From October 23 to October 27 I will be presenting at the Surrey International Writers’ Conference, just a few miles outside Vancouver B.C. I hope to post while I’m there, and I look forward to sharing the highlights on this blog. Wishing you free flow and abundant creative energy.
Sarah’s & Cynde’s Blog
CREDO — IN LIFE, IN FICTION
Credo (Latin for “I believe”) is traditionally a statement of religious belief. It is also a statement of personal belief, whether you subscribe to a religious tradition or not. If you’ve listened to any of the personal essays from the long-running public radio series, “This I Believe,” you’ve heard a variety of credos. For writers, credos are especially powerful. The act of penning your credo on paper will remind you of your deepest beliefs. These are the beliefs that inspire you to write. You may have done this before; if so, you might be surprised how many writers have never written …
MAKING HEADLINES!
I learned one my favorite writing “tricks” from Charles Dickens, who often published his novels in installments. He used chapter headings, or, what I call headlines. Open OLIVER TWIST to Chapter 6 and read: Oliver, Being Goaded by the Taunts of Noah, Rouses into Action, and Rather Astonishes Him. Or Chapter 32: Of the Happy Life Oliver Began to Lead with his Kind Friends. But page forward to Chapter 33: Wherein the Happiness of Oliver and his Friends, Experiences a Sudden Check. And near novel’s end: The Pursuit and Escape. When I’m writing my first draft, I aim for scene …
ACTION–OBJECTIVE–PARITY!!
My previous post focused on a character’s action-objective. Now, I want to expand the discussion and consider action-objective in terms of parity. In physics, parity may be defined as an intrinsic symmetry. In terms of narrative, parity means equality. It means that you, the writer, know and understand the motivation and objective of the viewpoint character and the important non-viewpoint characters in each scene. You know what they want and why. And if you don’t know what and why yet, you discover it. For example: Say we are writing a scene from the viewpoint of Jane, a 37-year-old singer, who is engaged …
ACTION———-OBJECTIVE!!!!!!!
Writers have much to learn from actors. Actors are trained to take action in every scene. They have a main objective–win a first date, force the bad guy to show his hand, sweet-talk the doorman, seduce a rival’s hubby–and they pull out all the stops to achieve it. The objectives in each scene build toward the big story objective. If the big story has the requisite conflict, you’ll find conflict in every scene–in the form of obstacles that stand in the way of the actor achieving her goal. Obstacles may be environmental, intrapersonal, and/or interpersonal. For now, let’s focus on …
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 …
QUOTE OF THE DAY–TRUE CHARACTER
Today’s writing quote, one of my favorites on character, comes from Robert McKee’s powerful book STORY: Substance, Structure, Style, and the Principles of Screenwriting. “TRUE CHARACTER is revealed in the choices a human being makes under pressure–the greater the pressure, the deeper the revelation, the truer the choice to the character’s essential nature.” Whether you are writing a screenplay, novel, play, or memoir, I believe the quote holds true. Think about people close to you, think about yourself, think about your characters–and now make a quick list of defining, revelatory choices made. What was the context of the choice? What …
NIGHT SWEATS
A writer friend confides that he suffers from nightmares as he nears completion of his first novel. “I wake in a cold sweat,” he confesses. “What if it’s not good enough? What if it’s no good? It’s like one of those dreams where you show up naked for the final exam. I didn’t used to be this scared–I didn’t doubt myself.” After we talk for several minutes, we agree the dreams, however uncomfortable, are a good sign. He is about to share his novel with a select audience of first readers, and he will be asking for their feedback. The …
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.”