Story Sensei

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

(This post originally appeared on Suite101, but it's no longer there so I'll post it here. :) Make the Character Proactive Rather Than Reactive Eliminate episodic scenes by giving the character an External Goal, Obstacles against that goal, and Forward Movement in the story. A story is more than just good writing. A story plot must have forward motion and a sense of movement that pulls the reader along. Sometimes writers will get feedback that their story “lacks purpose” or is “episodic.” What exactly does that mean? Episodic Writing is Reactive Writing in Vignettes. A character needs more than just to fall into an alternate world and face Scary Monsters. He needs to have a purpose and doggedly pursue that purpose. If he simply goes from one Bad Thing to another, the story lacks direction. When a character simply reacts to the Bad Things that happen to him, he is being reactive rather than proactive, and that can be boring to a reader. It’s also boring to read a

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

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

I guest blogged about plotting on the blog of my friend Pamela James : My Five Best Plotting Tips for Novelists Thanks to Pammer for letting me guest blog today! Now, just to warn you, not all of these will resonate with you because every writer is different and works differently in how he/she crafts the story. For me, sometimes every story writes itself differently! Oy! But hopefully these tips will help you if you get stuck. Click here for the rest of the article

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."

This article I wrote originally appeared on Suite101. Why Characters Need Super-Objectives for Their Story Arcs External goals are the backbone of your character’s story arc, and they give the reader something active to follow. But what exactly are external goals, and why are they so important? What is an external goal? This has been called by different things: Super-Objectives, Character Purpose, Character Direction, or simply Goal. They all mean the same thing—your character has an overarching objective/goal/purpose for the book that he is trying to achieve. An external goal has a definite ending —a point at which the character knows when he has either succeeded or failed. It can’t be a vague desire or hope. It has to be a concrete, solid, physical something the character is striving for. In Getting into Character: Seven Secrets a Novelist Can Learn from Actors , Brandilyn Collins states the character’s Super-Objective in terms of action . A character’s external goal

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

by Mary Connealy What would Gone with the Wind be like if Scarlett and Rhett had gotten along beautifully from the very beginning? What if Romeo and Juliet had been fixed up by their parents who were close friends? What if Ariel hadn't been a mermaid wearing a girl suit? Would we even remember them, would we have kept turning the pages? Conflict is what hooks a reader and makes the story interesting. If everyone gets along fine, there's no book. A romance novel needs each character to have two conflicts, an external conflict and an internal conflict. Yes, you can have an "it's us against the world" theme. Yes, you can write a book where the h/h are compatible and work for a common goal, but that's not a romance novel—that’s the Peace Corp. If you want to write within the romance formula, get yourself an external and internal conflict. External conflict is the easy one for me. External really is only one because it's the story—the plot—the mess you make tha

I’ve had a couple people ask me about scene goals. Basically, your point of view character should have something they need to accomplish when they walk into that scene. It could have something to do with the character’s External Goal, or it could not. For example, Grissom needs to find Sarah, who’s been kidnapped by the psycho miniature killer (bear with me, I just watched the season premier of CSI). This is his External Goal. But when he goes into the interrogation room to question the suspect, his scene goal is to get the psycho killer to tell him where Sarah is. (For you CSI fans, you know he doesn’t get his information and he fails his scene goal, but he hasn’t failed his Story Goal. Yet.) Here’s an example from Single Sashimi , the third book in my Sushi series (I just turned in the macro edits for this puppy, so it’s fresh in my mind): My heroine Venus is on her way to her cousin’s house to indulge in chocolate truffles. Her determination to have chocolate within the next hour is

Some synopses I read have a lot of conflict against the character, but not necessarily many obstacles against the character’s external goal. There’s a significant difference. The primary conflict and tension in a story should be things that work directly against the heroine’s external goal. They shouldn’t be just annoyances here and there. The conflict should be focused against what the heroine wants to accomplish in the story. For example, Sarah is a pop music singer whose external goal is to get her picture on the cover of Rolling Stone. Her mother’s getting married for the fourth time, and Sarah really doesn’t want to be involved in all the planning for something that will probably only last a year or two. Their strained relationship erupts in arguments every few weeks. Sarah’s dog is sick, and she has to go to the vet all the time. The bills are adding up. This new guy in town is cute, but Sarah’s interested in her career and not a relationship. In the above conflicts, none of them

One of the key elements of a good climax is some sort of sacrifice. The main character sacrifices something precious for the greater good. Whether she sacrifices her external goal, or her life, or something equally important, the climax should see her giving up something that matters to herself. Sometimes it’s to do the right thing—she gives up her external goal or her life in order to do something infinitely more noble. Sometimes it’s because she has no choice—the villain is going to kill someone else or take away someone else’s livelihood if she doesn’t comply. Sometimes it’s more emotional—the hero faces a deep-set fear in order to do something for someone else. Or perhaps the hero takes a risk in order to accomplish something for someone else. Whatever you decide, your character should give up something extremely precious and important at that climax. Why is this important? Because in sacrificing something, the hero has reached the Black Moment, where All Hope Is Gone. And in sacri

Your hero or heroine’s external goal should NOT change during the course of the story. Say at the beginning of your story, Sally decides to unmask a smuggling ring. If she accomplishes it by chapter fifteen and then decides to discover who her real father is, that is a changed external goal. Your character’s external goal should remain the same for the entire story. If things suddenly change at a particular point and the character moves into a different direction for the rest of the book, maybe that particular point is where your story ought to start, and the events beforehand are just backstory. Also beware of more subtly changed external goals. Say Sally decides to unmask a drug smuggling ring. She finds out who’s behind it by chapter fifteen, and then starts investigating someone else who’s using drugs to capture children from the middle school as addicts and additional sellers. Her goal has subtly changed from investigating the ring to investigating drug use in the middle school.

About ten, fifteen, twenty years ago, authors would write a story about a character responding to all the terrible things that happen to him/her. That was fine for twenty years ago. These days, the reactionary character is BORING. Your character shouldn’t simply react or respond to the horrible situations she finds herself in. Your character should be actively working toward a GOAL (uh-oh, Camy said the G-word). Your character should be PROACTIVE. For example, Parson’s daughter Eleanor is invited to her rich cousins’ house for the summer. She has grown up in poverty, and she only vaguely knows her aristocratic distant family. Various things happen that distress Eleanor. Her clothes are laughed at, the servants ignore her, her uncle tries to marry her to his horrible curate, her aunt falls deathly ill, and the boy she loves is in love with her selfish, spoiled cousin Agatha. This version of the story has Eleanor simply reacting to the bad things that happen to her. We don’t know what sh

The key thing an editor will want to know early in the synopsis is each major protagonist’s external goal. This should be obvious within the first 1-3 paragraphs. The external goal must be concrete and specific, not something vague like “Jane wants to become a successful rock star.” A good external goal has a definite end to it, where there is a point when the protagonist knows exactly when they’ve succeeded or failed. An external goal is typically something physical that can be touched or held, although not always. For example, a good external goal for Jane would be “to get my picture on the cover of Rolling Stone magazine” because that’s the point at which she knows she’s become a successful rock star. Then all her actions in the story will be aiming toward that goal of getting her picture there. The goal is not always specifically stated like this in the manuscript. For example, in your manuscript, you might show Jane fingering Rolling Stone and dreaming about her picture there,

Main characters need concrete, physical external goals to carry them through the story. This is different from a character’s desires and motivations. External goals have a definite ENDING to them—the character knows definitely when they’ve either completed or failed at their external goal. For example, Carrie wants financial success. But that’s hard to define. How would she know when she’d achieved it? When would be that moment? But if Carrie had an external goal of paying back the last penny of her business loan before the bank forecloses, that’s definitive. She knows exactly when she’s succeeded—the act of paying the last installment—or when she fails—the bank forecloses. In GETTING INTO CHARACTER , Brandilyn Collins uses the terms “Desire” or “Super-Objective,” but it’s the same thing as an External Goal because she requires that the “Desire” be stated in ACTION TERMS, meaning what the character is going to DO. That’s their external goal.

The Larger Picture and the Smallest Picture, part 1 The Larger Picture: an Overview of Character, Setting, Story Let's look at the big picture. Each story has a few basic components. Focal Character: The focal character or Protagonist has something to lose or gain, something at stake. The reader cares about what happens to her, what choices she makes, what results from those decisions. Setting: The reader experiences each scene through a viewpoint person's senses: sight, sound, touch, taste, smell, AND emotion. This creates richness, color, realism and mood in your setting. Viewpoint character is not necessarily the focal character. For example, the heroine (focal character) is Betty, with an abusive past. The viewpoint character is her friend Lisa, visiting Betty's parents' home for the first time: Lisa gaped at the tall columns flanking the double front doors, as white as sand on a tropical beach, reflecting the bright sunlight. Color burst from the fl

As writers, we all want to write a story that hooks a reader and drives them to keep turning the pages. There's no magic formula, but there are some aspects of story structure that can help a writer craft a compelling story rhythm and pace. In a story, Change creates danger, which creates fear, which creates tension. And that hooks your reader. Readers are satisfied in a story where a protagonist's behavior causes the outcome. He is thrust into danger. He strives to overcome and proves to the reader whether he deserves to win or lose. The end is the result of his own choices, his own actions. He takes the consequences or reaps the victory of his decisions. Character strategy: A story is change, both internal and external. Events change (external). The character changes (internal). Your character has to do something . A character who just reacts to external events is boring. Your character should desire to get from point A to point B, and makes certain decisions to get

Continued from Beginning Your Novel, Part 1 d. What's going on? Show things as they happen. There should be that sense of immediacy in your writing that draws the reader into the scene. Face someone with opposition, conflict. This is a surefire way to capture attention. You don't need to explain why or what happened before the action--that can come later. But start with two opponents--one with a goal, one opposing him. For an opening scene, find something a little more self-explanatory, something that doesn't need a great deal of backstory, so you don't confuse the reader about who and what's going on. The important thing is to bring the character in with action, movement, opposition. e. Who--Which character's point of view? Usually this is the first person's name that appears, although not always. Establish point of view character as early as possible. The first time point of view character is mentioned, first and last name is acceptable: An