried on the shelf, spine out.

I knew unless I got a hefty advance, they would be no help. I also knew if I sold the book to a house that little bit of money, forfeited my creative freedom. They would want to wash out my voice to bring it into their imprint's 'fold.'

Great, I give up creative control and basically get nothing back for it.

And for years self-publishing has been such a taboo. A taint have you. That no publishing house would ever touch that book let alone anything else by you if you dared publish something yourself (without permission from the publishing gods).

Which I always thought was retarded. Remember, I came up from the screenwriting side where Indie Film is huge. And a major source of fresh material for studios locked into their 'fold' mentality.

Ah, then came along Amazon.com. And Kindle. And now Indie Publishing has gained the stature it deserves.

To the point where houses are now looking for you to have a following and sales record before they risk throwing down some cash.

Like I said #finally

So I present to you, "Plain Jane" A thriller in the "Kiss the Girls," "Hannibal," and "Along Came A Spider" genre.

You can either head over to Amazon.com for the print version (and, of course, leave a glowing review) at http://amzn.to/aV16Z9

Or read an entire 25% of the book before buying the ebook at www.smashbook.com: http://bit.ly/b60jVe

It is gritty, shocking, and #strangely funny.

Also, if you have a self-published book or one published through a house, but isn't getting any support, go follow my marketing alter ego @zerotosold where we are forming an Indie Book Marketing Collective!

And then, of course, GO WRITE 2 PAGES :-) #sorry #hadtogetthatinthere

Writing Without The Drama Workshops

2010-05-21T14:08:00.000-07:00

I wasn't planning on giving workshops until the fall, but I've had a bunch of requests, so... carpe diem!

There are stories to be helped so I say damn the torpedoes! #actuallyIsaythatalot #butthatisawholeotherstory

The basic structure #youknowhowIlovestructure of these workshops is...

General writing workshops:
2 hrs long

Everyone participates, but no guarantee that your work will be chosen to discuss specifically. In these workshops, only small snippets of work will be reviewed to use as an example to the group. These excerpts are NOT submitted nor reviewed before the workshop.

You do NOT need to volunteer your work for review. You can simply soak up the knowledge :-)

These are 'drop in' workshops. While I prefer pre-registration at least 48 hours in advance, you can sign up and pay for these sessions until 15 minutes before the workshop.

Topics will vary based on participant's needs (I like to focus on what the group as a whole needs in the moment rather than pre-plan a topic #Iamadventuresomelikethat).

No more than 10 students in a session

Normally $25/workshop, Right now, I'm offering them at $10/workshop #jumponitnow #maygoupatanytime :-)

Semi-private workshops:
2 hrs long

Each person gets at least 20 minutes on their work therefore your writing sample (up to 10 pages) must be submitted 48 hours before the workshop for review by me and any other participants.

Since we are going more in-depth into critiquing during these sessions, everyone must have some 'skin' in the game i.e. have their work up for review (I find this keeps people's critiques more gentle knowing theirs is coming up next).

These are NOT 'drop in' sessions. Registration must occur 48 hours before the workshop so we have time to review the material.

These workshops are a hands-on critique/evaluation/re-writing session, really digging into how your work can be improved with the eye to publication

No more than 5 students in a session

Normally $50/workshop, Right now, I'm offering them at $25/workshop #jumponitnow #maygoupatanytime

Private consultations:
2 hrs long

Um, I think this one is self-explanatory #allyou #allthetime

Normally $200/workshop, I'm offering private coaching at $100/workshop #jumponitnow #maygoupatanytime

2hrs is about the time it takes to really go in depth, however for private consultations we can discuss a 1 hour session for 1/2 off. #again #ifIaminagoodmood :-)

I will also be adding more lecture style classes to cover the major aspects of writing such as: Outlining/preparing for a story, world-building, re-writing, preparing book proposals for non-fiction, prepping your manuscript for agents/publisher review, the ins and outs of self-publishing, and MARKETING for authors!

Please feel free to leave comments below if you are interested in any of these topics or add some topics that interest you!

I promise a warm, fun, informative time for one and all!

Now to be fair, I want everyone to realize despite the above, I am going to still say "Shut Up and Write" #alot #really #Iamnotjoking

Remember my allegiance is to your story so I am only interested in participants who are really dedicated to improving their craft AND getting their story out there!

You have been warned :-) :-) :-)

If you're really ready to take your writing to a whole new level of dedication and craft, please email me at writingnodrama@aol.com and we'll hook you up :-)

P.S. Payment is through PayPal so please have an account ready. Also the sessions will be hosted on a web conference site so either you can phone into the workshop (standard rates apply) or use the microphone on your computer. We will be sharing my desktop/screen, but no one will not be able see yours so no need to panic about privacy :-)

Any questions, don't hesitate to email me!

The Hero's Arc or a.k.a. What It's ALLLLL About!

2010-05-12T07:16:00.000-07:00

No matter your cool plot devices or statement about the human condition, your story really boils down to your Hero's Arc.

It is the overwhelming driving force in your story. All plot points hinge on it. Whether or not you hook your reader is much dependent upon how well you fulfill this arc.

The arc is the meat that lies over the bones of story structure. Without the arc fully completed your story will feel 'light' and bony (ok, I just made that up to fit with my imagery, but roll with me here!)

Many people bandy about the term "Hero's Arc" but don't fully understand it.

Simply put, your Hero starts in one emotional place and lands in a COMPLETELY different emotional space.

One way to test an arc is to ask your Hero the same question at the beginning of the story and again at the end.

For ex: Neo from the Matrix.
"Would you risk everything, including your life, for the greater good?
Act 1 Answer: Duh, of course not.
Act 3 Answer: Duh, of course!

Another good question for him:
"Do you believe in true love"
Again the first answer is NOOOOO, the Act 3 answer is an emphatic Yes.

Usually the question revolves around self-sacrifice, feeling their worth as a Hero or their ability to love or be loved.

The closer the question comes to identifying his inner wound, the better.

Questions like:
Can you ride a skateboard?
Are not really what we're talking about.

The greater the difference in their answer, the steeper the arc. The more poignant the question, the deeper the arc.

Assignment:
Test your Hero. Ask him a question regarding his inner wound. What are his answers in Act 1 and Act 3?

Leave them in the comment box below and I will randomly answer back how steep I think his arc is! :-)

Next Blog: What's a Hero Gotta do to get some respect?

Wrapping up 7 Acts... in 1 Blog!

2010-05-11T08:04:00.000-07:00

Yep, that's pretty much how I roll.

I thought it might be nice to tie this all up with a little schematic for you to refer to when looking at your underlying structure #andbecauseitwasfunformetomakeit

The 7 Acts are broken down by dividing Act 1 into 2 sections, Act 2 into 3 sections, and Act 3 into 2 sections as follows:

Act 1
First Section is 10% of total pages - Snapshot of Hero's old life
Second Section is 15% of total pages - Hero resisting the Opportunity

Act 2
First Section is about 12.5% of total pages - Hero learning about his new life
Second Section is about 25% of total pages - Building up to Tentpole, Tentpole and aftermath
Third Section is 12.5% of total pages - Building towards Climax

Alright, hope this has been helpful!

Assignment:
Check your work against these numbers. Are you within 5% for each act section?

If not, make sure your story has narrative drive!

Next week's series... The Hero's Journey or a.k.a. How he kicks ass and takes names :-)

Act 3
First Section is 20% of total pages - the Climax/Resolution of all plot points
Second Section is about 5% of total pages (or less) - The Denouement, tying up loose ends.

The End... Of This Story that is #alwaysleaveroomforasequel

2010-05-11T07:05:00.000-07:00

The second half of the 3rd Act.

You've shot your wad on your climax #sotospeak

Your Hero is healed.

What more is there to do and say?

Lots. Well, at least 1-2% of your entire story that is.

This section is called the denouement.

It is where we get to see your Hero fully integrated into his new life.

Is he happy? Is he in a living hell? That is your call, but we do need to see where he is and how he is feeling.

Did he get the girl? Has the magician returned?

How tormented or dead is the Villain?

Is there any room for a sequel? Any wiggle room at all?

This is where you put that all out.

As you can see this section needs to be short and to the point, but it is ever so essential.

Our audience needs this section to feel the story is wrapped up. That there are no loose ends.

That doesn't mean "pat" answers or full resolution, but closure.

Alright, next blog is an overview of the 7 Act Structure then next week we go deep into the Hero's Arc!

Have a great #writing week!

Your Climax... Literarilly speaking of course

2010-05-07T14:15:00.000-07:00

Act 3 is what is all about.

All that hard work. All that writing. All that setting up.

Is going to come to fruition... but only if you execute it properly.

How many books or movies have fallen flat or worse been ANTI-climactic?

You do not want an audience to invest all that time and energy in your work than have an *epic fail*

So how do we avoid disappointing them? Well, first read all the blogs about Acts 1 & 2. I can guarantee you if you haven't done your job there, there is no salvaging Act 3.

Again, if the underlying structure isn't sound, this is where your story will crumble.

Again, we are breaking down this act into 2 sections.

This first section is where the Hero has just put on his very powerful mantle of Heroism: Hope.

He kicks some serious ass. I mean, crowd is on its feet cheering kind of ass kicking.

But, shockingly he begins to fail. He might even completely fail.

What? But how could this happen? How could he put on the mantle and still not have what it takes to win?

It is because he needs help.

Realizing he is a Hero isn't enough, he must learn humility as well. He must bow his head and realize he can't save the world...well, at least not alone.

Once he accepts the help (with open arms), then and ONLY then can he finally vanquish the villain.

This moment of accepting help is the moment when his wound is healed.

Because, you see, the only reason you need a villain is to actually poke the Hero in his wound to remind him that it is there. Once it is healed, the villain can adios.

Within this climax, the moment the Hero knocks the villain down and he doesn't get back up needs to be... well... exciting.

If you have done your character and scene work up and to this point, he can go hog wild on the action, tension, and suspense.

The rest of your book was winding the rubber band, tighter and tighter and tighter and then released it in controlled chaos.

You should be surprised, but not shocked. Anything and everything that happens here MUST be set up before.

Your Hero cannot suddenly FLY if we have never heard of him flying before, that kind of stuff.

Well, that's all the room I have right now, but I will hit up this act in later blogs since it is so CRUCIAL to the success of your story!

Leave a comment below to be entered in a drawing for a Free "Climax Evaluation." That's right, people I am putting on some performance pressure :-0

The Darkest Hour

2010-05-06T14:10:00.000-07:00

The last section of Act 2

Last blog we got our Hero out of the Tentpole, barely.

The group is shaken. Disheartened. The Hero many times has gone off to pout.. I mean go it alone. Of course to protect his friends, not because he's scared (never that :-)

The Hallmark of this section is that the Hero FINALLY realizes either the world or his soul (or both) is truly at stake.

He may still try to go it alone, run to draw off the villain, or commit to the fight, however he still refuses the Hero's mantle.

He doesn't see its use.

So we go into the final battle with the Hero's loin girded, however this isn't enough.

The battle is epic, and the hero loses. Badly.

He is truly broken. Striped down. Bare. Hopeless.

The Villain has the knife dangling above his head...

But takes one last kick to the groin.

Instead of shattering the Hero though, this last insult galvanizes the Hero.

He isn't going to take it any more.

He stands and he... FIGHTS, only this time with his Hero's mantle on.

And that mantle he has been rejecting for 2 acts has some pretty amazing powers.

It gives him HOPE.

And therein lies the turn of Act 2.

Don't forget to leave a comment to be entered to win a free "Turn of Act 1 Evaluation" :-)

The Tentpole or as I like to call it... Your mini-climax

2010-05-06T09:20:00.001-07:00

Because that is what it should feel like.

As you move into that long 125 pages of the middle of Act 2 it can feel dry and barren, yet this section needs to be anything but!

If anything, the Tentpole (which whose action should fall right about smack dab in the middle of your book) needs to look and feel like the 'final showdown.'

But let's back up to the beginning (of the middle :-)

As we learned last blog, your Hero has been properly introduced to his new world thanks of the Opportunity and um... well... hates it.

but too bad, he still has to learn the rules and spend some time whining about how he isn't a hero at all.

However, we need to get this party started so the villain very conveniently increases the threat and menace.

What characterizes the move into the second section of Act 2 is the Hero's realization that the villain is in fact, dangerous.

Our Hero begrudgingly admits something is rotten in Denmark and agrees to do something about it.

Of course, that does NOT include him accepting the Hero's mantle. He's just a guy with a set of skills that might be able to help. That's it. Don't count on him.

Now, occasionally your Hero's arc will have arrogance be a major part of his character, in this case, he wants everyone to COUNT on him, but he can't lose... You can see how well that's going to go.

So your Hero and his band of misfits knows the final days are here and gear up for battle --> Your Tentpole

Even if you are writing literary fiction, there is a battle. It may be to win the hearts and minds of men. It may be for their soul, but it is a fight.

Everyone MUST believe that this is life or death. That this battle will define the conflict.

It does NOT. But it needs to FEEL like it is going to. Do NOT hold back here so that your climax is better.

NO! Throw everything you have into this Tentpole. Every clever idea. Every trick. Everything.

But what does that leave for your climax? It leaves you to dig deeper, be more clever. Find a few more tricks up your sleeve that are better and more ingenious.

Your Hero must not only lose this battle but get schooled in the process. He MUST be bloody and bruised.

Everyone (ok, maybe not a everyone since somebody usually dies here to increase the stakes) escapes by the hair on their chinny-chin-chin.

This proves to our Hero definitively that he was never meant to be a Hero. Did you not see how he just failed ever so miserably?

He is usually pissed off at the group for dragging him into this mess and many times will separate himself from the pack.

The world feels in limbo.

But because of this here is where you have a little more room again to do scene setting (many times the Hero is hounded out of familiar territory) and more character work (how he handles defeat is HUGE to who he is and what his inner wound is) so use these pages wisely :-)

Next Blog, finishing out Act 2... in style!

Assignment:
Is your Tentpole exciting enough? Is there true threat? Does your reader really believe the world could come undone? If not, crank up the stakes!!!!!!!!!!!!!

And again, leave a comment to be in the drawing for a free turn of Act 1 evaluation! :-)

Act 2 Part 1 - A Brave New World

2010-05-05T07:42:00.000-07:00

Yes, that is what this first section of Act 2 consists of...

Your Hero's new world with new rules, new players, and of course, new pain.

This section should take up about 62 pages or so.

And trust me, you are going to need every last one.

Also remember your Hero's 'taking' of the Opportunity is a big deal, usually with some action, so right at the beginning of Act 2, you have a little room to 'breathe.'

A little time to scene set, after all you just dumped your Hero in a completely different world (sometimes literally if we are talking sci fi or fantasy). You need to orient us to this new landscape.

And you have some time to go deeper into your Hero's character because how he responds to this new world provides a ton of very valuable insight.

However, you can't linger or lose narrative drive since you also need to be building towards the Tentpole.

Your villain has to be dogging your Hero. Your Magician, Love Interest and/or SideKick need to be building him up, prodding him to become the Hero he is meant to be.

And of course, your Hero must be declining the mantle of Heroism over and over again, coming up with lamer and lamer excuses, yet revealing his inner wound, more and more.

In this section of Act 2 he can even be in denial that there is a problem at all. He may minimize the Villain's power or influence. He may even try to return to his old life, but the universe simply won't let him.

See? What did I say, those 62 pages are hardly enough to do all of this!

Your assignment:
If you ran long in Act 1, take a look at your character work with your Hero. How much of it can you pull down from Act 1 and move to this section?

Unless the character work was SPECIFIC to his old life, you should be able to easily move it :-)

And again, leave a comment to be in the drawing for a free turn of Act 1 evaluation! :-)

Act 2 – The “Meat” of your story

2010-05-04T12:51:00.000-07:00

As I mentioned yesterday, Act 2 is huge because it has to be huge. A lot happens because it really is its own ‘mini-book’ within your book.

Act 1 was your Hero’s life before your story. Act 2 is his life IN your story.

So as you can imagine you are nearly beginning your novel again.

Why? Because the Opportunity usually moves your Hero away from his ‘comfort’ zone and home which requires you to set up a completely new setting, a completely new job, a completely new world.

And he doesn’t know the rules to this new world, so this is really the beginning of his mentoring (either by the Magician, the Love Interest, Villain, or the Universe).

This is act where we focus on character and putting all the mechanisms in place for the climax of your story.

Now, the first part of Act 2 is all about introducing your Hero to his new life and offering him “The Hero’s Mantle,” or continue the “Call to Action.”

Your Hero is asked to be well, a Hero. He, of course, declines. He’s no hero. He’s just a guy that wanted a quick rich scheme.

But luckily for us there’s a villain that wants to kick your Hero’s booty. And do so he does, driving up the stakes, putting everyone in more danger as we drive towards the “Tentpole.”

The middle of your story needs a MAJOR action piece. It needs to look and feel like this is the END. Your Hero truly believes if he can just win this one, everything will be fine.

So, of course, he doesn’t. As a matter of fact, he gets his ass kicked and kicked hard.

He loses whatever faith he had. He feels broken and even more certain that he is not the Hero everyone else thinks he is.

Many times he will decide to ‘go it alone’ and pull a lone wolf thing, which of course only endangers everyone he loves more.

Many times at the Tentpole the Magician is lost (dead or apparently dead). Also the love interest may be kidnapped here or at the Turn of the Act.

We must strip the Hero of his resources so he can figure out who he is.

As we drive towards the Turn of Act 2 things go from bad to worse, to horrible to Armageddon. The stakes are no longer our Hero dying, but the world (or at least his world).

If he hasn’t lost or walked away from the Magician, Love Interest, and Side-kick by now, he needs to.

Your darkest hour (the moments before the turn of the act) must be filled with desperation and hopelessness.

Alright, that’s the overview of the act. Tomorrow we will start to break down the act into nice little bite sized pieces.

Your Assignment: If you’ve written your Act 2, check where your ‘Tentpole” is (the climax of the action should be within 15% of your mid-way point) and how awesome is it.

Did you raise the stakes enough? Does it feel like it should be the climax? Or is it simply a pale imitation of your climax?

Again, I’m looking for feedback to this series of blogs so I’m having a little contest.

I am going to pick a random commenter from the week and give them a free evaluation of their Act 1 turn.

So comment away (I am only counting 1 per day and since I’m like this, I am only picking the winner from a pool of couchant comments. If you write “You rock!” while true, will not be in the pool. I am looking to expand the conversation ☺)

Act 2 – WAHOOOOO

2010-05-02T22:09:00.001-07:00

Ok, maybe not Wahoo, but a little yeah!

Fine, maybe not even that because as difficult as it was to cram everything into Act 1, Act 2 is almost too long to comprehend. It seems to stretch out for freaking ever!

It accounts for 50% of your story. In a 500 page novel that is a long ass 250 pages to fill.

This act is usually where the thread starts to fray. Writers lose their way and meander, losing narrative drive and bleeding out all the tension they built in Act 1.

How do you avoid both the fear and the failing?

Simple, break down Act 2 into three parts.

In this case, smaller is better. It makes the act more manageable by giving you specific guideposts to hit at specific points in the story.

You know I love numbers so let’s get started.

In the 7 act structure, Act 2 is divided much like a traditional three act story. ¼ is the 1st part, about ½ the pages are devoted to the middle section and ¼ to the last section as you move towards the turn.

Today though we are going to go over the ground rules of Act 2 then next blog discuss what Act 2 does for us and our Hero then the next three blogs will be devoted to breaking the act down into its smaller components (so don’t start to hyperventilate or panic when you see EVRYTHING that has to be done. I promise I will make it feel manageable by Friday’s blog).

Act 2 Overview:

Act 2 should start around page 125 in a novel and about page 25-33 (depending on the ultimate length of your script, however the standard these days is coming closer and closer to 100 total pages rather than 120) in a script.

If you are more than 150 pages into your novel and haven’t turned your act yet, you’ve got a problem. More than likely you have either started your story out too early (as practice start reading your story at Chap 3, how much did you really lose by not having the info in the first 2 chapters?) or you are spending way too much time on building character or scene setting.

Act 1 needs to MOVE. It is a snapshot of your hero before your story happens. Sure you need to stake out your genre, your tone, hook your reader, and introduce your Hero, but it really does need to be ¼ of your novel.

Because we have a LOT to do in Act and we are going to need each one of those 250 pages to do it!

Next blog: Act 2: Kicking booty and taking names #seriously

Your Assignment:

Where does your Act 1 turn? Is it within 10% of the page 150 mark (page 25-30 of a script)?

If yes, awesome! Move onto the next blog ☺

If not, did you go over? If yes, have someone read your Chapter 3. Now have them describe your novel. How close were they to your vision. What tidbits did they miss and how easily could you move your story forward and just incorporate those few items?

If not, were you short? If yes, then you didn’t spend enough time in your hero’s “old life” long enough or didn’t spend enough time really making the “Opportunity” as excruciating as possible for your hero.

Alright, until tomorrow!

Also I’m looking for feedback to this series of blogs so I’m having a little contest.

I am going to pick a random commenter from the week and give them a free evaluation of their Act 1 turn.

So comment away (I am only counting 1 per day and since I’m like this, I am only picking the winner from a pool of couchant comments. If you write “You rock!” while true, will not be in the pool. I am looking to expand the conversation ☺)

It's Greek To Me!

2010-04-27T21:30:00.001-07:00

So I thought we would take a brief break in our Structure blogs and back up for just a moment.

I've been getting a lot of feedback about well, confusing a lot of people.

The terminology I use is a tad... archetypal... #ok #fine #old

I like it though because it distilled down the elements of every great story so that we can move them around the storyboard like chess pieces.

The Opportunity cuts across all forms of literary fiction to the basest of shock horror. It doesn't matter the genre or the tone or the style of writing. These basic story 'pillars' of story structure must be built to last or your story will start to fall apart about the middle of Act 2.

But again, I am getting ahead of myself (I just get so excited talking story, I can't help myself #manytimesqualitiesinsomeonewhoneedsprofessionalhelp #ohwellIwillriskit)

Let's start at the beginning and get some terminology down:
The Opportunity is the job, the girl, the motorcycle, the little blue or red pill the Hero is offered. It will take him away from his old life and introduce him to his new life.

It is either everything he has hoped and dreamed of (which will turn out NOT to be true, well, at least at first) or his worst nightmare.

By the 1st 10% of the book or script this chance for the Hero to change his life MUST be introduced. Equally promptly our Hero says no thank you.

He can't bring himself to make the change. Because even though the Opportunity may look like the best thing that's ever happened to him, our Hero resists change... at all costs.

I'm also getting asked a lot about who in the heck this Magician is and whether or not I am talking about only fantasy.

Quite the opposite. I am talking about every story written. SOMEONE must have more knowledge than the Hero. Right? Otherwise where is the intrigue? The revelation in the end?

Sometimes this Magician is God and is found through prayer and meditation, no matter, your Hero is getting trained or mentored by somebody!

Now sometimes there isn't one, single person that fulfills this role. Normally if you can't find an obvious Magician to the story, the love interest or villain will fulfill this role. Why does this matter so greatly?

Because we have to know when to WITHDRAW the Magician from the story. We must know when to cut the umbilical cord and force our Hero to go it alone.

Alright, for this blog I am going to refer to Star Wars and The Matrix... a lot. Not only because they are some of my favorites for structure, but also because just about everyone has either seen them or knows them fairly well.

I could go on and on about Catcher in the Rye (or a thousand other books both classic or current), but I doubt most people would nod their heads, going 'oh I totally remember that!' as they do the little red or blue pill offered to Neo.

Let's do Star Wars first:
Luke dreams of leaving farming behind.
Adventure stumbles into his life in the form of the droids He is intrigued and drawn to the Magician, Obi Wan. He is offered what he has always wanted: a free ride off this rock.

Hence, the Opportunity. Notice how early the Opportunity is introduced. Right off the bat. We don't know what exactly the droids mean, but clearly they mess with Luke's life the moment they come on scene.

But once Luke is offered everything he swears he wants, what does he do? Does he jump at the chance? Does he rush home to pack his bags?

No. He is too scared. Too intimidated by this 'opportunity' that he refuses. His aunt and uncle need him. HE needs his old life. He is tethered to it.

So what does the universe do? Oopss... kills off his Aunt and Uncle. Now his is FORCED to take the opportunity.

Neo has a very similar arc. He is dissatisfied with his life and is offered a way out by Trinity, but he refuses. It isn't until his life is shattered by the Agents and he is FORCED to go to Morpheus (the Magician).

I could repeat this story over and over and over again. Each with its own twist and turns. Unique in form, but the same in structure.

Now the questions becomes: What is your Hero's Opportunity?

Can you state it in a single sentence? If you can't, you probably need to dig deeper. The clearer the Opportunity, the clearer his resistance to it and the more poignant his ultimate capitulation to it will be.

i.e. the better you can sell it :-)

Alright, I think I covered all the questions that have headed my way about the Opportunity, but feel free to leave more in the comments below.

Next blog will be more about the Magician so we have a clearer understanding of him for next week's 3 part series on Act 2 and its fundamental structure :-)

#ohwait #Ididntyellatyouyet

Now go apply this and write your 2 pages per day!!!!!!!!!!

Act 1 Part 2 #thatdoesn'tsoundweird #right?

2010-04-25T20:25:00.000-07:00

For any new readers...

This is the second piece regarding Act 1. We are using the 7 Act Structure to justify my ramblings on about the fundamentals of the Hero's Arc and how it affects... you know... what you write down on the page :-)

We left our poor hero being offered the Opportunity. He, of course, rejected it out of hand.

Why would he do such a thing?

While a part of him is in deep denial about his inner wound, there is an equal part of him that is aware of it and fears it can never be healed. This part of him can sense that the Opportunity is a potent elixir that they fear will kill them rather than heal them.

So, the hero tries to go back to his 'old life.' You know, the one before your story got a hold of him. But it doesn't fit right, damn it.

If he used to sleep with scanky ho's they don't satisfy him. If he was content as his job as a store clerk, the work now chafes.

The universe, angered at his refusal now punishes him by making his life a living hell.

This section of your work is normally 15% of the total page count. (for a 500 page book that is about 75 pages, if a script about 15-20).

Remember right after a major occurrence such as the Opportunity, you have 'bought' yourself some time to do some softer work, character, scene setting, setting up a later pay-off.

You can probably do this right after the action settles down from him rejecting the Opportunity, but very quickly you need to start directing your hero towards accepting his lot in life.

Now the Opportunity normally looks like exactly the OPPOSITE of what the hero outwardly desires. If he wants sex, the opportunity represents love. If he wants money, the opportunity is to work with homeless people.

He can't see past the nose on his face.

The exception to this rule is that normally found in comedies. In this case the Opportunity can look EXACTLY like what the Hero wants. He wants money? Well, then he just inherited the biggest mansion on the hill.

Of course it turns out to be haunted or is located on American Indian sacred land, or something else horrible. In this case, the secret behind the opportunity is the true opportunity.

In the case of the 'tricking' our hero into taking the opportunity this section of your story involves everyone and anyone trying to warn him away from taking it until he finally throws in his lot against everyone's objections (except perhaps the magician who knows the secret behind the opportunity).

In most stories however, this section is filled with the Hero resisting any and every effort to get him to take the Opportunity. But the universe is at work behind the scenes, making him miserable.

This section becomes a pressure cooker, hammering at your Hero until finally, in the end, he can't stay in his old life any more and MUST take the Opportunity.

Many times in this section the magician is introduced to help spiritually guide the Hero. Many times the Love Interest also makes an appearance to tempt him into his new life.

The point of this section is to create conflict and tension. The more the Hero resists the Opportunity, them faster and harder he will be propelled into the second Act.

Do not go easy on him!!!!!!

The decision to take the Opportunity must be torture! He must not willingly go into his new life unless he is being tricked!

Alright then, that pretty much wraps up the first 1/4 of your story!

And did you see all those stepping stones that story structure gave you. Practically every page along Act 1, you know what has to happen!

So no excuses! WRITE!!!!!!!

Assignment:
Check to see how much resistance your Hero put up to the Opportunity. If he didn't scrape his fingernails and knuckles clutching so hard to his old life, then you weren't rough enough! :-)

Act 1 - A Structural Bonaza

2010-04-18T18:17:00.000-07:00

In this series of blogs we are going to use the 7 act structure since it breaks down a story into smaller bites for us to handle.

I'm not huge into preamble, so let's get started!

Overall, Act 1 is chalk full of arc, set-ups, and establishing tone.

Your problem with Act 1 shouldn't be what to write, but how to cram all the stuff you have to into this section!

On average Act 1 should be about 25% of your total page count.

Even more important is the 1st 10% of your novel. The Act 1 (within the 7 acts structure)

Within this 10% (for a novel that is about 50 pages for a script 10) you MUST....

Introduce your hero.

Identify or at least hint at his inner wound

Well establish his outer motivation

Introduce the opportunity (which can heal his inner wound, but usually is the antithesis of their outer motivation). Or at least the idea of the opportunity.

Have your hero reject the opportunity out of hand as the single stupidest thing he has ever heard of. #duh (wouldn't have much of a story if the hero just said - thanks, I would like to be healed, give me the balm. The only exception is if the hero is 'tricked' into believing the opportunity really is serving his outer motivation.)

Introduce an assortment of supporting characters including but not limited to side-kick, magician, and love interest.

All themes must be at the minimum introduced here (the color red, auto-racing as a metaphor of death, whatever you want!)

If you have a MAJOR paradigm shift or HUGE pay-off at the end of your novel, this is where the set-up needs to begin as well.

Establish place, tone, genre and setting.

I told you we were going to be some busy little bees!

ACT 1 is really a snapshot of your hero's life before your story happened. He's just trucking along, in total denial of the cancer that is eating him up inside (his inner wound) when BAM! your story hits with a left hook.

We need to see what your hero was like before being called to his Hero's Journey. It is the only way we are going to know how much he changed is by seeing his starting point (and believing it).

But remember we don't have a lot of pages to get a LOT of info across so each attribute you pick better be important.

Let's say later in the story your hero saves the world because of her love of chocolate. Ok, you better establish NOW that she's a chocoholic!

If you have written your 1st Act, go to the 1st 50 pages.

How many of those elements have you infused in your writing?

If not ALL, you have some rewriting to do.

If you have none of them, more than likely you started your story 'too early' in the hero's life.

The opportunity MUST be dangled in front of the hero and he MUST reject it by no later than page 75 for a novel and page 12 for a script.

If you can't see it get it in there, you are most likely over-writing.

Don't believe me? Re-read those 1st 50 pages. If you aren't talking about all the things listed above, what are you talking about? And are they really more interesting than your hero's wound, the opportunity, and your major theme?

Because those things are the backbone of your story. There should be nothing else more important.

Many people mis-identify back-story as important and fill these early pages with way too many 'recollections' and 'remembering back when.'

In this first section SHOW don't TELL is so important. Anything that is in the past, should be moved out of this section and put into the 2nd half of Act 1 (or even better sprinkle all that stuff throughout the novel in tiny snippets, revealing character and back history along the way).

Remember, these pages are your SELLING pages, if an agent or publisher won't read past these they will never get to that really 'cool' scene on page 89.

For those of you who haven't written your 1st 50 pages, GET TO IT!

This is the beauty of structure. Even if you are stuck, you now know at least the questions to start asking yourself.

What is my Hero's wound? How do I show that subtly?

What is my opportunity? How is that both appealing and terrifying to my hero? How could it heal him? Why does he reject it?

What are the major themes I want to get across in my novel and how can I start to seed them here?

See? Structure gives you so much help!

Okay, tomorrow we will finish out Act 1!

Your assignments are above, so go for it already!

As always.... if you would like me to check out your blog, please put the exact web address in the comments below, and I am also open to suggestions for future blog topics!

Structure Girl!!! A Super Hero for Writers!

2010-04-18T16:51:00.001-07:00

Yes, Structure Girl is my alter ego.... So if I'm the mild-mannered one you can only imagine what she's like!!! LOL

Actually she's cool as long as you are open to and know the rules. She doesn't even care if you bend or break them as long as you are doing so in an educated way.

Fiddle with the hero's arc all will-nilly? Well, then she' ll have some serious issues with you!

But overall Structure Girl is all about the 'helpful.'

Because that's what structure provides for a writer. Nothing but help.

We talked about formula a little yesterday; that was to lay the ground work for today.

You see your hero's arc is already written....

He has a wound but is in denial. Just about everyone can see the glaring, festering wound but him.

He is presented an opportunity to heal it.

He either rejects it or embraces it because he thinks the opportunity is something else (you inherit a mansion, only it's all haunted, kind of thing).

Over and over again he denounces his hero status. The villain kicks his ass, over and over. Things get worse and worse until finally the darkest moment.

At last the hero 'gets' it and accepts the mantle of hero and sets out kick some ass.

Whether he wins or not is your call, but his wound his healed, even if that means sacrificing himself.

See? The structure of the hero's arc is already laid down. It has been the same down the ages.

Now, I can imagine some of you are bristling at this point (I've taught this subject way too many times!)!

"My story is unique!!! "

Yes, you are quite right, it is. To have it readable and sellable, however, the structure beneath it is exactly what I outlined above.

"My writing is art! I'm not going to write off a boiler plate."

Ya, sorry, but the boiler plate is there whether you write off of it our not. You want to argue with someone? Pick a fight with Joseph Campbell's ghost or the other forty million scholars that have come to the same conclusion.

You see, everyone feels pretty comfortable with the 3, 5 or 7 act structure. Why is it such a stretch that there is a much more detailed structure underlying even that?

But hey, I can't stop you from rejecting the rules of story. However it is a little like refusing to learn how to type.

Then trying to write your story by hunting and pecking at the keyboard, blindfolded. You can probably accomplish something but holy cow it's going to take forever and you are going to get super frustrated and maybe even give up because the process is just too hard.

I don't want that to happen to you. As I have said, I like your story too much.

What I am suggesting is to embrace Structure. Commit to understanding it fully to help you express the unique story that is yours and yours alone. No one else can tell your story the way you can.

Imagine the Taj Mahal. It has an underlying structure. I would bet a fairly complicated one. But because of the artistry, I can't see it.

Or Cirque de Sol.

For me it is an experience that;'s nearly at the height of human artistry.

Yet under that stage, baby, there are some heavy freaking machines. There were equations, and stress tests, and all kinds of rules that had to be followed to create such beauty.

Writing is exactly the same.

The other thing that structure can give you.... if you allow it, is a sense of security. You really no longer have to ever be afraid of the 'what comes next...." problem that many writers early in their career have.

Structure Girl knows what comes next. For each and every page of the novel or script. If you know the hero's arc and a few other universal rules, you will too.

That's why the blank page never scares me anymore. I may not know the 'best' way to write forward, but I know HOW to write forward!!!

Why? Because the hero's arc, and the structure it provides, tells me what needs to happen next.

And come on, if that isn't a super power, what is?

And the best part? Everyone can achieve it!

Your Assignment:
If you are bucking this concept, re-read the blog, I swear there's helpful stuff in there. If not, peace be with you.

If you are grooving to structure, then hold on to your hats, because we are going to dive deeper and deeper into structure to provide the support you need to write your story!

Also if you would like me to check out your blog, please put the exact web address in the comments below, and I am also open to suggestions for future blog topics!

Have a great day... And go write 2 pages for the love of God! :-)

To Formula or Not to Formula... That is the Question!

2010-04-17T22:24:00.000-07:00

And the answer is YES to Formula!

Ha! You thought I was going to be all down on the formula thing.

Nope. I love 'em.

Now, don't get me wrong, they have gotten a bad rap. It's not the formula's fault really, it is the lack of craftsmanship some people have applied to formulas.

You see a movie or read a lame book, and go... UGH! How formula-matic was that? I knew what was going to happen from the first minute.

That is a BAD use of formula. However, every great piece of literature or film has a formula beneath it.

Don't believe me?

The basic 3 act structure that has been around since oh, the Greeks, is a formula. Shakespeare used formula after formula. Even putting a period at the end of a sentence is formula.

How about we think of it less as a formula (with all the baggage that goes along with that name) and consider it a chemical equation.

Or a roadmap. Or a blueprint. Or a cake recipe.

Whatever it takes for you to accept that fact that the vast majority of writing a story is laid out well in advance.

The Hero's arc. Narrative Drive. Plot points.

They are all pre-determined. You can certainly try to reinvent the wheel, but why bother?

We've got our chemical equation to tell us how our story should proceed.

Now, how you, as the unique writer that you are, bring those qualities to life, that is where the artistry lies.

Formula is another topic I find it strange that many newer writers resist.

To me, knowing that there are conventions and equations means that I am not out there fighting the good fight alone. I've got back up.

If I get stuck, I just turn to my equation. I figure out where I aught to be, then adapt that to my story.

It is so much EASIER than flailing around in the mud.

Now, I'm sure I haven't convinced you with this blog entry, but it has prepped you for where I am coming from with tomorrow's BIG blog...

STRUCTURE GIRL!!!!!!!

She'll be here tomorrow to save the day (or at least days upon days of writer's block)!

Until then, WRITE #already

Dialogue. Most writer's Achilles' Heel

2010-04-17T00:01:00.000-07:00

I was lucky, I came up on the screenwriting side of things where dialogue is the ALL. #proseismyproblem

But if you look across the spectrum of novelist, up to and including best sellers, their dialogue leaves a little (#ok #fine #alot) to be desired.

Why? Because most writers treat dialogue as a mouthpiece for exposition. Whatever they need to be stated, they simply say through their character's mouths!

Ouch!

It's not just the author's hand, but worse, his blow horn!

Dialogue should come up through your character's core so that it sounds authentic and unique.

How do you know if you have accomplished such a lofty goal?

Take a random piece of dialogue and speak it a loud.
#1 - Did it hurt your ears or make the dog bay?
#2 - Read it to someone fairly familiar with your characters.
Could they pick which character it came from?
Could they tell which Act if came from #ohsorry #thatisforalaterblog

Repeat this 6-7 times.

If you've had to 'edited' on the fly - meaning you changed up the words because they were hard to read aloud (or stumbled over words frequently) or your friend can't tell the difference in the character's voices, you've got some dialogue issues.

"But my characters said exactly what they meant!"

Ah, yes, another cardinal sin. Dialogue that is 'on the nose.'

Think cheesy news broadcaster. That is some 'on the nose' dialogue.

In life, people lie all the time, to themselves even. Think of how often you have 'colored' or 'softened' the truth so spare someone's feelings. And usually over fairly minor things.

The big stuff? Heck, we spend most of our lives avoiding the 'big stuff.' #justaskmytherapist

Yet, your story is filled with "BIG" stuff (otherwise why are you even bothering to tell it?).

People also change the subject, ignore parts of a conversation they don't want to answer, obfuscate, and wander off track.

Your characters need the same reluctance to spill their guts. They need to have all the same frailties and foibles as real people when they speak.

For practice, take a piece of your 'problem' dialogue (something difficult to say or hear).

Now, make the character extremely reluctant to part with that information. Don't be afraid to extend the dialogue or even have the other person 'coax' it out of them.

Do you want to belabor everything a character says? Of course not, but the bigger the reveal, the more time you should take 'finding' the truth!

Assignment:
Find 10 examples of your dialogue that are not easily identifiable as a single character's voice.
Rewrite them until they are unique to that character.

Go find another 20. Rewrite those.

Get used to each 'voice' being special and unique :-)

1,000,000 Word Mark. The "Magic" Moment in a Writer's Life

2010-04-15T18:00:00.000-07:00

I can't remember who said it, but it was a famous author.

For the life of me, I can't remember his name, but, oh how, I remember the feeling when I read his words as if it were yesterday...

(what follows is a gross approximation at best) "Something amazing happens once you cross that 1,000,000th word mark. It's as if a curtain lifts and the keys to the kingdom are bestowed upon you."

And yes, I did hear angels sing.

I've repeated that story numerous times and been surprised by people's reactions.

For many it brings on a sense of despair. How will they ever get there.? Why does it take so long? Why is the craft of writing such hard work?

For me it was liberating. To know that somewhere down the line I was going to actually figure out what in the hell I was doing was a solace.

Writing is like any other form of artwork. You only get better by DOING.

Look at pianists. They practice 8 hours a day, their entire lives. Why should we writers get off any easier?

And if you are struggling to write consistently, look on the bright side, by just sitting down and pounding out about 500 words a day (that's just 2 measly pages), in 5 years you will be there!

Think of all the time that has passed you haven't been writing those 500 words per day and how much closer you would be today if you had!

For me, that quote was so comforting because I knew that I wasn't on a wild goose chase. That there was an end point to the gnawing doubt and fear. I could suck it up until I got to 1,000,000!

Now long before I got to the million mark, my fear and doubt began to evaporate ("doing" tends to do that for ya), but oh baby, that sweet, sweet moment when I crossed 1 million. That author wasn't exaggerating!

I had actually forgotten about the quote when 1 day I had a write a script to be shot that weekend for a contest and was asked to ghost someone's article.

I dove right in. No panic. No 'what am I going to do?" jitters. I just wrote. And as I was writing I thought, "Wow, I really do know what I'm doing."

A light bulb went off. That damn quote.

After I was done, I counted up all the words I had written. 1,001,520!

It really was like a magical switch.

Sure, there's still so much more to learn, but the basic stuff? The mechanics of putting words onto the page and having them make sense had become second nature. Storytelling was baked into my bones.

And I've seen it in so many other authors as well. Once you get enough writing, critiquing, and re-writing under your belt, you can help but be transformed.

I'm not saying you can't write amazing stuff before that mark, I'm just saying even if you haven't yet, you probably will now!

The moral to this blog?

Write.
Write daily.
Put those words on the page.
Practice your craft, because truly, one day the magic will happen for you!

Assignment:
Commit to write 15 pages per week for a month.
See if that alone doesn't give you at least a glimpse into the kingdom!
#youcanthankmeMay16th :-)

Writer's Block is Bull....

2010-04-15T00:01:00.000-07:00

Pucky.

Yep a bunch of cow dung.

Do writers get blocked, oh heck ya.

Is it some mystical, magical curse that can only be lifted by praying to the writing gods and sacrificing your first born? Um, no #notsomuch

It is fear.

That's all. That's it. Just fear.

Afraid you aren't as good a writer as you would like to be. Afraid you were stupid to even start writing in the first place.

And if you think this 'curse' lifts once you become rich and famous?

Well, unless you have confronted your fears and quieted those voices whispering in the back of your mind that you will never measure up to Faulkner, your superstitions only grow.

Now you worry that people will finally realize you are a fraud and should never have paid you that advance. That now that money is coming in, you actually have to earn it.

Talk about paralyzing? I've seen a big fat advance choke the creativity out of writer faster than a cheetah on a smooth savanna.

So stop giving writer's "block" more power than it deserves.

If you feel stuck. You are feeling fear.

Ok, great. So has ever other writer in the history of mankind. Do you think William come out of the womb as "FAULKNER?"

The beauty is we've all been afraid before and will all be afraid again.

How do we move through this fearful phase?

We talk to the fear. Find out why it is showing up, then if it doesn't want to go away permanently, we very nicely ask it to please take a seat in the back so you can get on with the writing phase.

You've got a story to tell!
#andyouknowhowIfeelifastoryisn'tbeingtold

Why is @WritingNoDrama so mean?

2010-04-14T00:01:00.001-07:00

Ah, I'm only 2 days into the launch, and already I can hear the hue and cry.

Carolyn doesn't care about (fill in the blank)

She doesn't care that (blank), (blank), and (blank) are holding me back from writing.

You know what? You are right. I do NOT care....

Well about the excuses.

What DO I care about?

Your STORY. You know, the one that's trapped inside of you because you keep buying into all those excuses you gave above.

I'm not here to be your advocate, but your story's.

I love your story. I haven't even met it yet, but I know how much I love it. Western. Sci Fi. Deep Psychological Thriller. Chick-lit. Yeck, I'll take Kid-Lit. Doesn't matter the genre or the writing level, I love it.

Because of my deep and abiding affection for your story, I am rather annoyed at you.

Why? well, because the universe gave you this awesome story (to tell to me, and well, I guess others) and you are selfishly bottling up inside. Keeping it for yourself.

Now luckily your story is far more forgiving than I. It is patient and will wait until you come to terms with writing it.

I, however, find patience highly overrated and know that we can get to that process a heck a lot faster if we just stop listening to all the Doubting Thomas' in our head and just sit down and write the damn thing down!

So whenever you get upset with me or feel like I am pushing you too hard or am not taking enough care of your feelings, remember, I'm in your story's corner, routing for you to let it out!

And come on, that's got to be just a little bit charming #atinybit #ananogrambit

Your assignment (if you chose to take it, although why anyone wouldn't is beyond me) is...

For a day, every time you delay your writing with an 'excuse,' imagine you are closing a vault door on that pretty little story you've got inside.

Is that 'excuse' really worth holding your story hostage?

Let me know how it goes in the comment box below!