Story Sensei

From Sarah Forgrave: - I've got a series idea that would follow a family with three daughters and a basic storyline for each. I'm a plotter and planner, so I'm wondering if you recommend planning out all three or four stories at once so they're intertwined? Do you have any other tips on how to approach a series? Camy here: It depends on the storylines you're thinking of. If you'd like each story to stand on its own (which most of my editors have wanted, but may not necessarily be true for your editors), then my suggestion is to spend time really developing each character so that you know their fears, desires, wounds, etc. The characters' actual storylines for their novels might end up changing as you write each story, also, so this is a safe route to go--you have a good handle on the characters, but you're leaving yourself some wiggle room in terms of their stories. If you're thinking that you'd like the stories to be strongly intertwined, then

I was over at Life with Missy: I’m so excited to be on Missy’s blog today! Missy asked me to answer the question, "Is it easier to write suspense because of the built-in conflict of a villain?" Actually, the presence of a villain in romantic suspense makes it a bit harder to write. Suspense villains tend to have very strong motivations for the evil and mayhem they’re causing, but that also means I have to make sure that their every action and decision is logical and works toward their ultimate desire. Click here for the rest of the article

This article I wrote originally appeared on Suite101. Head-Hopping What It Is and Why To Avoid It Many beginning writers utilize quick switches in point of view, which is not used as often these days in the publishing industry. Twenty years ago, omniscient point of view was commonly used in fiction. However, these days, a deep third person point of view is preferred most of the time (there are exceptions, naturally). In deep third person point of view, the writing is in third person but the language drops the reader into the character’s head and body. When the point of view shifts to a different character in the midst of a scene, this is called head-hopping because the reader feels as if he is hopped from one character’s head into another. Moving the reader from one character to the other so many times will often disorient the reader. This will also not allow the reader to feel connected with any one character in the scene. This reduces character sympathy and the reader m

I talked about Freewriting and why that can help with character development over at the Seekerville blog: Camy here, talking today about how freewriting is saving my sanity. Yes, it’s true, I’m not being melodramatic (although Ruthy would probably differ—hush, woman!). Usually, when I’m brainstorming a new novel, I am armed with a pen, Post-It notes, and my closet doors: Click here to read the rest of the article

Cheryl Wyatt posted on character internal motivations over at Seekerville today: ToooT! TooooT! Chugga-chugga-chugga-chugga.... Welcome to Seekerville! Today I wanted to talk about something that I think is crucial in story structure, yet something not a lot of authors fully understand. I'm still on this learning train too by the way. Just this week I was brainstorming a new proposal with my editors in New York the day before Book Expo America and it dawned on me that character motivation has many more layers than I had really consciously thought about before. Click here to read the rest of the post, which includes examples!

Even if you don't present backstory in the first chapter of a novel, you have to present at some time in the book. But there are a few tricks you can use to make that backstory as emotionally compelling as possible. I wrote this article, which originally appeared on Suite101. Tips for How to Present Backstory Make a Character’s Past History Compelling Here are some good tricks to use when writing backstory in a novel so that the reader is intrigued by the information. The key to presenting backstory in a way that is interesting to a reader boils down to one piece of advice: Make the reader want to know the information. As a reader gets to know the characters and become interested in them, she will naturally want to know more about them. But even beyond this natural interest, up the stakes. Make the past important to the reader because it ties together mysterious threads of the current action. Dole Out Backstory in Bits and Pieces When information is given out slowly,

Ever wonder why you hear that it's "taboo" to include backstory in the first chapter of a novel? I always did, too, until I discovered some psychological reasons why it's best to keep it out of the first chapter for the modern reader. I wrote an article, which originally appeared on Suite101. Save the Backstory For Later Why Not to Present Backstory in the First Chapter There are three reasons why it’s usually best for a writer not to include backstory in a novel’s first chapter. Writers often hear the advice to not include backstory or the character’s past history within the first chapter of the story. Many balk at this. After all, a character’s backstory explains things, makes the character’s actions make more sense. Otherwise, the reader will be confused or, worse, dislike the protagonist for his actions because there’s no explanation for this aberrant behavior. Also, backstory sets the stage for future conflict. Past secrets often cause problems for t

As a follow up to my article about establishing the viewpoint character at the beginning of a scene, I also wrote this article, which originally appeared on Suite101, on a few tips for how to continue with the scene from the viewpoint character. Opening a Scene In a Character’s Viewpoint Some Do’s and Don’ts For Establishing Point of View There are a few things to keep in mind when establishing the point of view character at the beginning of a scene. When a writer opens a scene, the viewpoint character should be immediately established in order to slip the reader into a character’s skin. But once you’ve established the viewpoint character, there are a few things to remember in order to keep the reader interested. Plant and Point Deliberately Don’t waste the reader’s time by pointing out things that are insignificant to the story or that don’t somehow establish characterization. For example, if the hero likes the color blue, but it’s not relevant to the story, don’t hav

I wrote this article, which originally appeared on Suite101, on a few quick tips for opening a scene and establishing the point of view character. Establish the Character Viewpoint Start the Scene Quickly in Someone’s Point of View Utilize these tips in establishing the point of view character when opening a scene. In his book, Techniques of the Selling Writer , Dwight Swain writes this about character viewpoint: Viewpoint is the spot from which you see a story. It’s the position and perspective you occupy in order best to savor a fictional experience. Ordinarily, that vantage point is inside somebody’s skin. That is, your reader will live through your story as some specific character experiences it. He’ll see and hear and smell and taste and touch and think and feel precisely what that person sees and hears and smells and what have you. Keep this in mind as you establish character viewpoint—slip your reader into the character’s skin. Choose the Viewpoint Character

I wrote this article, which originally appeared on Suite101, on introducing a character in your novel. The Basics of Introducing a Character A Few Main Points For When a Character Steps on the Page Three things to remember when introducing a character, whether the main character or a minor one. Whenever a character makes a “first appearance” in the novel, there are three things a novelist should remember when writing the scene. Create a Strong, Quick First Impression Ideally, the novelist wants the character onstage quickly, without a long paragraph of description. Give a strong first impression without a lot of detail—simply a phrase to anchor the character in the reader’s mind. Here is where a cliché could actually be used, because it’s a quick way to create a colorful impression with few words: “a spunky redhead” or “a one-legged pirate” or “a powerful businessman.” Whatever the writer chooses to create that first impression, make it the most significant aspect of

In my first drafts, I often have a problem in making my characters likeable within the first page or two. Since your reader will probably only give you a page or two in the bookstore, you need to capture their interest fast. I wrote this article, which originally appeared on Suite101, with a few tips on how to do that. Create a Relatable Character Use Tips and Tricks to Create Character Empathy in the First Five Pages In the first five pages of a novel, use actions or traits that psychologically cause readers to relate to or like a character very quickly. Most readers—including editors and agents—look at the first few pages to determine if the characters are worth reading about. Writers can utilize certain actions and traits that cause the reader to like the character or relate to him on a psychological level, without knowing anything else about him, and sometimes even showing him doing unsavory things a few pages later. Utilize for Both Sympathetic and Empathetic Charact

Dear Ms. Tang, I've read a lot of your articles on writing, trying to shape my idea into a better novel. I've found that one tip I'm finding a hard time following is this... As soon as you can in the story, commit the character to their goal for the book. There shouldn't be any easy way out or turning back. Once the character decides on a course of action, he can't stall, run, or quit--there should be something logical, believable and powerful preventing him. The character should irrevocably decide to fight whatever danger threatens him. I don't have an apathetic/unmotivated main character, but I do consider his most identifying personality trait to be the opposite of such heroes as Frodo Baggins, Luke Skywalker, etc. as he does not yearn for adventure. He is full of self-doubt and lacks confidence, despite being the one destined to save everyone else and having the most potential/power to do so. My idea was to make his biggest enemy himself, needing to overcom

Pam Hillman wrote a really great article detailing character conflict in a novel. She simplifies the concept of conflict but also makes it easy to grasp, a jumping off point for writers: I’ve started a new wip (work-in-progress) and while I’m excited and have a lot of angst and conflict planned for my characters, the core conflict between my hero and heroine doesn’t feel strong enough to carry the entire book. Or at least it’s not fleshed out enough for me to see it. So I started looking around for ways to define that backbone and nail it down. (Ouch, that sounds painful, doesn’t it?) Click here to read the rest of "Two Dogs. One Bone."

Did you know that the right character name can make your manuscript more vibrant or powerful? I wrote this article, which originally appeared on Suite101. Make Great Character Names Add Depth and Emotion By Naming Your Characters Carefully Be judicious in how you name your characters, paying attention to details and not just name meanings, in order to add color, depth, and power to your characters. When naming characters, many writers only pay attention to how a name sounds or what a name means, but there are other things to keep in mind when you name your characters. Choosing a good name and paying attention to certain details can: Add power and depth to a character Make the manuscript less confusing Make the manuscript more polished and professional Create smoother reading pace Evoke an emotional reaction in your reader Choose a Name With Meaning These days, the Internet has many resources to find names and their meanings. Any baby name site will offer almost

This is continuing my series on things to look for in your first page. Click here for part two. Establish the protagonist Your first paragraph (ideally—or at least the first several lines of the book) should mention one of the main protagonists by name. The first page of the book is one place where you can break with deep point of view and mention the entire main character’s name, even though technically, in deep point of view, the main character would only think of him/herself by a first name. This was not the smartest way to die. USAF Pararescue Jumper Manny Péna grunted, tensed his muscles and tried again to flare the canopy on his parachute. No go. -- A Soldier’s Family by Cheryl Wyatt It’s usually best to start the story in the main protagonist’s point of view , opening the storyworld from the protagonist’s eyes, being in her thoughts and body. Allison Stewart’s future hung in the balance. Her job. Her research. Her attempt to make a difference. -- Countdown to Death by Debby G

Feedback can sometimes be vague, can't it? I wrote an article that might help you improve your story when the feedback is not so helpful. This article originally appeared on Suite101. Increase Character Conflict Make Characters and the Story More Interesting By Increasing Conflict Here are some tips for making a bland or episodic story more interesting by introducing deep character conflicts. Sometimes, a writer will get feedback that the characters are unlikable or uninteresting, or the story is only “okay.” This is usually a good indication that the story needs more conflict. For popular fiction, the best type of conflict involves personal character conflict. Some writers refer to this as “throwing rocks” at your character. This type of internal conflict can also directly impact the external storyline, so you get maximum bang for your writing buck. Conflict will automatically create more interest for readers because they want to see how the protagonist responds unde

This article I wrote originally appeared on Suite101. Knowing Your Characters Some Tips for Getting Into Your Character’s Story Here are some ways to know your character more deeply, which might solve plot or story problems as you write your novel.
 Many times, when a writer has hit a wall when writing their novel, it could be that the writer just doesn’t know the character well enough. It doesn’t take much to hinder the creative process. Even not knowing a character’s preference for vanilla or chocolate ice cream can cramp the flow of words. Not knowing more major things like the character’s deep core values behind their motivations can be equally deadly to a novel’s progress. So whether the writer is someone who plots the story before he/she writes or who just goes at it, exercises for getting to know the character can be done either before or during a novel’s creation. Utilize Character Charts There are several good character charts available on the internet these day

I’m guest blogging at Love Inspired author Missy Tippens’ blog about how I make my character voices so distinct.

This article I wrote, which originally was published on Suite101, is for any of you who might be wondering about some of the key elements to keep in mind as you start your novel. It can also be a checklist for your novel's opening. Getting a Story Under Way In popular fiction, every story should start with some sort of Change to indicate to the reader that the story problem is beginning. Dwight Swain ( Techniques of the Selling Writer ) says, “The function of your story’s beginning is to let your reader know there’s going to be a fight ... and that it’s the kind of fight that will interest him.” Swain doesn’t mean a literal fight, but something the character is fighting for. The Inciting Incident is the Change that propels the hero to fight for his External Goal. Most people, whether we like change or not, understand that when something changes, we can expect a new era or time of life to begin. The same principle applies to a reader—when he sees change in the story, he kn

This article I wrote originally appeared on Suite101. The Key Elements Needed Before the Novel is Written In order to craft a more cohesive story, writers should make sure they have these five elements in mind before they start or very soon after they begin writing. There are many different ways to write a story, and no one way is the “only way.” Some writers write as the story comes to them. Some plot out each step before they start writing. Some do a combination of both. But there are five main elements of a commercial story that are crucial for ensuring a strong storyline. Writers should try to nail these elements down before they get too far into the novel. If they don’t, they might end up writing themselves into a hole, or the story might end up being very aimless and episodic. 1. Introduce the Main Character Make sure there is a focal character or hero. Even if there are two main characters, there is always one who is more important to the story, or whose journey is