One night during conference weekend, I was trying to fall asleep, when I heard one of those voices in my head. A new character. A new story. I heard the opening to a book I never thought I'd write. A zombie book.
Not being one to take lightning for granted, I wrote down the 150 words or so. Lightning struck twice. Three times. More and more. (I didn't sleep much that night.)
Over the rest of the weekend, even more until I had layer upon layer of conflicty goodness.
Since I was at the conference with a master of zombie writing, Jonathan Maberry, I talked to him about it. He said the idea was really good, and to his knowledge, hasn't been done before. (Wow)
I'm building it, all while working on getting Ivy ready for submission. I'm enjoying working on both. They're in such different stages, I don't feel like I'm spread too thin. The books are so different, they don't blend together.
So there you have it. Be on the lookout for my new zombie book. I'm pouring everything I've got into it.
Showing posts with label plot outline. Show all posts
Showing posts with label plot outline. Show all posts
May 21, 2011
May 19, 2011
Pennwriters: Character Driven Stories
I'm (finally) home from Pennwriters! Can I just say: I love this conference. You can smile at anyone and start a conversation because you know you have something in common with them: You're both crazy.
But that's another post.
My adventures at Pennwriters started on Thursday, a three-hour workshop with CJ Lyons. Not only is she a national bestseller, CJ has insight into how she got there. Her classes don't disappoint and this workshop was no exception.
The class was based on her e-book No Rules, Just Write: Crafting the Character Driven Novel. I can guarantee you I'll be reading this book. The class was so helpful!
Here are some highlights:
Your main character should have an outer goal (the main conflict of the novel) that's concrete and easily defined. This is what he wants.
He should also have a weakness or flawed way of thinking, some way in which he needs to grow over the course of the novel. This is what he needs (although he probably doesn't know that he needs it).
So, what does your character keep doing that's holding him back? Maybe he's quiet and reserved because in the past, getting attention has always led to bad things in his life.
Maybe she distances herself from people because she's afraid of being vulnerable (or, she's afraid of getting hurt if she made herself vulnerable).
What is it that your main character really fears? Abandonment? Poverty? Not being in control?
And what does your character do to avoid it?
Once you have that, you can use it to motivate his actions as he works toward his outer goal. (Cool, huh?)
CJ used techniques like this to explain the three-act structure in a way I've never seen before. I've read about it dozens of times. It's always seemed like more of a checklist to me. Set up the character. Bring him into the conflict. Make things worse. Have him lose hope. He triumphs. Blah, blah blah.
This was different.
This made sense. And when I broke my WIP into the right pieces, I saw rich conflict that I didn't even known was there. Now I know what to emphasize. Ivy is going to be so much more compelling and real.
After this workshop, I was a little torn. On one hand, I was excited that I'd learned so much and that I knew how to tear my book apart to make it better.
On the other hand, now I have to tear my book apart to make it better.
But that's another post.
My adventures at Pennwriters started on Thursday, a three-hour workshop with CJ Lyons. Not only is she a national bestseller, CJ has insight into how she got there. Her classes don't disappoint and this workshop was no exception.
The class was based on her e-book No Rules, Just Write: Crafting the Character Driven Novel. I can guarantee you I'll be reading this book. The class was so helpful!
Here are some highlights:
Your main character should have an outer goal (the main conflict of the novel) that's concrete and easily defined. This is what he wants.
He should also have a weakness or flawed way of thinking, some way in which he needs to grow over the course of the novel. This is what he needs (although he probably doesn't know that he needs it).
So, what does your character keep doing that's holding him back? Maybe he's quiet and reserved because in the past, getting attention has always led to bad things in his life.
Maybe she distances herself from people because she's afraid of being vulnerable (or, she's afraid of getting hurt if she made herself vulnerable).
What is it that your main character really fears? Abandonment? Poverty? Not being in control?
And what does your character do to avoid it?
Once you have that, you can use it to motivate his actions as he works toward his outer goal. (Cool, huh?)
CJ used techniques like this to explain the three-act structure in a way I've never seen before. I've read about it dozens of times. It's always seemed like more of a checklist to me. Set up the character. Bring him into the conflict. Make things worse. Have him lose hope. He triumphs. Blah, blah blah.
This was different.
This made sense. And when I broke my WIP into the right pieces, I saw rich conflict that I didn't even known was there. Now I know what to emphasize. Ivy is going to be so much more compelling and real.
After this workshop, I was a little torn. On one hand, I was excited that I'd learned so much and that I knew how to tear my book apart to make it better.
On the other hand, now I have to tear my book apart to make it better.
August 3, 2009
Endings Are Beginnings - How to Write an Ending for Your Book
I realize that my post about Endings may have been confusing. I found a video that elaborates a little more on how endings should be connected to your beginnings:
July 31, 2009
What Every Writer Needs to Know About Plot and Structure, Part 4
Beginnings:
Grab your reader with a killer opening line. Some may tell you never to open with dialogue, others will tell you...
well, there's an amusing article (more of a rant) that lists a number of ways you should not start a story. Read A Newbie's Guide to Publishing: How Not to Write a Story.
Joe Konrath makes some excellent points and explains each one (for the most part).
So how should you start a story?
This is the hard part. The part where all your ideas have to come together, in an interesting way, to set you up for your ending.
You needs lots of conflict here. Make your characters work hard. Make them suffer. I know it's hard, but trust me, as soon as things start to go right for your characters, your readers will put your book down. You need to constantly be stirring the pot.
If you've read my posts on sentence lite, you'll know what each scene (whether beginning, middle, or end) needs: protagonist (that has needs and is interesting), antagonist (who also has needs and is interesting), conflict (how their needs conflict with each other), a setting, and a twist. The twist is something unexpected. It moves the story forward.
In Heidi Thomas' article Prop Up Your Sagging Middles, she discusses some key questions you should ask yourself about each scene.
If you find that your middles are slim and/or your word count is too low, you'll love Dani Greer's article on Plumpers.
Throughout your book, you'll need strong scenes. This is crucial. I have to recommend Holly's Create Page-Turning Scenes Clinic. (Yes, I know I recommend her a lot, but she's the best I've found.)
Endings:
This is where pantsers seem to have the most trouble. If you plan out you novel well, know where your novel's pulse is, and know your themes, then you should already know your ending. All you have to do is write to it.
But, here are some pointers:
Your ending, wherever it is, whatever happens, needs to connect back to your beginning. Somehow. I know it sounds crazy, but it's true. If there isn't a way to connect your ending to the first three pages of your story, then maybe you didn't begin in the right place.
At the beginning, you made your reader a promise. You told them, "This is what the book is about." Now you have to deliver on that promise.
For example, Harry Potter and the Sorcerer's Stone begins with the headmaster and a teacher discussing the fate of the boy who lived. How does it end? The boy who lived fought against the same villain and lived again. Some consider the first chapter to be more of a prologue, but it's still there in the second chapter. Uncle Vernon notices a number of strange happenings that are related to (surprise!) the boy who lived and the celebration of his conquest over the dark lord. Trust me. Your beginning needs to be similar to your ending.
BUT
Your characters need to be different. They need to change throughout the course of the story. Their needs changed, they've learned something about themselves, conquered a weakness, whatever. They can't be the same person they were on page one. Otherwise, there's no point in telling the story.
For clarification, I've posted a video on how endings are like beginnings here.
If you want to read this series from the beginning, here is Part 1 of What Every Writer Needs to Know About Plot and Structure.
Grab your reader with a killer opening line. Some may tell you never to open with dialogue, others will tell you...
well, there's an amusing article (more of a rant) that lists a number of ways you should not start a story. Read A Newbie's Guide to Publishing: How Not to Write a Story.
Joe Konrath makes some excellent points and explains each one (for the most part).
So how should you start a story?
- First and foremost: introduce conflict. Conflict is the bread and butter of fiction. Without it, fiction is boring. If no one in your first scene has a need, then you need to cut that scene. Start somewhere else.
- You also need to show (and I do mean SHOW) your character(s). Just the main ones for now. You don't want to overwhelm your readers with a bunch of characters at once. You do want them to connect to the characters that will be central to your story.
- Show genre in your beginning. If you're writing fantasy, show some magic or paranormal elements to give your reader the right expectations. It doesn't have to be big. I once started a story with a paragraph about a bully with some unusual talents. (Making my heroine's hair stand on end, for example.)
- Sensory details. Imagery. Give the readers details. There's a piece of paper on the counter. Is it rolled up? Folded? How big is it? Is it notebook paper? Parchment? A sticky note? Give smells. (That's a hard one, but it can instantly bring your characters into the setting.) The trick is to provide as much setting in the fewest words possible. If you give too much all at once, you'll boor your readers. Sneak those details in as you unfold the plot, character, and conflict.
This is the hard part. The part where all your ideas have to come together, in an interesting way, to set you up for your ending.
You needs lots of conflict here. Make your characters work hard. Make them suffer. I know it's hard, but trust me, as soon as things start to go right for your characters, your readers will put your book down. You need to constantly be stirring the pot.
If you've read my posts on sentence lite, you'll know what each scene (whether beginning, middle, or end) needs: protagonist (that has needs and is interesting), antagonist (who also has needs and is interesting), conflict (how their needs conflict with each other), a setting, and a twist. The twist is something unexpected. It moves the story forward.
In Heidi Thomas' article Prop Up Your Sagging Middles, she discusses some key questions you should ask yourself about each scene.
If you find that your middles are slim and/or your word count is too low, you'll love Dani Greer's article on Plumpers.
Throughout your book, you'll need strong scenes. This is crucial. I have to recommend Holly's Create Page-Turning Scenes Clinic. (Yes, I know I recommend her a lot, but she's the best I've found.)
Endings:
This is where pantsers seem to have the most trouble. If you plan out you novel well, know where your novel's pulse is, and know your themes, then you should already know your ending. All you have to do is write to it.
But, here are some pointers:
Your ending, wherever it is, whatever happens, needs to connect back to your beginning. Somehow. I know it sounds crazy, but it's true. If there isn't a way to connect your ending to the first three pages of your story, then maybe you didn't begin in the right place.
At the beginning, you made your reader a promise. You told them, "This is what the book is about." Now you have to deliver on that promise.
For example, Harry Potter and the Sorcerer's Stone begins with the headmaster and a teacher discussing the fate of the boy who lived. How does it end? The boy who lived fought against the same villain and lived again. Some consider the first chapter to be more of a prologue, but it's still there in the second chapter. Uncle Vernon notices a number of strange happenings that are related to (surprise!) the boy who lived and the celebration of his conquest over the dark lord. Trust me. Your beginning needs to be similar to your ending.
BUT
Your characters need to be different. They need to change throughout the course of the story. Their needs changed, they've learned something about themselves, conquered a weakness, whatever. They can't be the same person they were on page one. Otherwise, there's no point in telling the story.
For clarification, I've posted a video on how endings are like beginnings here.
If you want to read this series from the beginning, here is Part 1 of What Every Writer Needs to Know About Plot and Structure.
July 29, 2009
What Every Writer Needs to Know About Plot and Structure, Part 2
So, now that you know how plots used to be structured, how does today's writer plot out a novel without repeating the same-old, some-old?
Liz Strauss says the number one thing readers want from writers is for you to use an idea that is intrguing to you.
Read the rest of the article here.
In Part 3 of What Every Writer Needs to Know About Plot and Structure, I'll post some freebies and other resources that helped me with plotting.
Part 4 will be on beginnings, middles, and ends.
You can read Part 1 here.
Liz Strauss says the number one thing readers want from writers is for you to use an idea that is intrguing to you.
"If it intrigues you, I’m likely to be intrigued by it too. At the very least,
I’ll be curious about what it was about the idea that captured your interest and intrigued you. "
Read the rest of the article here.
This is vitally important. So many writers are overly concerned about "what's hot", what's selling, or what agents and publishers are looking for. While you should know your markets, don't let trends decide what you're going to write about. There are two good reasons:
1) The trend will most likely be old news by the time your manuscript is ready for publishing. (Getting a book to the shelf usually takes several months after you write it.)
2) If it sells, and you don't love it, you're going to hate being a writer. You'll be expected to write more of what you don't love. This job is way to hard to be worth it unless you're passionate about writing.
Create, Complicate, Resolve: The Keys to Keeping Your Readers Interested touches on the art of gripping your readers without letting them down by "cheating". (We've all seen it before--'and then I woke up.') Her advice:
Create a believable story where actions are followed by consequences. In real
life, situations happen this way, so don't hold back in your stories. It may
seem cruel, but your audience will actually thrive on how much trouble you
can heap on your protagonist while watching him drag himself over broken
glass by his lips to save the woman he loves.
Read the rest of the article here.
In Part 3 of What Every Writer Needs to Know About Plot and Structure, I'll post some freebies and other resources that helped me with plotting.
Part 4 will be on beginnings, middles, and ends.
You can read Part 1 here.
July 27, 2009
What Every Writer Needs to Know About Plot and Structure, Part 1
Let's start with classic story structure. Basically, this covers myth, legends, fairy tales, epics, etc... It has been repeated many, many times.
(Star Wars is famously known for using this.)
According to Jospeh Campbell, many plots contain the same elements and structure. You may be familiar with the Monomyth or Hero's Journey. He lists 17 stages of the monomyth, including:
Then there's Vladimir Propp's 31 functions (his is my personal favorite).
For you Harry Potter fans out there, I believe J.K. Rowling used each of the 31 functions repeatedly in her series. If you don't believe me, or would like a challenge, the 31 functions can be found here.
These are based on classic storytelling and archetypes that, according to Carl Jung, every human being has a connection with. Nina Munteanu has an excellent article on classic story archetypes.
She also has an article where she takes The Hero's Journey and gives multiple examples in her Journey's Map.
The pros of classic structure: it has the tools for a perfect story arc, something that settles nicely with everyone, happy ending and all.
The downside is that it's been done millions of times. Readers want something fresh. The trick is to use elements of classic storytelling, while putting your own twists and turns, red herrings, and other goodies into your writing.
Which will be covered in part 2, part 3, and part 4.
(Star Wars is famously known for using this.)
According to Jospeh Campbell, many plots contain the same elements and structure. You may be familiar with the Monomyth or Hero's Journey. He lists 17 stages of the monomyth, including:
- The Hero is called to adventure
- The Hero Refuses
- The Hero Receives Supernatural Aid
- The Crossing of the First Threshold
- The Road of Trials
- The Ultimate Boon (hero completes the quest)
- The Crossing of the Return Threshold
- (The hero is a) Master of Two Worlds
Then there's Vladimir Propp's 31 functions (his is my personal favorite).
For you Harry Potter fans out there, I believe J.K. Rowling used each of the 31 functions repeatedly in her series. If you don't believe me, or would like a challenge, the 31 functions can be found here.
These are based on classic storytelling and archetypes that, according to Carl Jung, every human being has a connection with. Nina Munteanu has an excellent article on classic story archetypes.
She also has an article where she takes The Hero's Journey and gives multiple examples in her Journey's Map.
The pros of classic structure: it has the tools for a perfect story arc, something that settles nicely with everyone, happy ending and all.
The downside is that it's been done millions of times. Readers want something fresh. The trick is to use elements of classic storytelling, while putting your own twists and turns, red herrings, and other goodies into your writing.
Which will be covered in part 2, part 3, and part 4.
June 30, 2009
How I Created A Much Better Villain
I made up all my lost words yesterday, and though I'm a day behind schedule, I must say I’m very pleased. The conflict is much tighter and my villain's motivation is much clearer.
This guy is more sympathetic, and yet more abominable than he could have been if I had done it the way I had planned. There’s a lot more tension, too.
Rachel’s doing some crazy stuff to protect the people she loves, which will help me with my ending. Her main concern is Nathan at this point, but we’ve seen that she cares deeply for her mother's safety (and her mom’s boyfriend) as well. She’s not always acting logically, but she’s acting valiantly and is learning from her mistakes.
This is very exciting. I can’t wait to see the finished product!
Side Note: I once asked 'What makes a Villain a Villain?'. My favorite answer came from Raquelle who said: "the best villain is one who convinces others that he is no villain at all."
This guy is more sympathetic, and yet more abominable than he could have been if I had done it the way I had planned. There’s a lot more tension, too.
Rachel’s doing some crazy stuff to protect the people she loves, which will help me with my ending. Her main concern is Nathan at this point, but we’ve seen that she cares deeply for her mother's safety (and her mom’s boyfriend) as well. She’s not always acting logically, but she’s acting valiantly and is learning from her mistakes.
This is very exciting. I can’t wait to see the finished product!
Side Note: I once asked 'What makes a Villain a Villain?'. My favorite answer came from Raquelle who said: "the best villain is one who convinces others that he is no villain at all."
April 13, 2009
My Current Project
I've started work on my next project, which as of yet lacks a title. But here's the gist of it:
My main character Rachel (no connection to any real persons) can see the dead before they pass on to the after life. There are reasons for this, but I'm not sure if I'll get the chance to explain why. One ghost in particular is different. It seems Nathan has no unfinished business. Rachel and Nathan grow closer, unable to touch, unable to share their relationship with anyone else, until Rachel finds herself in a life and death situation. Nathan is unable to get the attention of anyone who might be able to help. In an act of desperation, he is able to save her. Now he has a physical body, but there are other complications.
First, he can't tell anyone his past or they'd lock him in a mental institution. Second, there are the shadow people--spirits too evil to merit a body--who want to know how Nathan did what he did. Third, a group of self-proclaimed knights (who fight against the shadow people) believe that Nathan has possessed the body of an innocent victim.
And... that's just about all the plot I have so far.
My main character Rachel (no connection to any real persons) can see the dead before they pass on to the after life. There are reasons for this, but I'm not sure if I'll get the chance to explain why. One ghost in particular is different. It seems Nathan has no unfinished business. Rachel and Nathan grow closer, unable to touch, unable to share their relationship with anyone else, until Rachel finds herself in a life and death situation. Nathan is unable to get the attention of anyone who might be able to help. In an act of desperation, he is able to save her. Now he has a physical body, but there are other complications.
First, he can't tell anyone his past or they'd lock him in a mental institution. Second, there are the shadow people--spirits too evil to merit a body--who want to know how Nathan did what he did. Third, a group of self-proclaimed knights (who fight against the shadow people) believe that Nathan has possessed the body of an innocent victim.
And... that's just about all the plot I have so far.
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