Story Sensei

I wrote earlier in my Book Creation Process that just before I start writing my manuscript, I’ll take time to write down blocking notes. For me, “blocking” is like blocking in a live play. It’s writing a step-by-step description of what happens in a scene to make it easier for me to write the rough draft. The concept is the same as the “beats” described in Write Better, Faster: How To Triple Your Writing Speed and Write More Every Day , but I call it blocking because “beats” is sometimes used to refer to high-level outlining. Blocking is also mentioned (although she doesn’t call it “blocking”) in 2k to 10k: Writing Faster, Writing Better, and Writing More of What You Love ). In Write Better, Faster , the author explained her process in more detail. She calls them beats. She writes one paragraph about each scene in her outline. Then from the one paragraph, she asks a series of questions about each sentence in the paragraph, and in answering all those questions she elaborates on the

There was a question on the writer’s Discord server that I’m on where someone asked how to write a kiss. They weren’t specifically asking me, but I was able to give a short answer for how I write kisses. I write and read traditional romances, so my kiss scenes tend to be heavily influenced by the genre and by how my editors critiqued my manuscripts. You basically want to focus on the emotion of the kiss and how the kiss makes the point of view character feel, as opposed to going deep into physical detail. Ideally, the description will show that the kiss is something special and not just them macking. For example the kiss made her feel ___. Or the kiss was ___ which made it seem that he felt ___ for her. “The kiss made her feel as if she were incredibly precious to him.” “His lips were gentle and almost tentative, as if he were afraid of frightening her.” “The kiss surprised her and yet felt as familiar as if they’d kissed a thousand times before. The kiss felt like home.” 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

Forgive me if I gush but this is one of the best articles I've read in a long time, and I promise it's not because he quoted my book in it. His list of Rewards Per Page is absolutely stellar, because it's a very concise list of things I point out to my clients when I critique manuscripts. In future, I intend to point them to this article since it's so comprehensive and well written. How Rewarding is the ‘Reading Experience’ Provided by Your Writing? Measuring “Rewards-Per-Page” Can Give You an Indication of this Important Success Factor. Click here for the rest of the article

There are some stories I've read where the author didn't introduce the setting very well, and I felt like I was dropped into a black pit with two people talking in the dark (or, at best, surrounded by fog or fuzzy light). Ever feel like that? Other times, the author opens with SO MUCH SETTING DETAIL I'm bored silly before the end of page one. You can avoid both of those scenarios. This is especially important for historical and fantasy/speculative fiction writers who need to introduce an entirely new world for the reader within the first few pages without sounding like a travel guide and without confusing the reader. (I think the only exceptions are Regency and possibly medieval writers whose genres are so rampantly published these days and whose time periods are limited to a few years in history. They can introduce the setting with a date and place or a few words and the loyal reader will know exactly when and where they are. For example: “Lord Montgomery entered

In this article, originally published on Suite101, I'm giving tips on how to plunk your reader into your story world on page one without confusing them or making them feel like they've been drop-kicked into an alien culture. This is important because you want to introduce the setting and make the reader feel at home, and often you only have the first page to do that. It's not impossible! Immersing the Reader in the Novel Story World Skillfully drop the reader into the setting of the story by intriguing them without confusing them. The hardest place to set your reader down into your story world is the first page. But the reality is that readers in a bookstore and editors paging through thousands of manuscripts will usually only give you one page to catch their interest. One page. That first page must hook the reader and orient them in the novel story world without confusing them. It’s a tall order, which is why it’s best for novelists to spend the most time revi

You are a writer. You can think of a better way to describe your heroine than “sprightly.” Your town drunk can be something more original than “uncouth.” You can find a more unique way to convey the fact that your hero is “handsome.” BE ORIGINAL. And yes, I am yelling. I am the first person to admit I don’t always have original descriptions, mostly because I am not as gifted as other writers. But I TRY. Here, for your inspiration and jealousy, are a few descriptions I got from a friend who read Stephen Hunter’s novel, Hot Springs : ... a largish old man in a lumpy suit, beaten-to-hell boots and a fedora that looked as if it had been pulled by a tractor through the fields of Oklahoma, who seemed to do a lot of spitting. Her accent was sugar-dipped, like a fritter hot on a cool Southern morning, and he placed it as either from Georgia or Alabam. Camy here: Isn’t that just amazing? I feel inspired and ready to be original, myself.

When you start a book or any new scene, you’re setting your reader down in a completely new place, often in a new time, sometimes with a new character. Make your point of view character, time, and place obvious in the first couple paragraphs. You don’t need long descriptions of the new room the heroine is in, or to tell the reader that we’re now in the hero’s head, or to let the reader know that six months have passed. These things can be conveyed with a well-chosen phrase that immediately triggers a certain picture in the reader’s head. For example, say the previous scene ended at night in the hero’s POV. ### A girl could choke on the cholesterol in the air. She stood in the doorway to the diner, cringing beneath the sticky cloud of bacon grease mingled with the perfume of over-cooked eggs and maple syrup. The reader immediately knows it’s (a) the heroine, (b) a greasy diner, and (c) the next morning. Go through your manuscript and look at scene openings. Can you add a well-chosen sen

Instead of just describing a person, you might want to think about integrating the description with the point of view character’s emotions in reaction. For example, rather than: The tall blonde walked into the room, a scarlet dress swirling around her long legs. A man near the bar turned to look at her. Charlene sat at her table and stared at the strange woman. You can instead write: Charlene started and sat up at her table as the tall woman swept into the room. The stranger tossed her blonde hair in a flirtatious gesture, calculated to make the men at the bar look at her. Hussy. She’d probably chosen that red dress because the side had a slit up to her hip, revealing more leg than was decent. Or Charlene looked up as the tall woman swept into the room. She had gorgeous blonde hair—Charlene would have killed for that long and heavy mass down her back. Her scarlet dress swirled around her body, giving tantalizing glimpses at long, slim legs that Charlene could never have no matter how

One of the best way to reveal character emotions and personality is to have a character respond to the setting rather than simply describe it. Setup: The heroine is Betty, with an abusive past, visiting her parents' home for the first time in years. The crystal-paned bay windows followed her with a malevolent gaze as she approached the front double doors, as if to mock her for being forced to return after all these years. She imagined the white columns as teeth about the chew her up. Even the sunlight stung her skin. She forced her feet onward, step by step, keeping her eyes lowered to the blood-red flowers dripping down either side of the concrete walkway. The stiff wind from the bay slapped her cheeks and jerked her hair around her face. Why did she have to come back here? The reader gets a picture of the setting, but they also get the character’s emotional response to it. Suddenly it’s not just a setting, it’s an emotional experience for the reader. They feel the character’s rea