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Come Celebrate The Release Of Watched With Us!
My friend Cindy M. Hogan has her first book coming out, and to celebrate, I’m part of a whole group of bloggers holding contests! The prize here: a copy of Writing the Breakout Novel Workbook by Donald Maass.
And you could win lots of awesome prizes
and learn about
the hot new teen novel,
while making new friends.
Each of the following blogs is offering a different awesome prize!
(That’s 14 prizes!)
And the grand prize is a $25 dollar gift card to Amazon.
Quick, Fast Entry
Pick a blog, any blog to get started
(just click on the underlined name)
Better hurry! There’s only 4 days to enter -Tues., June 21st-Friday, June 24th
**(Need more details? More complete entry details at the bottom of the page)
1. Follow Rachelle Writes and leave a comment. Then follow Cindy M. Hogan and leave a comment about Rachelle’s blog. (If you do both you get 1 entry into Rachelle’s contest and one into the Grand Prize contest-You Must do both to enter either)
2. Follow A Writer’s Reality and leave a comment. Then follow Cindy M. Hogan and leave a comment about Melissa’s blog.
3. Follow Day Dreamer and leave a comment. Then follow Cindy M. Hogan and leave a comment about Christine’s blog.
4. Follow The Queen of the Clan and leave a comment. Then follow Cindy M. Hogan and leave a comment about Danyelle’s blog.
5. Follow Jordan McCollum and leave a comment. Then follow Cindy M. Hogan and leave a comment about Jordan’s blog.
6.Follow The Crazy Daze of Motherhood and leave a comment. Then follow Cindy M. Hogan and leave a comment about Jane’s blog.
7.Follow I am a Pistachioand leave a comment. Then follow Cindy M. Hogan and leave a comment about Rebecca’s blog.
8. Follow Chasing Dreams and leave a comment. Then follow Cindy M. Hogan and leave a comment about Tamara’s blog.
9. Follow Ramblings of a Random Writer and leave a comment. Then follow Cindy M. Hogan and leave a comment about Betsy’s blog.
10. Follow Matthew Tandy-The Working Writer and leave a comment. Then follow Cindy M. Hogan and leave a comment about Matthew’s blog.
11 Follow Weaving a Tale or Two and leave a comment. Then follow Cindy M. Hogan and leave a comment about Donna’s blog.
12. Follow Tristi Pinkston, LDS Author and leave a comment. Then follow Cindy M. Hogan and leave a comment about Tristi’s blog.
13. Follow My Yellow Sandbox and leave a comment. Then follow Cindy M Hogan and leave a comment about Abby’s blog.
14. Follow Watched and leave a comment. Then follow Cindy M Hogan and leave a comment about that blog.
13. Enter all 14 contests and you get an extra 5 entries into the Grand Prize Giveaway. (19 entries)
14. That’s not all! Get 6 extra entries by buying Watched here(print book) or here(e-book) and sending a copy of your confirmation cindymhogan at yahoo dot com. Easy peasy. Wow! That’s 25 entries!
Have fun and good luck!
**More Details on how to enter
- Click on the blog name
- Follow that blog
- Leave a comment that you were there
- Jump over to Cindy’s blog
- Leave a comment about what you liked about the other blog.
Congrats! You’ve entered that blog’s contest and earned one entry into the Grand Prize Drawing!
Enter one. Enter two or how ever many you like, but…
If you enter all the blogs’ contests you get a bonus 5 entries into the Grand Prize Drawing.
That gives you a total of 19 entries to win the
Grand Prize- A $25 gift card to Amazon.
And don’t forget to get your copy of Watched for a bonus 6 entries.
(25 total)
Remember- you only have 4 days to enter.
(Tues, June 21st-Friday, June 24th at midnight)
and you must comment on both blogs for entry into each contest.
Individual blogs will award prizes on June 25th
The Grand Prize will be awarded on June 28th on Cindy’s blog.
Check back to see if you won! You have 2 days to claim your prize.
A big thanks to my awesome friends for joining in on the fun.
| 1. Rachelle Writes
3. Day Dreamer |
8. Chasing Dreams
9. Ramblings of a Random Writer 10. Matthew Tandy-The Working Writer 12. Tristi Pinkston, LDS Author 14. Watched |
Getting to know your characters
We’ve talked about how to get into a character’s head here before, and it seems most of us discover our characters along the way, but the perennial question came up recently on one of my writers’ email loops. I especially liked the breadth of the following answer by member John Waverly, reprinted here with his permission (with video and formatting, including emphasis, added).
Call me weird, but I collect things like this. Here’s some of the ideas I’ve collected:
Write a day in their life
This is kinda like [a previously posted] journal idea, but it doesn’t have to be first person. I like starting by describing their name on a nametag. Then zoom out and describe their clothes and their physical characteristics. Then zoom out and describe where they are and why. Who else is there? What do they think about these people? Etc. At some point they leave and go home. Why do they leave? How do they travel? How far do they travel? What do they drive/ride? What do they do in the car? Do they listen to music? Do they sing? Do they get angry? Describe their home. They listen to their voice mail or check their email. What messages do they have? Who are they from? How do they feel about them? Then they go to bed. Describe their nighttime rituals if any. What do they dream about?
Define their possessions
Start writing about the things they own, the things they treasure, the things they want to own and or the things they used to own or the things they would never-in-a-million-years get caught dead with. And why.
Describe their surroundings
This is similar to defining their possessions only in this case you describe where they work and live. Describe their office/desk, kitchen, bedroom, garage, yard, etc.
Write a biography
Pretend you are a biographer and write a story from the person’s life. Pick something the character finds important. You can also do this like a journalist writing an article. In this case, YOU get to pick the topic—a topic that will be interesting to a general audience.
Interview them
Someone already mentioned that they go online and find character questions and interview the character. Another fun thing you can do is to have one of your characters interview the other. Then you can begin to see the relationships between the characters as well. Some of my characters will answer one way if a parent or teacher interviews them and a different way if their best friend (or a romantic interest) interviews them.
Brainstorming
Sit down and type everything you know about the character. When you feel the “flow” has gotten slow, set a timer for 10-15 minutes and keep going, writing anything that pops into your head until the timer goes off. It is sometimes surprising what you come up with once the “well is dry.” After you are done brainstorming, go back and delete all the stuff that doesn’t make sense.
Pictures
Go through magazines or look online for pictures. What does the character look like? Who do they wish they looked like? What do they drive? Where do they live? What do they wear? Where would they like to go on vacation? If you are doing this online, copy the picture into Word and then write a short piece about why the character resonates with that picture.
Real people
Try to think of real people the character reminds you of and see if there is anything in that real person’s personality that you can “borrow” for this character. Make sure to use traits from several different people so the original sources aren’t obvious, especially if you are working on a villain. (Unless it’s me, I’d love to be a villain in your book.)
Bio sheets
There are hundreds of character sheets online. Pick one. Fill it out. This is different than the Interview mentioned above because in an interview you are answering in the character’s voice and point of view. In the bio sheet you are answering as the novelist with an omniscient point of view.
There are some variations on each of the themes, but the ideas I’ve gathered fit into one of these. I would be interested if anyone has found other ideas.
For me, creating a character is a bit different each time, but I get the most mileage out of the first option.
What do you think? Have you tried any of these methods? What are your favorites?
About the author
John Waverly loves to write and is endlessly fascinated by the different ways writers approach the craft.
Winning Back Story: Not an Oxymoron (Guest post from Margie Lawson)
Note from Jordan: Margie was the instructor of the class the best writing class I’ve ever taken, so I’m very excited she’s with us today!
Note: Margie is participating in Brenda Novak’s Diabetes Auction, including:
- A WRITE AT SEA CRUISE
- A FLYING GETAWAY
- An IMMERSION MASTER CLASS
Check out the end of the post to learn more. Also, she runs a cartoon Dare Devil Dachshund Contest on her web site. You could win one hour of her Deep Editing brain. More info at www.MargieLawson.com.
A HUGE THANK YOU to Jordan for inviting me to be her guest today!
Winning Back Story: Not an Oxymoron
By Margie Lawson
You can write back story that makes me smile.
You can write back story that earns the coveted Margie margin note, NYT.
You can write back story that boosts your novel onto bestseller lists.
Or you can write back story that invites me to skim.
Are you in?
What is back story? It’s history. It’s the events that led up to your story before the story opens. Often, motivation for your POV character’s decisions and actions are in the back story.
Sometimes back story is stagnant. Flat. Boring. Readers lose interest in the book and put it down.
AACK! You want to write an unputdownable novel.
The best way to include the absolutely required back story and keep your novel fast-paced, is to sprinkle it in your story. With my EDITS System, back story will jump out at you in big puddles of YELLOW. Too much back story grinds your story to a halt. CLICHÉ ALERT!
BIGGER CLICHÉ ALERT: Too much back story grinds your story to a screeching halt.
When you review a scene, analyze the back story. Ask yourself if the reader needs to have that information now. Or – if they need that information.
Managing back story is tricky. Writers always think the reader needs all the history the writer created in his/her mind. Not true. The reader only needs what they need to buy the story.
This fact is usually disappointing to the writer. They want to share every amazingly cool detail they created.
One rule of thumb for managing back story (cliché alert) is to withhold back story until after chapter three. Those writers hypothesize that by then, your reader is hooked on your story and will tolerate some chunks of back story. Some authors hold off back story in the first few chapters then start feeding the readers chunks of back story. Sometimes pages of back story.
Not my favorite plan.
Some authors dump info-dumps in Chapters 1, 2 and/or 3.
Not my favorite plan either.
Mark Sullivan (mystery/suspense/thriller writer) has a great plan for back story management. Here’s his plan—which happens to be my first choice.
He suggests writing down what you think the reader needs to know. Write several pages of back story. Not to be used in your book, but for your own benefit.
Grab a red pen – and go through your back story points and circle what the reader absolutely has to know. What they absolutely need to know. Let go of things that you thought were important but don’t need to include. Just because you think it is interesting doesn’t mean the reader ABSOLUTELY NEEDS TO KNOW IT.
Next, take those points you circled, that the reader absolutely needs to know, and picture them etched on a sheet of glass. Got it?
You’re imagining those points imprinted on a rectangle of glass. Imagine carrying that sheet of glass to a brick patio. Imagine standing on a brick patio, holding that sheet of glass.
YOU KNOW WHAT’S COMING!
Drop that sheet of glass.
Watch it shatter.
Imagine picking up one narrow shard of glass at a time – and slipping each sliver of back story in your first 100 pages. Repeat. You insert one sliver of back story in those first 100 pages, one piece of back story at a time.
Slip shards of back story in dialogue or share it in a quick interactive way. You’ve got the first 100 pages of your book to fit in each sliver of back story.
No info-dumps.
You’ll be so good at slipping in back story that you’ll have a smooth fast-paced read.
When I heard Mark Sullivan share this visual, it resonated with me. Great visual. Great plan.
You may believe your genre or story or style need more back story as set up. Okay. You may be right. AND – I bet you can share the back story in a compelling way. Let’s dive into some examples of what works. I used the first example in my April newsletter. It’s so well written, I’m including it here.
Example: From THE WOODS, by Harlan Coben. Prologue, first page, third paragraph:
I have never seen my father cry before—not when his own father died, not when my mother ran off and left us, not even when he first heard about my sister, Camille.
Analysis: What did Coben accomplish, and how?
He slipped back story into anaphora. He gave the reader four hits of powerful back story in one sentence. Four hits of powerful back story in thirty-three words.
Read it out loud this time:
I have never seen my father cry before—not when his own father died, not when my mother ran off and left us, not even when he first head about my sister, Camille.
Strong cadence. Informative. Fast-paced. Intriguing. Enticing. No chunk of back story the reader is tempted to skim. Plus – that one sentence introduces story questions. Why is his father crying? Why did his mother run off and leave them? What happened to his sister, Camille?
Example: From STOP ME, by Brenda Novak, Chapter 1:
But Jasmine’s thoughts were so focused on what was in her lap, she couldn’t even raise her hand. She’d made that bracelet as a gift for her little sister. She remembered Kimberly’s delight when she’d unwrapped it on her eighth birthday, her last birthday before the tall man with the beard entered their house in Cleveland one sunny afternoon and took her away.
Analysis:
Look at that smooth passage. In just three sentences, Brenda Novak covered a lot of back story. She showed how seeing her sister’s bracelet impacted Jasmine. She tapped emotion by sharing that the POV character made the bracelet for her little sister. She shows her sister’s joy. She slips in her sister’s age, the city, and that her sister was kidnapped.
The cadence is strong. The words rive the reader through the paragraph.
Example: DIVORCED, DESPERATE, AND DECEIVED, Christie Craig, Chapter 1, page 3:
“Did he bring her with him when he picked up Tommy?” Sue asked.
Kathy wished she could pretend she didn’t understand the question. Wished she’d never told them that Tom had married TOW, “The Other Woman.” But during the last Jack Daniel’s night—at which, quite unfairly, neither Sue nor Lacy could imbibe—Kathy had accidentally spilled her guts. Or at least she’d spilled a bit of them. The big secrets were still in the bag. And they could stay bagged. It would take more than a couple shots of Jack for her to hang out her dirty laundry. Even to her two closest friends.
Analysis:
Christie Craig shares her humor and her talent in this fast-paced addictive romance. This passage is a light read that carries a big hit of mysterious back story. Kathy has secrets, big secrets, that she won’t divulge to her two best friends.
Hmm – makes you want to read more. Right?
When an author finesses back story, it draws you in. Keeps the story moving. Makes the read more compelling.
When an author chunks back story, it stops the action. Stops the story. It may tempt the reader to skim. And when someone is skimming, they’re not engaged in the scene. They’re no longer hooked.
Remember my opening lines?
You can write back story that makes me smile.
You can write back story that earns the coveted Margie margin note, NYT.
You can write back story that boosts your novel onto bestseller lists.
Analyze your writing. Deep edit your scenes. Make your back story carry style and power. Make your back story boost your writing onto a best seller list!
It’s your turn now! Chime in. Share your thoughts on managing back story.
FYI: My next on-line course, DEEP EDITING: The EDITS System, Rhetorical Devices, and More, is offered in MAY. You can read descriptions of my courses (and Lecture Packets) and access links to register for my on-line courses from the home page of my web site. www.MargieLawson.com
If an on-line course does not fit your schedule, Lecture Packets ($22) are available through Paypal from my web site.
PLEASE KEEP READING!
BRENDA NOVAK’S DIABETES AUCTION!
NYT Bestseller, Brenda Novak, donates an amazing chunk of her life to fundraising for diabetes research. She selflessly gives months of her energy, creativity, and what would have been writing time, family time, self-time to her DIABETES AUCTION.
For writers – it’s a warm-your-heart win-win. Bid on one of the hundreds of items, support diabetes research, and you may win an experience that changes your life.
If you’re not familiar with this auction — it’s a gold mine for writers!
My husband and I love to support the Diabetes Auction. With over 1000 donations, if I don’t mention our donations . . . you might miss them.
Yikes – a Missed Opportunity!
Margie’s Donations:
1. A set of six Lecture Packets
2. A 50 page Triple Pass Deep Edit Critique
3. Registration for a Write At Sea Master Class by Margie Lawson on Deep Editing Power, April, 2011. Donation by Margie Lawson and Julia Hunter.
4. A FLYING GETAWAY FOR TWO
You select the destination – any place within 600 nautical miles from Denver.
A weekend, you and a friend, plus my pilot-husband flying our four-seater plane, me, a night in a hotel, and a two-hour deep editing consult. The consult is on the ground, not while we’re flying. 
)
5. Registration for an IMMERSION MASTER CLASS session!
A $450 value . . .
The three-day Immersion Master Class sessions are designed as a personalized, hone-your-manuscript experience focusing on deep editing. The sessions are held in Margie’s log home at the top of a mountain west of Denver. Participants will concentrate on transforming their manuscript into a page-turner. The winner may attend a session in the fall of 2010 (depending on availability), or one of the four sessions offered in 2011.
THE DIABETES AUCTION runs from MAY 1ST to MAY 31ST.
Thank you. I appreciate your time.
All the Best…………….Margie
www.MargieLawson.com
About the author
Margie Lawson—psychotherapist, writer, and international presenter—developed innovative editing systems and deep editing techniques for used by writers, from newbies to NYT Bestsellers. She teaches writers how to edit for psychological power, how to hook the reader viscerally, how to create a page-turner.
Thousands of writers have learned Margie’s psychologically-based deep editing material. In the last five years, she presented over fifty full day Master Classes for writers in the U.S., Canada, Australia, and New Zealand. For more information on lecture packets, on-line courses, master classes, and the 3-day Immersion Master Class sessions offered in her Colorado mountain-top home, visit: www.MargieLawson.com.
Posted in Technique
Tagged Backstory, bad backstory, boring backstory, guest post, integrating backstory, margie lawson, mark sullivan
3 Comments
How to dress your story with style
by M. Deane
There is one more element to writing with a story with all five senses—style. Years ago, I discovered this hidden element when I took a second job as a dog trainer. My mentor insisted I read books about how humans learn so I could have a better understanding of how to reach our students. What I found out was fascinating—there are three very distinct learning styles.
First, there is the visual learner. Most people are visual learners; these people think in pictures, love lectures where there are diagrams and slides, and usually sit towards the front so they can get an unobstructed view.
Next up is the auditory learner. These are the people who learn through hearing; they like to read aloud or listen to books on tape, and often have to talk through things to grasp a concept.
The last is the kinaesthetic (or tactile) learner. These are the people who learn through touch and movement; they take a hands-on approach to understand what they are learning, and can usually be found fidgeting or doodling during lectures and meetings.
What does this have to do with writing?
Well, there is a two-fold answer to that. Most writers tend to describe things in their own learning style. This can be both a strength—and a weakness. I am a kinaesthetic learner, so I love to throw in action and tactile words. I have no problem describing a couple getting up in the morning, having a conversation while they go through the mundane tasks of brushing their teeth and getting dressed and making the bed. On the other hand, I generally fail to describe visual and auditory cues, such as facial expressions and sounds. I learned this lesson the hard way when I finished a book and then realized I had never once described the color of the truck the main character drove!
The second part of the answer is that writers generally create characters who all share the same learning style. Once I discovered learning styles, I realized that this is another way I can break out of my own viewpoint, and create more depth. Perhaps I am writing a story where I will be exploring the same scene from several points of view. One subtle way to make those viewpoints distinct is to give the characters in the scene distinct learning styles. Perhaps one character walks in, looks around with his hands in his pockets, and immediately notices the unusual burn marks on the wall. The other character, though, puts on gloves and kneels, and begins to examine the remains in the middle of the room.
What is your learning style? Do you think there might be an element missing in your writing because you lean towards your learning style?
Learn more about learning styles
About the author
M. Deane started writing the minute her first grade teacher pressed a pencil in her hands. She currently lives in Central Texas, and works in the IT field. Poetry is her true love, but her muse keeps insisting on making strange forays into fiction. She keeps an online journal, including some writing samples, at http://calamitycrow.dreamwidth.org/.
Photo by djneight
Posted in Technique
Tagged auditory learner, kinaestetic learner, learning style, senses, sensory writing, tactile learner, visual learner
1 Comment
Get the most out of conferences
by Samantha Clark
I love going to writing conferences. There’s something so inspiring about sitting in a large of group of people who all share your same passion. No matter whether it’s a big conference or small, both have their advantages.
My first writing conference was a biggie. Back in 2007, I was living in Los Angeles and attended the big summer conference for the Society of Children’s Book Writers and Illustrators there. Three days of information, inspiration, fun, jokes, motivation and creativity. I sat in the big and small gatherings and soaked up everything I could, every word from the speakers as well as the every ounce of excitement in the air. By the end of the conference, I was hooked. It was like drinking a giant Slurpee cup of creativity, and I wanted more.
Since then, I’ve moved away from Los Angeles, but my love of conferences has continued. In my current home near Houston, I’ve found wonderful single-day conferences that give me just as much as that big summer conference, with the added benefit of a more intimate setting. At these smaller conferences, there’s much easier access to the speakers. Generally, at the summer conference, the attendance is so huge, the speakers are swarmed after every appearance. But smaller events are much more relaxed. Our annual Houston SCBWI conference holds a dinner where attendees can chat with the invited speakers over fajitas. What better way is there to get to know someone?
From conferences, you obviously get access to the information the speakers provide, which could be anything from an editor telling you what they’re looking for to an agent giving query letter writing tips. But there are lots of other benefits:
- Friends. Writing is solitary, and conferences give us an opportunity to get together with other people like us.
- Writing help. As well as the writing tips speakers often give, conferences usually offer critiques with professionals, including agents, editors and published authors. These usually require additional payment, but they can be worth.
- Contacts. Conferences are a chance to meet agents and editors you might work with later. Writers have made connections with editors at conferences and later sold them a book or been asked to write on assignment.
- Inspiration. Every writer has bouts of doubt and times when our creativity pool dries up. Going to conferences is like getting a shot of inspiration in the arm. This is a business of passionate people, and that passion brims over to attendees at conferences. Without fail, even if I haven’t heard anything new at a conference (which is rare), I’ve always left feeling energized, and that was worth the price of entry.
How do you prepare for a conference?
- First, research the conferences in your area. The SCBWI website has a list of the group’s events, but you can find others with an Internet search. Research the speakers and make sure they’re people you’d like to hear. There’s no point going to a conference focusing only on picture books if you write novels.
- Once you know which conferences you want to attend – and can afford – register early. If you plan to get a critique, registering early means you’re more likely to get the person you want. Also, many smaller conferences sell out, so registering early secures your space.
- A few days before the conference, research the speakers again. The conference will have their basic bio, but look around on the Internet for interviews and read their blog, if they have one. Jot down some notes in the notebook you’re planning to take. This way, when you see them speak, you’ll have a better idea of who they are.
- If there are any speakers you would like to talk to, perhaps to ask a question or just compliment them on one of the books they’ve worked on that you’ve read, seek out this person in a nice, polite way (i.e. not in the bathroom, not while they’re eating unless you happen to be sitting at their table, and not interrupting their conversation). If they’re talking to another attendee, stand by and wait your turn. Once you have their attention, introduce yourself, tell them what you love about their work, ask them your question, then thank them and say goodbye. Keep it short, sweet and professional. In my experience, speakers are more than happy to talk to attendees as long as it’s on a professional level.
Going to conferences can be a very rewarding way to boost your writing life. Take advantage of the conferences offered in your area, and when you get home, your brain will be begging you to start writing.
About the author
Samantha Clark writes middle-grade fiction and blogs about writing, children’s books and writing conferences at DayByDayWriter.wordpress.com. You can subscribe to DayByDayWriter to read more.
Photo credits: SCBWI conference—Rita Crayon Huang; click—Jordan McCollum
Posted in Technique
Tagged prepare for writing conferences, samantha clark, scbwi, writing conference, Writing resources
1 Comment
Craft books: Writing the Breakout Novel
by L. Jagi Lamplighter
My favorite book on how to write is Writing the Breakout Novel, by Donald Maass. Before encountering it, I was a non-believer. Writing books did nothing for me. Most seemed to be filled with an endless list of what not to do.
But something impelled me pick this book up . . . and everything changed!
Donald Maass is a top New York agent. He reads hundreds of manuscripts a year, maybe thousands. One day—perhaps dazed by the endless mountain of manuscripts he had to scale to reach his desk every day—he began thinking about the phenomena of the breakout novel.
A breakout novel is not the same thing as a bestseller. A bestseller is a book that sells enough to make it onto the New York Times Bestseller’s list. A breakout novel is a novel that sells far more than anticipated. It might be a bestseller, or it might just be a book that was expected to sell five thousand that sold twenty thousand.
The significant thing about breakout novels, however, is that most of them do not get a lot of time or money put into promotion. Which makes sense. No one expected them to do well. But it means that their popularity came almost entirely from word of mouth.
And that is the ultimate compliment a book can have—that it sold well just because people who liked it told other people.
Maass’s question, as he looked nervously up at the tower of papers tottering over his desk, was this: Is the success of these breakout novels due to chance? Or were they actually better than other books?
So, he went out and bought himself one hundred recent breakout novels, and he read them.
And, guess what? They were better!
Which led him to another question: What made them better? What did these books have that so many of the manuscripts piled in the mountain looming over his desk lacked?
This search led to his book, Writing the Breakout Novel. Its success led to him teaching a workshop. He wrote up many of his exercises into a second book, the Writing the Breakout Novel Workbook. (He has since published a third related work called: The Fire in Fiction.)
In his work, Maass identifies what these books do that make them different: engrossing story, enchanting characters, enthralling pacing, enduring themes. Then, for each point, he shows how they do it. Giving examples and exercises that help the writer bring out similar strengths in their own work.
He identifies particular techniques for raising the stakes, for heightening emotions, for bringing characters to life. He also discusses the importance of them and identifies the two themes that resonate most with readers.
Reading his work entirely changed my fiction.
Nearly all of Maass’s work is useful and insightful. Of all Maass’s exercises, however, my favorite is the one on page 64. (This is the villain’s version, but is just as useful for protagonists. I picked it because it is concise—having all the character exercises together in one place.) In it, he urges the writer to note the main quality and goal of their character. Then, to chose an opposite quality and goal. (I find that ‘contrasting’ or ‘opposing’ often works better than opposite.) Then, write a scene in which the character demonstrates the opposing quality or reveals the contrasting goal.
This simple exercise can raise a character to a whole new level, catapulting one-dimensional characters into two-dimensions, and two-dimensional characters in to well-rounded three-dimensional ones.
How does this work?
In art, contrast and shading is what gives an object the appearance of three-dimensions. In writing, it is the same thing. Real life is a jumble of conflicts. We want to save money and buy that new vacuum. We want to move to the location of our dreams and stay near family. We want to admire our cake and eat it, too. These internal struggles are always with us, tormenting and compelling us.
When characters have similar struggles, we innately recognize it as like life, the same way that our eye is fooled by a little dark paint into believing that the shaded side of the bowl of fruit is farther away from us than the brighter side, because it reminds our eye of real shadows on real red glass bowls.
This is only one exercise of many that really brings one’s fiction alive. Another favorite is to take a moment and to pull it out of time, pausing to remind the reader how the past (last year, last month, ten minutes ago) is different from the present—how the character has changed in the intervening time. It is a wonderful trick for heightening the emotional impact of a scene and for drawing out the implications of your characters experience.
These examples are only two of many, many excellent points. His book can be used like a practical reference manual. Stuck? Not sure what your scene needs next? Open the Writing the Breakout Novel Workbook and flip through it until one of the techniques included leaps out at you, sweeping away your writer’s block.
So, as I mentioned, Writing the Breakout Novel is a book that helps the writer know what to do, instead of just what not to do. I found it so useful, I went and took his workshop in person, which was also very helpful.
Armed with Maass’s insights, I entirely revamped my novel and finally made the long-dreamed-of jump from the looming, teetering submission pile to the shelves of my local bookstore. You can, too!
About the author
L. Jagi Lamplighter is the author of the Prospero’s Daughter series, beginning with Prospero Lost. Her short stories have been featured in several science fiction, horror and fantasy anthologies. She also enjoys romance and anime. She blogs at Visions of Arhyalon.
The Hero’s Journey with Story Structure
Brooks’ Story Structure is, in my opinion, the best prescribed formula for how to place a story together. However, I originally used The Hero’s Journey (hereafter referred to as HJ) to plot out my current WIP. A lot of what is also called “The Mythic Structure”, within the HJ, makes sense as a template as to where to place each item the story needs. One thing I disliked about HJ was the common opinion that you could move items around to your liking, therefore maybe putting certain things in the wrong place.
I have found, however, that HJ is a good characterization tool for creating a proper arc. It can also add understanding to Brooks’ Structure if applied properly. Used together I find that I have a more, well-rounded picture of the story.
What we recognize as Concept and Theme in Structure, is the Story Question in the HJ. The question I asked is: Can the MC survive being dumped by the man she thought was her life, and move on? A secondary plot question is: Which guy is right for my MC? These questions begin the thought process of how my character is going to grow in this story—the beginning of that character arc.
The Ordinary World in HJ is the equivalent of Part one: Introduction in Structure. We see the main character, who is at a fancy restaurant, unknowingly waiting for her date to dump her. As character arc, we are finding out what her ordinary world is: what she is thinking, what she is wearing, whether she likes the restaurant and how excited she is about getting married. This is the place for us to start identifying with the MC and establish emotions and rapport with her. Because, when that devastating information comes, we want our reader to be emotionally invested in the MC, enough that they don’t put the book down.
We introduce theme and set things in action by ‘calling the MC to action’, or reaction on her part. The Call to Action in HJ is not plot point #1. Although the event is important, the MC or Heroine, refuses to act. The Call is the boyfriend dumping her in public, which leads us to the Refusal of the Call. My MC goes home and cries, thinking her world is over. She locks herself in her room with a half gallon of ice cream. These actions are giving us more depth into the characters’ personality.
At this point in time we also have what is called Meeting with the Mentor. Sometimes the mentor is the one delivering the call. Sometimes it is the person the MC goes to for advice and help. My MC doesn’t have a “mentor.” She has her friend, who just happens to be a guy, who she goes to for advice and safe friendship after the disastrous date. The relationship between the MC and the mentor is another way that we develop character. How they relate reveals a lot about the MC.
Next, we experience what HJ calls Crossing the First Threshold or plot point #1. The MC is at work, and her friend talks her into going out with his brother. By accepting the date with her friend’s brother, she has accepted that the ex is a jerk and she needs to move on, thus figuratively putting the ice cream securely in the freezer. She moves from what we saw as her ordinary world into the new reality. This area is often a point where our MC struggles to become better and braver, and to take that step into the post-First Threshold world.
Now we enter Part two: reaction, the Tests, Enemies, and Allies stage of the book. This is where the MC adjusts to her new reality—post ex. She begins down a road of new possibilities. Characters, enemies, and trials are introduced during this part. This is where in the “tree” theory after you put your character in the tree, (Crossing the Threshold), you begin to throw small rocks at her. The MC reacts to what her life has dealt her.
As we Approach the Innermost Cave which is Structure’s Mid-point the plot begins to get serious and the “rocks” get a lot bigger. This point is often a place where the writer reveals information to the reader that opens up whole new possibilities. Sometimes the reader knows something that the MC doesn’t even know. My MC finds that she has feelings for both of the brothers. The guy friend finds that he has feelings for the MC too and hates that he has introduced her to his brother. By his “code,” he should back off and let the older brother have his chance with her.
This “reaction” from both the friend and the MC leads us to Part three, proactive stage. This is a time of trials for the MC. She finds out who her real friends are and what she is made of, the previous trials proving her mettle.
As we near The Ordeal, we can have either the “lull moment” where the characters think all is lost and there is no hope, or a “I’ve finally succeeded and this is the end, only to find out it isn’t” moment. My MC has 
an all is lost moment, and feels that she will never know who is right for her, and she will be single her whole life. This point in the story is a place where we again feel sympathy for the MC and deepens our concern for what happens to her.
The Ordeal or Plot point #2 comes at about [3/4s or] 4/5s way through the book. This is the huge crisis moment, the event that changes everything. After this point in time, no new characters or information may be allowed into the story. The MC is at Thanksgiving with the brother and has had a heated moment with the friend who she thought wasn’t interested. The spark is still there and it has grown stronger. The brother proposes and she has to make a decision—to live a relatively happy life with a good guy, or take a chance with the friend and truly love someone. She says no and runs. The friend follows her at the brother’s request, oblivious to the attraction between them. This is the refining fire for our MC, the culmination of all previous actions. This is where the reader is cheering for the MC to succeed.
Her decision is the Reward. She has proven herself, and has demonstrated to everyone that she has grown and is stronger for it. We are still cheering for her and her success.
What Structure calls Part four, resolution, HJ calls Return With Elixir. The Ordeal brings us massive change in the MC’s life. Now that everything has changed for my MC, she makes decisions that bring about resolution. She confesses her feelings and they finally kiss. They live happily ever after, or at least until the book ends. This is where the MC moves into the new ordinary world and we see not only the comparison to the old world but we see the Story Question answered. We tie up all the loose ends for the reader as well.
What do you think? How would you line up the Hero’s Journey and Story Structure?
About the author
C. Michelle Jefferies practically grew up in a library. When she was ten, she realized she wanted to write stories like the science fiction books she loved to read. A mother of six, she put her writing on the back burner while she focused on raising her young children. When her children were old enough for her to spend a few hours on the computer, without them burning the house down, she returned to writing and hasn’t stopped since. She blogs at My life in a laptop.
Photo credits: path—Kat Gloor; path through structure (bridge)—Jo Ann Deasy
Posted in Technique
Tagged hero's journey, larry brooks, michelle jefferies, mwahahaha, plotting, story structure
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Story structure in action
We’ve been talking about Story Structure according to Larry Brooks’ formula. There are many single elements that, combined, make a solid structure. These include: concept, theme, the four parts of story (introduction, reactive stage, proactive stage, and the resolution), and the five points in the story that move the plot along (plot point #1, pinch point #1, mid-point, pinch point #2, all is lost moment, and plot point #2).
What I have been asked to do today is illustrate how I have used all of these individual points to make a story with a solid structure in my own work. My next post will deal with how the Hero’s Journey can be used to augment the character arc.
The first thing we need to address is Concept, as in “what is the story about?” In two words, my story concept is about second chances. Theme, on the other hand, is more detailed. My theme is: pursuing their dreams and finding happiness by making up one’s mind and taking action.
Once we have concept and theme we can concentrate on the parts and points in the story. To give you an example that flows well, I will be using both the parts and points in the order they are supposed to be in, rather than addressing them separately.
Part one: Introduction—we see the main character, who is at a fancy restaurant waiting for her date. She is dressed to the nines, expecting this to be the dinner when he proposes. Instead of proposing, he tells her it’s over—that there’s another girl. She goes home devastated and publicly humiliated. We see her life in the after effects of that action. We introduce theme and set things in action by “calling the MC to action”, or reaction on her part. However, that isn’t the first plot point. Although the event is important, it comes too soon, and doesn’t deal directly with the main plotline of the book.
Next, we experience plot point #1the MC is at work and her friend who just happens to be a guy talks her into going out with his brother. This is where the MC can either accept or decline. However, she will accept the “blind date” because the story doesn’t move forward if she chooses not to. Plot point #1 brings us to the second part of the book.
Part two: Reactive stage—this is where the MC is going to be reacting to the first plot point and in my case the introduction of the theme. The MC is feeling confused. She thought for sure that the ex was “the one” and is feeling less than pretty and very imperfect—all reactions to the theme. She has a good time with the brother and that leaves her feeling confused too, wondering if her feelings for the ex weren’t true and whether she knows what she is thinking at all.
Pinch point #1 is where the reader is reminded of the plot and the opposing forces. The MC sees the ex with the new girl. It hurts more then she thought it would. Her first line of defense is her guy friend. He comforts her and makes her feel better.
The Mid-point is when things change. This point is often a place where the writer reveals information to the reader that opens up whole new possibilities. Sometimes the reader knows something that the MC doesn’t even know. My MC finds that she has feelings for both of the brothers. The guy friend finds that he has feelings for the MC too and hates that he has introduced her to his brother. By his “code,” he should back off and let the older brother have his chance with her. This “reaction” of both the MC and the guy leads us to part three.
Part three: Proactive stage—now the MC has moved from reacting to plot point #1 to being proactive and starting to do things to remedy the situation. My MC is watching both guys carefully and assessing her feeling for each of them. She makes opportunities to talk with the friend while still dating the brother.
Pinch point #2—Another crisis point in the story, edging up the pace and arc. The MC sees her friend with another girl and her jealousy flares.
Often times at this point, Brooks suggests that there is a “lull moment” where the characters think all is lost and there is no hope. This would be the MC going home eating a pint of ice cream and crying while watching some sappy love movies.
Plot point #2 comes at about [3/4s or] 4/5s of the way through the book. This is the huge crisis moment, the event that changes everything. After this point in time, no new characters or information may be allowed into the story. The MC is at Thanksgiving with the brother and has had a heated moment with the friend, who she thought wasn’t interested. The spark is still there and it is stronger. The brother proposes and she has to make a decision—to live a relatively happy life with a good guy, or take a chance with the friend and truly love someone. She says no and runs. The friend follows her at the brother’s request, oblivious to the attraction between them.
Part four, resolution—plot point #2 brings us massive change in the MC’s life. Now that everything has changed for my MC, she makes decisions that bring about resolution. She confesses her feelings and they finally kiss. They live happily ever after, or at least until the book ends.
What do you think? Does seeing the points of the story illustrated make the application a little clearer? How would you apply the structure to a romance?
About the author
C. Michelle Jefferies practically grew up in a library. When she was ten, she realized she wanted to write stories like the science fiction books she loved to read. A mother of six, she put her writing on the back burner while she focused on raising her young children. When her children were old enough for her to spend a few hours on the computer, without them burning the house down, she returned to writing and hasn’t stopped since. She blogs at My life in a laptop.
Photo credits: house frame—Robin Frousheger; concrete house—Concrete Forms
Posted in Technique
Tagged larry brooks, michelle jefferies, mwahahaha, plotting, story structure
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