Category Archives: Story Structure

Let’s Roll the Magic Story Cubes

Happy Friday, friends. Casey here.

Writers are often asked – “What inspires you?” In the past, I’ve shuddered at the question largely because, to non-writers, we seem to have some kind of magical powers. That the universe has blessed us with a special gift that enables us to come up with more ideas than everyone else.

Rory's Story CubesWell, surprise. We don’t have magic powers or a special gift from the gods. Most of the writers I know don’t suffer from a lack of ideas. In fact, we often have too many ideas zipping around in our heads. Why is that? I’ll get to that in a second.

For me, I have loads of ideas for stories. Tons of them. Sadly, most will never see the light of day. There isn’t enough time to fully explore them all. And not all of the ideas are good ones. So, the stories that do get written are the ones that stay with me. The ones where the characters rap me on the noggin’ and say, “Tell my story. Or else.”

So back to the earlier question – why do writers seem more inspired than the average bear?

Here’s my theory – everyone, and I do mean, everyone, has ideas all the time. Most people are afflicted with “adulthood.” They’ve repressed their childlike sense of wonder. There are too many reasons to list why this happens (life happens: family, kids, work, or they have loads of doubt or maybe they don’t care – take your pick).

One of the things I had to learn was to not ignore ideas. To seize them no matter how crazy they sounded. To not over-think them or talk myself out pursuing the idea. Hey, it’s okay to let your imagination run herd. Just do it!!

With that said, while I have no problem with coming up with an overall plot, I can get stumped with actual circumstance (i.e. scenes). And I’m always worried that I might repeat myself and rehash the same ideas over and over. And, really, who wants to do that? Not me!

Then one day, Chuck Wendig (Terrible Minds)  ran a blog post about Christmas gifts for writers. One of the gifts was Rory’s Story Cubes. Designed to be a game for kids, it’s basically a set of dice with pictures. You roll them, then make up a story. And the best part, anyone can play. Anyone (yes, even us jaded adults).

How fun does that sound??

I think it sounded pretty cool. So when I happened upon a set in Newbury Comics, I ponied up the $9.99 and brought them home. And if you don’t want to have physical dice, yes, there’s an app for that. Rory’s and other story dice apps are available at iTunes, Amazon and Google Play (just search under – story dice).

My plan is to use them whenever I find myself trying to spice up a scene or re-work a plot point.  So, while writers don’t invoke magic powers, we can roll story dice and see what comes up.

Who wants to play?

I’m rolling four dice . . . and go! Tell a story that connects each dice, starting with Once Upon a Time  or In a Land Faraway or whatever floats your boat. . .

photo (3)

(In case you can’t see the images – frowny face, bridge over water, sheep, alien).

Have fun! 

The Pixar Universe

Hello Scribblers!  I’m so sorry I nearly missed two Saturdays in a row, but we spent both days in the family truckster hauling our way to the beach and back!  But I wanted to take a minute and give you all a link to a BRILLIANT thesis.  If you like Pixar movies, or you are a parent who has seen every one of them 437 times, this year, then this link is for you! 

In this long but interesting thesis, Jon Negroni ties all of the stories into the same universe and gives a plausible reason for why and how they are connected.  From a story-telling perspective, this is a really cool, and complicated idea.

Here’s the link to the original theory.  Enjoy.

Starting Over

Welcome! It’s another steamy Tuesday in the Berkshires. My garden is well in bloom and loving the sunshine, warmth, and afternoon thundershowers.Garden

PJ here, and I am about to embark on another journey–both on and off the page. I’ll be leaving next week for Atlanta for the National Romance Writer’s Convention. I look forward to filling you all in on the action while I’m away (check out tweets by following me @pjsharon and using hashtag #rwa2013, or catch up with me on Facebook @pjsharonbooks for pics of who’s who and what’s happening). Although I’m looking forward to all the workshops, networking, opportunities, and fun with my writer buds, what I’m most looking forward to is a boost of enthusiasm to dig into my next project, book three in the Chronicles of Lily Carmichael trilogy. Though conferences can be exhausting, I always come home energized and raring to write, so the timing couldn’t be better.

Most writers will agree that the happiest words we write are “THE END.” At the same time, I think many will also agree that the most daunting words we write are “Chapter One.”

It’s hard to believe I’m starting over yet again. I can honestly say it’s still as bitter sweet and anxiety provoking an endeavor as I have ever faced. Sitting in front of a blank page can be the most exciting moment for a writer, or the most terrifying—usually both in equal measure for me. So here I find myself having to put another 80,000 or more words on the page in some semblance of an entertaining tale. Being that this will be the final in a trilogy, I have a lot riding on making this my best story yet. As added pressure, I need to write it and publish it in the next nine months so as not to lose readers who are awaiting the final installment, and to meet the general standards of the publishing industry. It’s tough out there, and to compete in such an overcrowded market, I have to continue to produce quality fiction in a timely manner. That’s the business woman in me speaking—the grown-up.

But when I break down the details of all that needs to go into making that deadline, I immediately want to take another week off and rest up a bit more (my inner teen in total rebellion). “It’s summer vacation,” she whines. “All work and no play…,” she cajoles. I let her have her way for another day and then my inner mom grounds her and takes away her TV until she gets that blog post done and starts outlining her scenes. It’s hard being the grown-up, but somebody’s got to do it.

Since I can ignore the publishing/promo part until about 3-5 months out from deadline, I can focus just on the task of writing the book. Easy-peasy, right? I’ve done this a few times before. A thousand words a day and I’ll have my first draft done in three months. That leaves six months for multiple edits and all that goes into polishing a manuscript before it goes to print. I don’t know about you guys, but each book has been a completely different process for me. Hopefully, my process has evolved enough that this time it will be easier. Of course, this is my first trilogy so that makes it more complicated…a lot more complicated.

I have tons of loose ends to wrap up and have to find ways of weaving bits of backstory in so readers aren’t totally lost if they missed something in WANING MOON or WESTERN DESERT. I have to up the stakes, force my characters to face their demons, and carry them through their arc to completion in this book. They must overcome their fatal flaws, win out over the villain, and find their hopefully ever after, maybe even saving the world while their at it. I could easily stretch this into a series of four books, but since I marketed a trilogy, I’m stuck, LOL. So a lot of what I’ need to do in the planning is narrow my focus to what absolutely has to happen in this book. There will be NO tangential literary diversions!

Luckily, I have a lot of tools to get me started and keep me on track. Casey Wyatt has outlined her method, which appears very straight forward and doable. I am anxious to try her approach, although I’ve learned from so many other great teachers in this business that my process will surely be a hybrid of hers, theirs, and mine. A quick breakdown of my plan looks like this:

1) Summarize the story/create tag line- I totally agree with Casey on this one. It is really helpful to understand the bare bones of what your story is about before jumping in. It saves a lot of writing in circles and editing later.

2) Identification of characters-I know Casey likes a very superficial view at this point, but since I’ve already written two books about these characters,  I’ll use this step to update and add details to my Series Bible (a notebook I developed to keep character traits, appearance, weapons, and world building details straight). I will also take time during this step to begin working on my character grids (outlining each character’s internal and external goal, motivation, and conflict, the inciting incident, fatal flaw of each character–what they must overcome within themselves to find their HEA). By now, I should know my characters well enough that these questions shouldn’t be too hard to answer.

3) Three Act Story structure-Like Casey, I learned the three act play story structure that outlines the beginning, middle, and end of every story, but after taking a Michael Hague workshop several years ago, I had the opportunity to delve a little deeper into how to progress through those three acts. His technique helped me to better understand the structure behind the stories we create. He breaks  it down into stages consisting of SETUP, NEW SITUATION, PROGRESS, COMPLICATIONS & HIGHER STAKES, the FINAL PUSH, and the AFTERMATH. He also taught me that pacing is controlled in part by appropriately placed turning points (a sure cure for the sagging middle). The first turning point, he describes as the OPPORTUNITY (aka: inciting incident), followed by a CHANGE OF PLANS (aka: call to action), POINT OF NO RETURN (about half-way through), MAJOR SETBACK (Dark Moment), and CLIMAX. Working this all out on index cards, a poster board, or in an outline combines Casey’s step four (the meat and potatoes of plotting), and step five (scene development on index cards).

Being a pantser by nature, all of this plotting, planning and prep work requires a bit of self-discipline and a tight rein on my inner rebellious teen, who would like nothing better than to jump in and write willy-nilly in complete denial of the consequences (such as dead ends, tangential diversions, and lots of unnecessary editing later on), but it’s a good thing that grown-up me is in control, right?

Hmmm…maybe I’ll just wait to get started until after I get back from Atlanta. After all…it is summer vacation and all work and no play…well, we all know what that does. I hope to see some of you at the conference!

I’d love to hear your feedback on my plan. Any tips, suggestions, or questions are welcome.

Cliffhanger or happy ending?

PJ Sharon, here to hang with you on a rainy Tuesday morning. And speaking of hanging…I thought I would pose a question to you, my faithful readers, writers, and book connoisseurs.

When reading a trilogy, do you like the second book to end on a happy note, satisfying our endless appetite for romance, or do you prefer the cliffhanger ending that leaves you breathlessly awaiting the next book?

For me, a good cliffhanger gets me every time. Don’t get me wrong. I love romance and I live for the HEA endings that are a hallmark of all my favorite books. With a trilogy, however, I expect my HEA to make its appearance in the final installment. In books one and two, I want to be led on the merry chase. I want suspense! Will they get together, or won’t they? Will everyone survive, or will someone be killed off? I think there can be–and should be–a complete story arc in each book, but the over arcing theme of the trilogy requires phases that bring your characters one step closer to their happy ending–just not too soon. Each book in a trilogy needs its own goal, motivation, and conflict, and we expect some resolution to come at the end of each book, but how much resolution is enough to be satisfying, and how much should be left open for book three? These questions are for professional research, of course. I’ve rewritten the ending of WESTERN DESERT, book two in The Chronicles of Lily Carmichael, four times! I so want to get it just right before I release it on the 24th of this month and dive into book three.

The word famous novelist hard at work on his next bestseller!
The word famous novelist hard at work on his next bestseller!

How do you all feel about it?

Rest in Peace, Duchess

Hi, Scribettes and Scribes. Suze here.

Jeanne Cooper 1928-2013
Jeanne Cooper 1928-2013

I was going to talk about my recent trip to St. Louis today, but yesterday’s news made me think about something else. Jeanne Cooper, the matriarch of my favorite soap opera, The Young and the Restless, has died. I don’t know if the part will be recast. On one hand, no one can replace her. Jeanne Cooper was Katherine Chancellor (on screen, anyway), and I for one would have trouble accepting anyone else in the role. On the other hand, the longest-running storyline is the feud between Kay Chancellor (her son Brock always called her Duchess) and the wonderful, scheming Jill Foster Abbot, and that’s always been the pivot point on which the whole show turns. Without Kay, we’re going to feel lost for a while until we get our bearings and see which new direction the show will take.

As writers, we can learn so much about plot and character from the soaps. One of the brilliant things the writers of Y&R did in the beginning was to give Kay some pretty big and scary demons. Her husband was in love with a much younger woman (the aforesaid Jill); Kay became alcoholic; she killed her husband in a deliberate car wreck where she intended to kill herself too, but instead survived. This formed the basis of the conflict between Kay and Jill, and although there have been times when they’ve reconciled (at one point, it looked like Jill was Kay’s daughter given up for adoption. This was later proven false), that underlying hatred of each other was always there. And when things got bad for Kay, the writers could always make it worse and send her back to the bottle so she’d have yet another internal/external struggle.

We hear so much about GMC–Goal, Motivation, Conflict. Well the Kay Chancellor storyline (click here for the Wiki article, if you want to read a synopsis) illustrates that beautifully. And as for plots, of course they’re outrageous. That’s why we love the soaps! But notice how every single episode ends on a hook, and there’s a bigger hook on Friday’s show to bring the viewer back on Monday. While your plots might not take the crazy twists and turns of a soap story, every chapter should end on a hook, big or small. Every book should end making the reader satisfied but wanting more (your next book). And if you ever need inspiration on how to throw rocks at your characters (remember the classic advice: Run your character up a tree. Throw rocks at her. Get her back down.), nobody throws rocks like the writers of soaps. Abducted by aliens? Secret babies? A long lost twin back in town and bent on revenge? Why not?!

So tell me. Do you love the soaps? What’s your favorite show (whether or not it’s still running)? What character keeps/kept you coming back for more and why?

But wait …!

This is the TVholic’s strategy for sagging middles

Hi everyone. Thea here today, but really, as you read this, I’ll be in KC at the RT Booklovers’ Convention and not in my usual position, rooted at the end of the couch, with tv on and WIP at the ready. So forgive me if I’m not posting an immediate response. (Full report on the conference to come, of course.)

So I want to talk about sagging middles — the kind you delete with a key stroke (oh, if only — ). I’ve said during workshops that “what if” is your single most powerful writing tool. Anything can happen in “what if.” It’s no-commitment plotting. It frees your mind. You can let go, make lists, let them take you to the most improbable plot places.

But wait …! It would be even more productive if at the moment when the plot seems to be chugging along, you stop yourself with those words. But wait …! The juicy incentive used by telemarketers to make you buy (can you tell I watch too much tv?). But wait — maybe your reader isn’t buying a smooth, unfurrowed plotline. Maybe your reader is waiting for something juicy to happen.

But wait …! What if your characters are afraid of losing something? (Love, fame, fortune, respect, family secrets, inheritance, friendship …) Make them lose it. Ask what lengths they’ll go to to get it back. What they’re willing to risk.

Because the more they risk, the more that stands in their way, the more conflict, the greater desire they’ll have (at greater cost) to reach their goal, and so, the richer the plot.

In the simplest terms: Get them in trouble and keep them in trouble. Keep throwing in obstacles, complications, repercussions and don’t let up.

But wait …! What if you don’t know exactly where the plot is going?

Write the NYTimes log-line. That hones it down nicely to two or three lines: Danny Jones has everything he wants, until a secret from his past threatens everything.

Or write the cover copy. That will focus you on the set-up, conflict, and what drives the plot.

But wait …! What if it’s still not working?

Make the problem personal and current. Someone is out to destroy Danny Jones and make sure he never is elected to anything.

Give the protagonist two villains and a moral choice. A childhood friend and his own brother are separately threatening Danny Jones. No matter what decision he makes, he will lose everything, including his friend and his brother.

Up the ante. Not only does a secret from his past
threaten Danny Jones personally, but also his burgeoning political career, his marriage, and his inheritance from a famous relative which comes along with a list of moral stipulations he may not be able to meet.

Add suspense by turning “what if” into “if only.” What could his enemy have against him? If only, all those years ago, he hadn’t — but then there was this other moment when — But nobody knew about that, did they?

Give your protagonist a moral dilemma that forces her to compromise either her beliefs or her values. If Danny Jones is up front about his past, then he will never ever be able to run for office, he’ll lose the love of his life, the inheritance from his famous relative, and he’ll never be able to see his children again.

Try reversing things. Make the hero the heroine and vice versa. Danny is Danielle, a powerful CEO who is courting politics and who has a secret she thought was buried deep in the past. Lovers? Liars? Friends? Family? Who is plotting to betray her?

Keep the reader guessing. For Danielle any of those people associated with her could be her enemy; any one of them can say or do something that would lead her to believe she is on the verge of losing everything. She has too much at stake. She has to be careful not to rock the boat. What is she going to do? (I love this; I think it works even better!)

But wait …!

But I can’t. I have to go. But you can. What juicy incentives would you add to the list to entice your readers to keep reading?

Thea Devine is currently working on a new erotic contemporary romance, and enjoying the release of five of her backlist titles, Reckless Desire, Ecstasy’s Hostage, Relentless Passion, Montana Mistress and Angel Eyes in Kindle editions.

Et Tu, Brute. Betrayal and Other Fun Topics.

Ahh, the Ides of March. Casey here, wishing you a happy Friday.

Beware the Ides of MarchUnless of course, your name is Julius Caesar and the year is 44 BC, then you’re about to have a really bad March 15th. To the Romans, the ides didn’t mean anything sinister. The ides simply marked the middle of each month. That’s it.

But thanks to Brutus and the Roman Senate, it has come to symbolize the date of Caesar’s assasination – beware the Ides of March!

History is loaded with betrayals: Brutus, Benedict Arnold, and whoever ratted out the Spartans at the Battle of Thermopylea. In literature, betrayal is commonly used as a plot twist. I’ve used it once or twice.

Betrayal exists in so many forms: Family backstabbing, corporate greed, an apprentice killing the master, friendships gone sour, betraying your country. Even betraying your own ideals. So many flavors and all of them leave a bitter taste in the mouth.

But, as a writer, you should never be afraid to go down the dark path. Traitors have aBenedict Arnold place in fiction. In romance, it can drive the hero and heroine apart. It can also bring them back together. Depending on the genre, your protagonist can be ruined by betrayal or uplifted (or both!).

Case in point – Casey’s Top Fictional Betrayers (not in any special order):

1. Fredo Corleone - The Godfather by Mario Puzo. When Michael Corleone realizes that his own brother has betrayed him, it’s heartbreaking and ultimately destroys what little soul Michael has left. In true mafia style, Fredo ends up swimming with the fishes – the execution ordered by his brother Michael.

2. Edmund Pevensie -The Lion, The Witch, and The Wadrobe by C. S. Lewis. If you think only mafia families can backstab each other – wrong! Even children’s stories aren’t immune to betrayers. Edmund is influenced by the White Witch (and her endless supply of Turkish Delight) and he betrays his siblings. But with Aslan’s intervention, not all is lost. Edmund redeems himself and joins Peter, Susan and Lucy to defeat the witch.

3. Anakin Skywalker - The Stars Wars Saga by George Lucas. Anakin doesn’t listen to Yoda and lets his anger consume him. Yes, he betrays the Jedi Order and the Republic, but Anakin majorly betrays himself by turning his back on his master and training. Not to mention, that whole “I am your father” incident and literallay lopping off his own son’s hand!

4. Mr. Wickham - Pride and Prejudice by Jane Austen. The most odious of betrayers, Mr. Wickham uses falsehoods under the guise of friendship to lure Elizabeth Bennet into seriously misjudging Mr. Darcy. And then he runs off with Lydia Bennet, the youngest daughter!

5. Thomas Barrow and Sara O’Brien - Downtown Abbey by Julian Fellowes. These two are the dynamic duo of backstabbing. Not only do they cause subtle and sometimes serious mayhem (hello bar of soap!) both upstairs and downstairs, in season three, they Barrow and O'Brienembark on backstabbing each other!

6. Saruman the WhiteThe Lord of the Rings by J.R.R Tolkien. Nothing stings worse than discovering that the leader of your wizard order is a turncoat. Poor Gandalf. Not even he can foresee what’s about to happen. After discovering that the One Ring has resurfaced, Gandalf consults the one person he thinks he can trust. Instead he’s imprisoned by Saruman leaving Frodo and company in dire straits.

Imagine how different each of these stories would have been without these acts of betrayal. In every case, the traitor has served a purpose, providing a lesson to the hero/heroine and the reader (or viewer) as well.

So remember, while it may be uncomfortable to contemplate, betrayal is a writer’s best friend.

What say you? Who are your top choices for fictional betrayers? And have you used betrayal in your stories?