Story Sensei

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 is continuing my series on things to look for in your first page. Click here for part one. Figure out where to start your story You don’t need cars blowing up or gunfights or a grotesque witch dying a horrible death to open your story (although if you do have those things, that’s a good thing, too). All you need is something different. You need something unusual happening that will perk your reader’s attention. You need something disrupting the character’s normal life. You need just the intimation of some type of change or upheaval. This means you don’t start with backstory or telling or explanations about who the character is and why they’re there and what has happened to him before this scene. You start with the action spurred on by Change in the character’s life. I’ve seen too many manuscripts that started in the wrong place. The character’s “ordinary world” is introduced, but it’s not an active, engaging opening for the story. You need to start with the change to the characte

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

This article originally was published on Suite101. How to Plan a Character’s Journey In popular fiction, every protagonist goes on a journey, whether physical or emotional. In Techniques of the Selling Writer , Dwight Swain wrote, “Anything endangering survival or happiness creates fear.” And the point of creating fear is to introduce tension. Tension is what hooks readers. A protagonist’s character arc should progress from happiness to fear to tension (for most of the book) and back to happiness. It’s cyclical. Create a Short Setup This establishes who the character is before the events of the story. A writer should show what the character desires, what constitutes happiness for the protagonist. Keep this section short, or incorporate the information within the action of the first chapter or two. Most editors prefer a quick start to the story. Hit the Protagonist With the Inciting Incident Also called the Catalyst, this is an external event that propels the charact

One of the Steeple Hill editors forwarded this link to an article on Episodic Writing that is simply fabulous: Plotting Problems - Episodic Writing

This article I wrote originally appeared on Suite101. The Factor That Keeps the Character in Trouble Every story needs a firm reason the character can’t just walk away from the story trouble. This is called the story crucible. If a character is able to walk away from the story problem at any time, readers will feel dissatisfied with the story premise. The character needs a solid reason why he struggles on and doesn’t just take the option of giving up. The Crucible Has to be Something Vital at Stake. The character cannot continue with his external goal simply because he’s too stubborn to give it up. There has to be more at stake for him. Someone’s life has to be in danger, whether figuratively or in actuality. It could be the character’s life or it could be someone the character cares for. There’s something vital on the line that can’t be ignored or sacrificed. For example: In the movie and series Buffy the Vampire Slayer , Buffy is the Slayer, the chosen girl who has po

Your main character’s story problem should be a big enough problem to carry them through the entire story and not be resolved until the climax. If the story problem resolves in the middle, it’s not a strong enough problem. For romance, you also want strong conflict between the hero and heroine so they can’t get together during the story without some serious consequences. There has to be some type of relational conflict keeping them apart. For non-romance, there should be strong conflict between the protagonist and an antagonist. Again, it should be strong enough to keep them from resolving their differences halfway through your story. They should be pitted against each other—with good reason to fight each other—all through the book, not resolving their differences until the climax. The story problem should be deep and personal. Beyond external events, the characters have deep motivations that drive them to fight each other. My friend Janet Dean quoted me this, which she got from bests

Clichés are not just in phrases (“he ran his fingers through is hair,” “her heart pounded”). Clichés can be larger scale—your characters, your setting, your plot premise. The problem is that often, these larger scale clichés are not so easily realized. For example, there are a LOT of pastor heroes in Inspirational romance. Editors were commenting that they’d like to see less stories with pastor heroes. However, as a writer, unless you heard the editor say this at a conference, you wouldn’t know. So how can you find these things out? You should be reading extensively in the genre in which you’re writing. Why? So you can discover what’s already been done in your genre, so you don’t repeat it. If you haven’t read many Inspirational romances, but you’re targeting Steeple Hill, you wouldn’t know that there have been a lot of pastor heroes in the past few years. However, if you’ve been reading Steeple Hill novels, you would know that. You don’t have to read every single title that comes out,

Your plot should have a definite inciting incident that signals when the story begins. In Pride and Prejudice by Jane Austen, the inciting incident is when Mr. Bingley moves into the neighborhood. In Violet Dawn by Brandilyn Collins , the inciting incident is when the heroine discovers a dead body in her outdoor hot tub. In The Restorer by Sharon Hinck , the inciting incident is when the heroine is suddenly transported into an alternate fantasy world. In Over Her Head by Shelley Bates , the inciting incident is when the heroine discovers the body of a drowned young girl the same age as her own daughter. In Split Ends by Kristin Billerbeck , the inciting incident is when the heroine moves to Los Angeles to become a successful hairdresser. In The Reliance by M.L. Tyndall , the inciting incident is when the church is blown up and the hero believes his wife was killed, when in reality she’s been kidnapped by pirates. In each of the above examples, something has happened to change the

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

Even if you’re a seat of the pants writer, try doing a sketchy outline. Many of my friends sell books on proposal, which means they write three chapters and an outline of the book, not the entire manuscript. When their publisher okays the proposal, they write the book based on the outline. Sometimes the book changes from the outline, but just having the outline can help a writer focus their story better. A sketchy outline can be as simple as four sentences— One sentence for the character’s beginning world, and the inciting incident that starts them on their external goal. One sentence for the middle, and the kinds of things that will directly obstruct the character’s external goal. One sentence for the climax and the black moment. One sentence to explain how things wrap up at the end. See? Very sketchy, and very simple. Yet sometimes even a sketchy outline will help a writer in amazing ways as they write their book.

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.

When I took a seminar taught by New York agent Donald Maass, the one thing I took away was that most of the manuscripts he sees don’t have enough Conflict with a capital C. There are lots of ways to increase conflict, but the biggest is to make it the climax of your story. It’s easy to do—ask yourself, what’s the absolute worst thing that could happen to my character? Then have it happen and ruin your character’s life right at the climactic moment near the end. I can see you cringing, but it must be done. Grow a backbone. Sock it to your character. If your heroine is afraid of death, have it stare her in the face in the climax. If your hero wants to save his ranch, have a tornado destroy it. If your heroine needs a heart transplant, have her donated organ arrive unviable. If your hero is trying to catch the serial killer, have him realize he’s been after the wrong suspect the entire time. Be brutal! Be ruthless! Be evil! You’ll discover how absolutely GREAT your book’s climax can be if

What in the world are "pantsers" and "plotters"? There seems to be lots of discussion on the web about the two different writing styles, "pantsers" and "plotters." There are "pantsers" who write off the seat of their pants--they have the important aspects of the plot in their minds, and they write to see how the story unfolds. They are also known as “fly into the mist” writers. Then there are "plotters" (sometimes affectionately termed “plodders”) who outline everything beforehand so they know what they need to accomplish in their chapters as they write. Some people are a little bit of both. Ultimately, whichever writing style you choose is based on your personality and preference. When I first started writing, I was a "pantser". But as I wrote more, I experimented with "plotting" and discovered that style enabled me to write my personal best. Plotting became a painful but necessary process for me

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

The middle of the book is a series of "scenes" and "sequels" as discussed earlier in Scenes and Sequels . It's action-reaction. The important thing to remember is that those action-reaction scenes-sequels should be carrying the protagonist forward toward the climax. The middle can be broken down into: --Protagonist breaks down his over-arcing external story goal into a plan of action. For example, Joe needs to solve the murder case, so his plan of action is to first question the prime suspect, the victim's wife. --The protagonist's plan-of-action goal is thwarted somehow. The Mrs. is missing. --The protagonist changes his plan of action and continues forward. --Rinse and repeat. Here are a few guidelines for the middle section: 1) Every scene should be important. Everything that happens--every piece of information the characters learn, every obstacle, every conversation--should have the primary purpose of propelling the story toward the c

In my previous article " The Sagging Middle ," point 3 is to make things worse. There are lots of things you can do to make things worse, so I separated them into a separate article. a) Complicate, don't just delay things. Make sure that each obstacle is really an obstacle, not just a delay of the forward action. Each obstacle should somehow change something for the character. For example, say the heroine needs to drive to the next town for an interview. Her car dies. She phones the hiring manager and explains, and he reschedules her interview. In this instance, the obstacle doesn't change anything for the heroine. It's only a delay of the action. However, say the hero shows up in his tow truck and the heroine recognizes him as the guy she stole her car from. Suddenly the scene has turned into a complication. b) Create a powerful crucible. A crucible is the term used to describe the physical event or emotional relationship that keeps the character movi