Story Sensei

Maybe I’m just weird, but I like to know how different writers do their writing. I like knowing how they spend each day. I like knowing their process when they write a book, from idea to outlining to drafting to editing. Every writer is different in subtle ways, and I’ve discovered that a writer can discover what works best for them by seeing what works for other people, and then experimenting and trying it for themselves. Sometimes a process works, sometimes it doesn’t, but at least you’ve tried it to see. I spent a lot of time trying out methods to improve my productivity and enable me to write the best book I can. I thought it might be interesting to list what my book creation process is. Not all my methods will work for all writers, but I might do some things in a way you haven’t tried before, and it might be a process that ends up working for you. Stage 1) I usually start with the characters. I write the backstory and family first, and I jot notes in a file in Scrivener as

It’s been a few years since I last had a book out, and while some of that is because I changed my mind about how I wanted the next book to go, for some of that time I had a few bad bouts of writer’s block. I know there are people who say writer’s block doesn’t exist, and/or it’s just your subconscious trying to tell you something about your story or about your own emotional state. I’m not here to debate that. All I know is that I couldn’t write, for whatever reasons, when I hadn’t had bad writer’s block during my time writing for Love Inspired, Guideposts, and Zondervan. I know that sometimes when I had writer’s block, it was due to stress. There were family issues that came up and I could clearly tell that I was worried and that made it difficult for me to focus emotionally on writing. I personally need a calm heart and clear mind to create fiction, and it’s very hard for me to write when I’m emotionally upset. Some writers rage-write or cry-write to great emotional impact, but I’

I just discovered a great resource for inspiration, reminders, and tips for writing. I’ve been in a bit of a plotting rut and so I do what I usually do, which is watch TV shows and movies. This time, I watched the audio commentary for one of my favorite movies, Captain America: Civil War . I didn’t realize that I’d get so many great ideas for plotting, characterization, dialogue beats, theme, mood, and setting by listening to the directors and the screenwriters comment as they viewed the movie. It not only gave me a springboard for my own plot and character ideas, but it reminded me of techniques I’d forgotten about, which helped me in my story structure and character development. It’s a shame that I’m only realizing this now, because it’s a resource I’ve always had, in the movies I’ve bought on iTunes, but never utilized. I’ll definitely be using this more in future. I hope this tip helps you guys, too—pick your favorite movie and listen to the audio commentary. You never know w

I’ve just published a revised edition of my Heroine’s Journey worksheet! It’s $2.99 on Kindle , iBooks , Kobo , Nook , and Smashwords . Here’s more information about it: I was asked to describe my Heroine’s Journey many times and I even taught several workshops on it at writer’s conferences, and so I decided to write a more detailed worksheet on the subject. I read about the Heroine’s Journey from several books and compiled what I learned here in one place. This is the same worksheet I myself use for my own novels. Why the Heroine’s Journey? Sometimes the story arc of a female character will differ from the traditional Hero’s Journey because culture and time period will affect the character in accordance with her gender. This will create specific psychological differences in how a male and female character will respond to conflict in a story. Joseph Campbell’s original book is based on the writings of psychoanalysts and the world myths. The Hero With a Thousand Faces is a psych

I got this from a Camp NaNoWriMo message and while I can’t use it right now, this would be a great tool for writer’s block while I’m plotting another manuscript. It’s a generator that gives you random secrets for your characters, to help you come up with ideas for deepening characterization or just getting out of a writing rut. This website also has other character detail generators, to give you ideas when you’re creating a character. I checked out a few and they’re neat! If you use this generator, let me know how you like it! I hope to use this at some point in the future. Character Secret Generator

A writer asked me this question: I recently started writing a novel based off a couple friends and I wondering what would happen if we got thrust into a messy world of insane, chaotic, and anything considered un- or supernatural events.  I have already done a bit of tweaking to one character to make her a bit more agressive and aloof, but two other main character (out of four) are rather shy.  In real life, they don't talk much, and while they have come out of their shells quite a bit in the years I have known them, I doubt they'd ever be the type of people to rush head first into a life-or-death fight that could change the fate of the world you see in just about evrry novel on the shelves.  My question is, is it a bad idea to have them in the story?  I think with the dynamic our little group has it would be very interesting as characters, but I don't want them to be critiscized as boring or unoriginal. My feeling is that all characters, whether main or secondary, should

Heroine's Journey worksheet $5 I was asked to describe my Heroine’s Journey many times and I even taught several workshops on it at writer’s conferences, and so I decided to write a more detailed worksheet on the subject. I read about the Heroine’s Journey from several books and compiled what I learned here in one place. This is the same worksheet I myself use for my own novels. Why the Heroine’s Journey? Because sometimes the story arc of a female character will differ from the traditional Hero’s Journey because of the affects of culture and time period upon the character because of her gender. This will create specific psychological differences in how a male and female character will respond to conflict in a story. Joseph Campbell’s original book is based on the writings of psychoanalysts and the world myths. The Hero With a Thousand Faces is a psychological analysis of the classical myth formula that breaks down the myths into a basic structure, showing the psychological

I got the below message from Michael, who graciously agreed to let me answer his questions on the blog in case some of his questions are those some of you are curious about, too. Hi Camy, Do you have any tutorials, suggestions, tips on how to ‘hear’ a character’s voice? It is a problem that continually vexes me. I have some evil dudes and their voice, the sound of their voice, is not something I’ve been able to hear in my head. I’ve searched on you tube for evil voices, experimented with voice altering software and tried to imagine it. And sometimes, when I imagine the voice, I can hear how I want it to sound, but I can’t retain the memory of so lose it for the future. To hear the character’s voice, or at least a close approximation, would do so much for writing their dialog. What do you do? Do you have that problem? Any solutions out there for aspiring writers? Camy: That's a good question! I often have to resort to different measures to be able to write different ch

Hi everybody, I got several requests for another worksheet like my Synopsis worksheet, so I have put together a .pdf worksheet that combines all the lessons from my Characterization class. If you've already taken my Characterization class, this worksheet is exactly the same as the lessons you got, just without any feedback from me on your homework, naturally. :) This 35-page worksheet will help you develop your story characters. By the end of this worksheet, you will have: 1) a solid grasp of who your character is—and I’m not talking just favorite ice cream flavor 2) your character’s flaws and heroic qualities to make him/her truly sympathetic to the reader 3) the character’s unique qualities to make him/her stand out from all the other characters on the Barnes and Noble shelves. 4) your character’s desire and external goal (you’d be amazed at how this can change from your original ideas about your character as you dig deeper and discover who your character is!) 5)

This is a fantastic article by Brandilyn Collins. Several of her points are similar to what I read in one of my favorite writing books, Writing for Emotional Impact by Karl Iglesias . Ten Ways To Create Character Empathy

I'm over on Seekerville today melding two of my loves, Star Trek Voyager and writing. :) Camy here! I’m a HUGE Star Trek Voyager fan (I watch the reruns on SpikeTV). I really like the character Seven of Nine. For you non Star Trek fans, Seven is a human woman who was a Borg (mindless cyborg) for most of her life, but Captain Janeway rescued her from the Borg collective and is teaching her how to be an individual. Click here to read more about creating unique characters for your stories!

Roxo said... I was wondering lately if a two character book would seem boring. The story is about a girl who wanders in the forest with this boy. I have other characters but they appear sporadically even if they contribute to the way the story goes. Should I add someone with them just to make the plot less centered on just two characters? Camy here: I’m afraid there’s no really good answer for this. It all depends on how you envision the story. It’s good that you have other characters who appear sporadically, because they can serve to add more conflict and obstacles to the characters’ goals . If it were purely the two characters, I would say you definitely need more characters, if only to keep the conflict from becoming too much of the same kind of interactions. I’m not sure how far along you are on the manuscript, or if you’ve already plotted the entire thing out or if you’re discovering the story as it unfolds. If you’ve plotted it all out already, look and see if you actua

This article that I wrote originally appeared on Suite101. Troubleshooting a Weak Climax Ideas For Fixing a Disatisfying End to the Story If the climax of a novel seems off, here are a few common weaknesses that can be fixed. Sometimes a writer’s critique partners or first readers will comment that they didn’t like the ending of a story, or that the novel didn’t resolve well. While critique is always good, a vague “I didn’t like the ending” isn’t helpful for fixing it. However, there are a few mistakes often made but easily fixed to create a stronger climax. The Character Isn’t Boxed In Make sure you have taken away all other options for the character. If the character reaches the climax but still has several ways out, or a reason to not keep fighting toward the climax, it makes the character look silly or stupid. Work on your character motivations and increase conflict so that the character is forced into the bottleneck of the climax. A good way to box the character in i

Camille Cannon Eide asked: Hi Camy - I'm working on a substantive edit and I'm looking for ways to deepen a character, give her more dimension. What are some ways to bring out more of a character's strengths and weaknesses, give the reader more of a reason to root for her? Camy here: You’re actually talking about two slightly different things—character richness and character sympathy. Character richness: A three-dimensional character with flaws and strengths actually doesn’t just jump out of a writer’s head. Typically, authors spend a great deal of time embellishing and digging deeper into a character, whether before the book is written or as they’re editing. Three-dimensional characterization is a deliberate, concentrated effort. One of the best books I’ve found for doing this is Getting Into Character by Brandilyn Collins, chapters 1 and 2. She uses dramatic techniques to enable writers to create a richer character, just the way a good actor will create a richer charact

This article that I wrote originally appeared on Suite101. Building Toward the Climax Increasing Pressure On the Protagonist of a Novel Make the middle of the novel ramp up the tension and conflict and set the reader up for the exciting climax. Many times, a sagging middle could be because the tension is not increasing, but remaining the same. There are several things to keep in mind to help the middle build tension and drag the reader along for the ride. Make Things Worse As you introduce more change and complications to the character, make sure that it all works to thwart the character from his external goal. Each obstacle should make it harder and harder for him to reach his goal, making his situation worse and worse. This increase in trouble will increase the tension of the story, and increase reader interest. Strive for the unexpected and unanticipated when you add conflict to the story. Drop surprising disasters on your character. This doesn't necessarily mea

Debra E Marvin asked: Hi Camy, here's my question: Somewhere in a judges' comment or a 'how to' book I grasped an idea that I thought would improve my work. reaction, emotion, dialogue meaning to me that when something happens or someone speaks, our character has a reaction that prompts an emotion and then they speak. (This done with the idea that these 'things' are part of the conflict). Problem is, that by doing this, I now have been told that I'm burying my dialogue, because some have been at the end of a sentence or two of 'reaction and emotion'. However, popping that dialogue to the front of the paragraph doesn't seem to make sense. I feel like I latch on to these rules, thinking I'm doing the right thing and then . . . Camy here: Let me suggest a slight tweaking of that "reaction, emotion, dialogue" tool. One of my favorite tools for writing emotion is Motivation Reaction Units , which Dwight Swain writes about in Techniques

This article that I wrote originally appeared on Suite101. When a Scene Isn't Working Tips For Overcoming Writer's Block Here are three questions to ask when a particular scene seems stalled. Whether you believe in "writer's block" or not, there are always times when a writer gets stuck on a particular scene. It can almost feel like hitting your head against a brick wall. Many times, the writer's unconscious instinctively recognizes when there's something wrong with the scene. While not all scenes have the same problems, there are three questions a writer can ask himself that might help jump-start the writing flow. What Is the Character's Scene Goal? The character should walk into the scene hoping to accomplish something by the end of the scene. This is his Scene Goal. He may or may not achieve it—in fact, more often than not, he doesn't succeed—but he has this purpose in mind at the start. Also, the character should pursue this goa

This article that I wrote originally appeared on Suite101. Avoid the Sagging Middle Tips to Write a Dynamic Center Segment of a Novel Here are a few principles to help a writer avoid a stagnant or slow-paced middle section of a novel. The focus of the middle of the novel is to push your character to the climax. If writers can keep that point in mind, it will help them craft the events of the middle section to be more driven and purposeful. Here are a few principles to write by. Strive For Constant Change Obstacles force the character to adjust his plans toward his external goal . Faced with each obstacle, the character has to decide what to do next. He makes adjustments, still with that external goal in sight. Then, another obstacle. More adjustment, more decisions. More striving toward his external goal, but via a different path. Then another obstacle. This is the ideal pattern for the middle portion of the book. It provides constant change for the character, which

This article I wrote originally appeared on Suite101. Beginnings To Avoid Three Things That Weaken a Story Opening There are three aspects of a character's actions and decisions that can weaken the first chapters of an otherwise good story. There are many ways to start a story, and no "right" or "wrong" way. However, there are a few principles to follow that can help strengthen a novel's beginning. Here are three character traits that a writer should avoid in the first chapters. The Character Doesn't Decide to Fight. The phrase, coined by Dwight Swain, means that the character doesn't make that Decision which starts the story . If a character doesn't commit himself to his external goal: 1) the character seems passive, which makes him unsympathetic to the reader. 2) the beginning seems to drag, which might lose reader interest. 3) the reader has no reason commit to the story if the character isn't committed himself. Star

This article that I wrote originally appeared on Suite101. The Decision That Starts the Story Knowing How and Where to Begin Your Novel Start your story in such a way that the reader has to buy the book to keep reading. The beginning of a book is where the writer hooks the reader and reels him in. The opening page makes the reader keep reading, and then the end of the chapter is what gets him to buy the book. While that opening page is key, so is the end of that chapter. Avoid Long, Dragging Beginnings A long beginning will sometimes deter a reader browsing in the bookstore because the beginning may be indicative of the entire book. The reader wants to know what the book will be about, what it will be like, and they don't have hours in front of the bookshelf. They will want to know quickly. Therefore, as a writer, start as you mean to go on. Create the same climate in the beginning as you do for the entire book. Most importantly, don't make the beginning drag