Story Sensei

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

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

Camy here: I STRONGLY recommend this course! Many of the manuscripts that I critique could use more emotional writing, and this course is the best of its kind in teaching how to write with more emotion, more emotional intensity, more psychologically resonating emotion. TAKE THIS COURSE! This course is designed for writers of ALL GENRES, published or unpublished. You'll work at your own pace, on your own level. EMPOWERING CHARACTERS' EMOTIONS (details below) Presenter: Margie Lawson Cost: $20.00 PASIC members, $30.00 non-members - payable by PayPal Deadline to Register: February 27, 2010 TO REGISTER, GO HERE: http://pasic.net/class_lawson_032010.html CLASS INFORMATION: Would you like to learn how to: Capture emotion on the page? Hook the reader by eliciting a visceral response? Analyze your scenes? Fix scenes that don't work? Increase micro-tension? Add psychological power to a good scene and make it stellar? This power-packed on-line class

This article that I wrote originally appeared on Suite101 Creating an Emotionally Resonant Climax How to Bring a Story to an End There are four steps that can heighten tension and reader interest in the climax of a story. The Beginning of the End is often used to refer to the climax of the story, or roughly the last 25% of the novel (in terms of word count or page count). After building the tension and conflict of the middle of your novel, now you want a strong ending that will grip the reader, then provide resolution and release of tension. Give the Character a Certain Personal Principle It heightens the emotional effect of the climax to bring the character’s principle into the mix. Tying principle with external situations gives life meaning for the character, which can help heighten emotional and psychological resonance between the reader and the character. This is one way a writer can manipulate the reader’s feelings through fiction. Have the Character Keep His Princip

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 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

A few weeks ago, Roxo left this question in the comments section of my Head Hopping article: Hi! Maybe it sounds a little stupid, but my question is: why deep point of view is better than omniscient point of view? In school we don't even learn about the former. It's not that I don't like it, I love it actually (deep point of view I mean) but I would like to know what is it that makes it better than omniscient. Thanks ! I answered in the comments section, but then thought that other writers might also be interested in the answer: Hi Roxo, It's not a stupid question! Deep point of view inserts the reader into the character's body, which often creates a more deeply emotional reading experience and consequently makes the book a bit richer emotionally. Epics told in omniscient point of view tend to be very sweeping in scope but sometimes a little shallow in terms of emotion. Most readers don't realize that the publishing industry has moved more toward deep point of

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

Check out the second part of my two-parter at Seekerville, talking about Strong Emotional Reactions. On Friday, I went into the other TWO of the four different types of emotional reactions and how you can mix and match them to create stronger emotions in your story. Also, check out the comments there--people bring up some good questions and I answer them in the comments. Strong Emotional Reactions, part two

I am over at Seekerville in a two-parter, talking about Strong Emotional Reactions. Yesterday, I went into TWO of the four different types of emotional reactions and how you can mix and match them to create stronger emotions in your story. Also, check out the comments there--people bring up some good questions and I answer them in the comments. Strong Emotional Reactions, part one

This is continuing my series on things to look for in your first page. Click here for part six. Indicate point of view Make it obvious to the reader whose head he/she is in. Don’t leave them guessing—readers want to be grounded in the story as soon as possible. Here is where you can utilize deep point of view and WOW that editor. Drop them into a character’s head—a character who is so fascinating and unique that they’re struck by the vibrancy of the character’s personality or completely relate to the character’s struggles. Use deep point of view to accomplish this. Let the reader experience the character’s emotions, reactions, thoughts. Let the reader cringe or laugh when the character does. Let the reader feel everything that character feels. Let the reader know exactly what the character thinks about the things happening to him/her. Let your reader become that character from the first sentence, until your reader is transformed by the end of page one. Again, forgive me for using my

This is continuing my series on things to look for in your first page. Click here for part three. Indicate the genre When an editor opens your book, he/she should be able to tell what your genre is right off the bat. Genre does not have to be established in the first line, but it should be fairly obvious by the end of the first page. You don’t want to open your story with: The wagon train left a dust cloud that Shep could see from seven miles away. when your story is a contemporary thriller. Use key words to indicate to the editor/reader what genre your novel is. Certain words or phrases are indicative of different genres by tapping associations in a reader’s mind. “Glock” will usually indicate a suspense or thriller or crime drama. “Wagon train” will usually indicate a Western or a historical prairie romance. “Desire” in context will typically clue the reader in to the fact that the story is a romance of some sort. Another benefit of indicating genre in the first page is that it will

Originally this article appeared on Gina Conroy's blog , but a few people were deterred because for some reason the page takes a while to load. So here's the article in full. I run a critique service called the Story Sensei, and I’ve also judged a fair number of writing contests through RWA, in addition to coordinating the ACFW Genesis contest. I’ve noticed a few commonalities in the manuscripts I’ve critiqued and judged, and Gina asked me to share. So here is: The top ten mistakes I see in manuscripts: 10) Inadequate use of point of view. I’m not talking about head-hopping. I’m talking about a very distant use of point of view that doesn’t get the reader into the character’s head or feeling the character’s emotions. For a first chapter, especially, this is crucial. If the reader isn’t immediately sucked into the character’s mind and body, if the reader doesn’t care about the character, they’re going to put the book down. This leads to the next mistake: 9) Inadequat

Action tags can be great for conveying a character’s emotions without actually saying what the character is feeling. This is especially useful if you want to convey character A’s emotions, but you’re in character B’s point of view for the scene. ”You’re a bit red. Are you okay?” “Of course. I’m fine.” He sloshed his straw up and down in his iced tea, making a few drops land on the table. Obviously, he’s not fine, but he’s trying to make the character believe he is. “Mr. Carrisford?” A woman’s voice called behind Jerry and Sue. Jerry’s hand spasmed in hers. However, he didn’t turn around. The woman hustled up to them. “Mr. Carrisford?” She touched Jerry’s arm. He turned to her. “I’m sorry, you have the wrong person.” Here, Jerry’s hand spasming tells Sue something isn’t right, despite what he tells the woman. Take a look at your action tags in the manuscript. Do they do something besides tell the reader who’s speaking? See if you can make them convey emotion in addition to action.

A friend forwarded this website to me that gives a very interesting, visual take on emotions: The Nature of Emotions by Plutchik It's only two figures and they're pretty self-explanatory. I thought this might be a good tool for anyone working on writing with more emotional intensity or emotional subtlety.

The charm he exuded almost overwhelmed her. Anger surged through him, burning behind his eyes. Nervousness settled in her knees, making them wobble. I read these sentences, but I don't feel what the characters felt. The sentences distance me from the characters. One thing the first page has to do is grab your reader and rivet them to the story. One way is to pull the reader into the character's skin. The reader becomes the character, feeling and thinking as if they are that person. They feel what the character feels. This calls for more subtlety and vivid word choices. Describe physical sensations so that your reader will feel it too. There are certain words, turns of phrase, cadences that trigger a similar physical reaction in your reader so they actually almost physically feel what the character feels. I popped the lemon slice in my mouth, biting down hard on the soft fruit flesh, feeling the liquid squirt throughout my mouth, zapping my tongue. Now confess, didn't your

There are certain elements that can slow your pacing too much, especially in Scenes. While none of these are absolute no-nos (there are few rules in writing that are completely unbreakable), most of the time, these things slow pacing too much in a story and gives the reader a chance to put the book down. Too much introspection. In a Scene, give your character a scene goal and make it happen. Don’t spend too much time in the character’s head, ruminating over things. Focus on action rather than thought. You can have the character emotionally react to things that happen in the scene, but keep it short. Save the introspection for the Sequel. Too much backstory. While you might think the reader needs this information about the character’s past in order to understand the scene, most of the time, the reader can figure things out pretty well. Keep backstory to a minimum. Pepper it into the scene in a single sentence here and there rather than having a paragraph or three all at once. See my ar

by Ronie Kendig from Double Crit editing service Joan stared at the device. A bomb. She’d expect no less of those who’d come after her. Would motion set it off? Afraid to move, she prayed. From nowhere, Joshua appeared. He rushed toward the explosive. “I’ll handle this.” He defused the bomb before she could answer. Enjoyable? Fulfilling? I think not. Too often we write deus ex machina into our story—God from a machine (a concept derived from Greek tragedies)—where a hero/god swoops in and saves the day. Maybe that’s our way of trying to protect our character. Have you ever done that? Become so immersed in your story, that an idea pops into your head. And you think, “Oh, that would be very bad. I can’t let that happen.” How do you respond? Do you let the “very bad” thing happen? Or do you pad protective clutter around your character and story, stifling what could very well be a powerful, emotional experience? I say, LET GO! Let your character experience pain. Allow the villain or cir