Story Sensei

Cynthia asked: I have read articles, but this is unclear...how should scene/sequel progression relate to chapter breaks, or does it at all? Camy here: Good question! I’ve had a few people ask me this question lately so I thought I’d post the answer here. I usually go by page count for my chapter lengths, and whatever— Scene or Sequel or both—fits into the chapter is what I include. My chapters are typically 8-12 double spaced pages long. My Scene/Sequel progression usually depends on: 1)the length of the Scene or Sequel 2)what’s going on in my storyline 3)if the Scene or Sequel ends with a good hook If the Scene or Sequel is long, I might only have the one Scene or one Sequel in my chapter—I look to see if my chapter is between 8-12 pages. If one Scene or one Sequel makes it less than 8 pages (like, say, only 6 pages), then I’ll include the next Scene or Sequel. If adding another Scene or Sequel makes the chapter significantly longer than 12 pages, I might instead inclu...

This is my fifth year coordinating the American Christian Fiction Writers Genesis contest for unpublished writers! We just went live yesterday! Deadline is 8 a.m. Pacific Standard Time on March 31st, so get your manuscripts polished so you can enter! Actually, enter by March 15th in case your entry gets lost in cyberspace, so we have time to find it. You must be an ACFW member to enter the contest, but you can join when you submit your entry fee! If you're thinking seriously about being published in Christian fiction, ACFW is a fantastic organization! Here's the website: ACFW Genesis contest

Brenda asked: I have a quandary.  I have a scene in which two characters are speaking, both of whom are not English speakers, but of course, since it would be meaningless to have a page of dialogue the reader can't understand, it is written in English.  In this story's case, it's a historical, the speakers are Apaches.  Traditionally, historicals featuring a scene like this would write the dialogue in choppy, stilted English.  But this doesn't make sense to me.  The scene is in the POV of the Apache, and while I wasn't in that time period, I view it much the same as if you walked in on someone having a phone conversation with a friend in a rapid exchange of Spanish, French, German, what have you.  They are not stumbling over their words.   On the other hand, I'm not sure if I should assume the reader "gets" that these two Apaches would be speaking in their own native tongue.  And someone suggested to me to use the stilted English, which doesn't...

Joy asked: I thought to start my fiction (novel) while I'm on a holiday break. I'm conceptualizing some ideas and taking down notes for a chicklit story. I Love chicklit genre.But my dilemma is about the setting. Did it ever happen to you that you based a setting of your story in a place where you've never been before? The last time I was in the US was in 1999. A part from the fact that my memory is kinda rusty and needs fine tuning from time to time, I also didn't pay attention to take note of specific details about the stores, where to go, sights to see. I was just overwhelmed with my new environment and ofcourse homesickness. Currently, I'm based in Croatia ( Southeast EU), but as a background setting, I'd like to mention about the main character based in the US. Should I be very specific about the place in the US? If anything else, I've got friends from the US who can guide me through this. I don't know if I'm making sense here. But I...

Jeris asked: I'm in the process of formatting my novel and need to know whether the entire manuscript is saved as one file or separate files within a folder. I started to save it as one file, but realized the header wouldn't be correct--"Chapter One" wouldn't work with the other chapters. Any advice is greatly appreciated. Also, are there any helps when using Word 2007? Camy here: Yes, your entire manuscript should be saved as one file. That will make it easier for an editor or agent if they want the electronic version of your manuscript. Some agents/editors actually prefer the electronic version, although some want the electronic version as just a supplement to the hard copy version, and they ask you to send both. Your header should simply be your name, the title of the manuscript, and the page number. Check out my manuscript formatting article for more info on that. Don't put the chapter number in the header. For Word 2007, I have found a lot...

(This was originally posted on another blog but I'm reposting it here.) I’m a HUGE Star Trek Voyager fan (I watch the reruns on SpikeTV). I really like the character Seven of Nine. For you non Star Trek fans, Seven is a human woman who was a Borg (mindless cyborg) for most of her life, but Captain Janeway rescued her from the Borg collective and is teaching her how to be an individual. Much of her storyline is Seven learning to be a unique individual after being just like all the other mindless, unethical Borgs. Sometimes the situations she gets herself into are humorous, other times they are heartbreaking or bittersweet. Seven is a good example of a character who is unique. She has two aspects her character that make her so unique: (1) Her backstory as a Borg is very unusual and (2) her striving to become someone different gives the audience something to root for. Her goal of overcoming a complete LACK of individuality is a very different sort of character arc. Seven...

Roxo said... I was wondering lately if a two character book would seem boring. The story is about a girl who wanders in the forest with this boy. I have other characters but they appear sporadically even if they contribute to the way the story goes. Should I add someone with them just to make the plot less centered on just two characters? Camy here: I’m afraid there’s no really good answer for this. It all depends on how you envision the story. It’s good that you have other characters who appear sporadically, because they can serve to add more conflict and obstacles to the characters’ goals . If it were purely the two characters, I would say you definitely need more characters, if only to keep the conflict from becoming too much of the same kind of interactions. I’m not sure how far along you are on the manuscript, or if you’ve already plotted the entire thing out or if you’re discovering the story as it unfolds. If you’ve plotted it all out already, look and see if you actua...

(This was originally posted on another blog, but I’m reposting it here.) Okay, don’t hate me, but I love New Years resolutions, even though I don’t always keep them. I love resolutions because they make me feel positive about a new, fresh start; a whole year of possibilities! I also talked to a friend today who said that resolutions work better when we don’t overload ourselves with them. For example, if we give ourselves too many resolutions, we’re less likely to keep any of them, whereas if we give ourselves just one, specific resolution, our brains are more likely to keep focus and keep the resolution. The key, I think, is a resolution that is very specific and practical. Rather than being vague like “I’ll write a book this year” or “I’ll finish this manuscript this year,” we should instead break it down into a resolution that is even more specific and concrete, and which is also practicable for our busy everyday lives. Let me repeat that—practicable for our busy everyday liv...

I love the Edittorrent blog, and Alicia Rasley posted this one that I thought was a really good post for those of us who incorporate humor in our fiction: I was reading Fearless Fourteen by Janet Evanovich, and I realized that one reason she's so popular with her readers is that she knows what's fun and spins it out to an enjoyable length. She doesn't just allude to it-- she exploits it. Click here to read the rest of the post

(This was originally posted on another blog, but I reposted it here.) I wanted to talk about conflict today, because we all could use more conflict in our lives, right? Especially now that it’s December and Christmas is around the corner? (Breathe ... breathe ... I’m just kidding! I mean, I’m kidding about us needing more conflict in our lives, not about Christmas being around the corner. And if you’ve still got your head stuck in the sand of denial about Christmas—you have only nine days left, sugar. Get cracking.) Anyway, one of the best things I picked up from a Donald Maass seminar was his injunction to add tension to every sentence on the page. Yes, you read that right. Every sentence. Okay, real world application: I typically can’t add tension in every single sentence, but I definitely try to add tension in every paragraph. And I aim for tension in every sentence as much as I possibly can. Why do we need more tension and conflict? Because the reality is that conflict is what keep...

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...

Camy here: I'm especially pleased to post this excerpt because I'm in this book, too! I have a piece on finding and developing your writer's voice, that elusive "something" in your writing that makes the piece uniquely yours. I hope you guys enjoy this excerpt enough that you'll buy the book! All proceeds from this book go to charity. A Novel Idea Tyndale House Publishers, Inc. (November 1, 2009) by Various Best-Selling Authors (contributions from best-selling authors including Jerry B. Jenkins, Francine Rivers, Karen Kingsbury, Randy Alcorn, Terri Blackstock, Robin Jones Gunn, Angela Hunt and more) ABOUT THE BOOK: Best-selling Christian fiction writers have teamed together to contribute articles on the craft of writing. A Novel Idea contains tips on brainstorming ideas and crafting and marketing a novel. It explains what makes a Christian novel “Christian” and offers tips on how to approach tough topics. Contributors include Jerry B. Jenkins, Karen Kingsbur...

This article that I wrote originally appeared on Suite101 Heighten the Climax By Resolving Subplots Tie Up Threads Before the Last Section of the Novel Simplifying the plot by tying up subplot threads can make the climax more emotionally heightened. Subplots are wonderful things. They can help the reader better understand the characters by showing them in various situations and how they react. Subplots can also complicate a plot and help it take its meandering way to the climax. But there is also one trick many novelists use to make the climax of the novel more emotionally intense, and that is to tie up subplot threads beforehand. Complicate, Then Simplify Take advantage of subplots that enhance and complicate the plot. It makes for more interesting reading and your reader won’t be able to put the book down. However, as you build toward the climax of the book, strip away the subplots so that only the climax problem remains or any minor subplot threads that directly rela...

This article I wrote originally appeared on Suite101. Eliminate Repetive Scenes Rehashing Information May Cause a Sagging Middle in Your Novel Utilize a scene index to look at your novel’s story structure and identify possible repetitious scenes to beef up the pacing. Many times, writers will be able to see that their middle “sags,” or the pacing slows in the middle portion of the novel. There are several ways to avoid the sagging middle , but often the problem can be some repetition of information. Identifying it, however, can be difficult when faced with searching a 100,000 word manuscript. Utilize a Scene Index For each scene, skim the scene and jot down key elements: Pertinent information to the plot that is revealed Key character emotions that are uncovered or hinted at Changes to the character that results in different decisions New developments or plot twists New characters introduced Character backstory that is confessed or discovered Many times, writing ...