I had a call yesterday from a writer who wasn’t sure if the story she wants to write will best be told as fiction or memoir. We talked about fear of exposure and how fictionalizing a life story does not necessarily do anything to address that issue. We talked about the kinds of books she loves to read. At the end of our brief conversation, she asked if I had an exercise that would guide her along a discovery process to find her story’s form. I have a simple step, I said, to take you in that direction. Sit down …
Tag: free writing course
NO SLUGS, NO SLACKERS…
Today’s quote comes from Thomas McCormack’s excellent book: THE FICTION EDITOR, THE NOVEL, AND THE NOVELIST. “Character is most keenly revealed when it’s confronted with crisis, hard choices, urgent decisions. Thus, insofar as he’s interested in revealing character, the author’s job is to construct setting and circuitry that will call for decisions, for actions.” When you sit down to write today, ask yourself what your characters want and how far they will go to get what they want? Ask what they do about getting what they want–and also what effect their actions have on others? Finally, ask if the reader …
PLAY IT RISKY
I met Donald Maass last October when we were both among the presenters at the Surrey International Writers’ Conference in Surrey, British Columbia. Not only is Maass a high-powered agent with great marketing advice for writers, he is also a writer who truly cares about other writers, their creative process, and their stories. Read what he has to say about originality and fiction on his new blog at Writer Unboxed–and never play it safe again.
THE BUSINESS OF WRITING -How not to ship your power out with the manuscript.
Over the next weeks I’ll be focusing on the business of writing–building your platform, choosing authentic career strategies, finding the right agent, evaluating your publishing options from traditional to POD to e-books to Kindle. And most importantly, how to hold onto your power and your sanity over the course of your creative lifetime. I’m not going to try to organize these “biz” posts in any particular order. Instead, I’m posting links to sites I already know are useful. And I’ll be on an active hunt to discover new (to me and perhaps to you) resources. If you’re serious about the …
CARTOONS, HORIZONS & OTHER OUTLINES
As part of my family’s spring break, I spent the past few days revising an outline. This novel is already in progress but I’ve been making changes to some of the plot elements and I wanted to “picture” the whole again. I worked up a six-page prose outline. Sure enough, it gave me a new perspective. Still, I wanted an instant picture. My first idea was to use a “horizon” outline. It’s something I do often and it’s simple. I draw a line across a long sheet of paper. I divide the line into thirds to represent the three acts …
THE FORCE FIELD OF RELATIONSHIP
Writers talk a lot about viewpoint characters. The story is told from her viewpoint. Or his viewpoint. Or both their viewpoints. Sometimes we become so focused on maintaining a strict viewpoint, we forget that narrative is about relationships. Relationships. Interactions. Exchanges. Collisions. Between people. And between a person and her world. When you write your next scene imagine an energy field or aura surrounding each of your characters. As you write, put your attention in the space where these energy fields collide. Now imagine an energy field (or a thousand different fields) coming from the physical world–the birds singing …
SCAFFOLD SCENES–Part One
Scenes are basic building blocks of narrative. A scene can be defined as a story episode rendered fully and dramatically in order to make the reader feel she is present and witnessing the action in real time. In effective scenes, things happen and the world shifts. Secrets are discovered. Adversaries are confronted. Revelations arise. Decisions are made. When you write–especially when you rewrite–you should know what each scene accomplishes in your story. Ask yourself what function it serves. Effective scenes do more than one thing at once, but a quick inventory will help you stay on track and in action …
INTENTION & COMMITMENT–YOUR CONTRACT WITH YOURSELF
This post is taken from material I use in my workshop: The 90-Minute Novel. Over the next weeks, as I prepare to teach at the Surrey International Writers’ Conference in B.C., I will continue to post exercises from the workshop. Many of them are applicable to writers of memoir as well as fiction. The Contract: When you sell your book to a publisher, you will be asked to sign a company contract. Now, wherever you are in the process of your new writing project, I am asking you to sign a contract with yourself. This contract means you will:A) Aim …
POWER OF CONNECTION, DISCONNECTION
It took me most of my life to realize I use a conversational style in my household that I call “passing ships”. (Actually my husband pointed it out.) I talk on the move, beginning a question on one side of the house and finishing it on the other. A bad habit, and I’m working to correct it. It is especially interesting because each week I spend hours on the phone talking with clients and I love giving them my full attention. No double-tasking, no daydreaming, just my full attention. And yet I’ve been lazy with my family. I thought about …
QUOTE OF THE DAY
This from Robert Olen Butler’s book FROM WHERE YOU DREAM–The Process of Writing Fiction: “What we need always to be in search of is the way in which a character’s yearning is manifested. Stories are driven forward by causality. All plot comes from the character’s trying to get something, to achieve something, wanting, desiring, longing for something. The complications ensue from the drive of those yearnings and the attempt to get around the impediments and difficulties that thwart desire.”