Query Letters -- Love or Hate?

I hate query letters

That's not completely true. I hate that to the writer, the query letter is seen as the chasm between unfulfilled dreams and a career.

winnond / FreeDigitalPhotos.net

Query letters are how your manuscript lands into the hands of your dream agent, assuming you need an agent. And to be clear, my dream agent is still Martin Short from the Big Picture.

But the query letter doesn't have to be seen in such a limited way. My recommendation -- even if you're going independent, self-pub, small-pub, or Irish pub, you should still do the query letter.

Before you send the mob to my house, here me out.

I've spent considerable time and brain cells (what little I had left) on this topic. I am convinced that when you develop the query letter, it will highlight gaping holes or issues in your story. If you've been struggling with your query letter, the issue may not be the letter itself, it may be (ghasp!) the story you've written.

So I've made a solemn oath. I will write a query letter, before I've started to write my next story. Call this a story treatment if you like. But the approach is sound and powerful if used properly.

After countless hours of research (mostly on Super Agent Janet Reid's Query Shark, but also on dozens of other sites) I have compiled my notes for you:

1. Focus on the Action: leave out the backstory. Most queries give too much description. Probably because we feel like we need to explain why we are where we are, etc. Get to the heart of the matter and fast. Show it. Use powerful verbs. In other words, trust yourself as the writer. Everyone has a backstory. Only your protagonist is about to get into this specific problem.

2. Who is the Protagonist?: Who is the hero/ine? Wee need to know very quickly. Janet Reid recommends opening the query with the hero, in action, facing a problem. Also, only mention the most important characters -- no character soup.


3. What is the Problem?: Start with where the protagonist has a problem (the inciting incident, the disturbance). Again, show it. Let us feel the protagonist's problem. Let us care for her and what she's going through.


4. Compelling, interesting Villains: Boring villains mean boring story. The antagonist has to be so bad that you love him. Think silence of the lambs. 

5. What are the Stakes?: They need to be high. Saying, "He just got laid off," is sad, but not enough to carry an entire story. The stakes need to be high. James Scott Bell says there needs to be a feeling of impending death (actual or psychological). High stakes raise difficult choices...

6. Choices, please: The choices your protagonist faces must be explicit and compelling. If the choice includes, "she'll walk away," then there's no story, is there? Real choices. Though ones. Gut wrenching ones. If Katniss Everdeen does not survive the Hunger Games, her sister and mother will most certainly die. They have depended on her for everything. She volunteered to save her sister. She must survive, even if it means killing the boy whom she has known since she was a child. Tough choices, make for high stakes.

7. 250 words please: General acceptable theory says your query letter should be one page -- but one page can go as high 380 words... maybe more. By sticking to the 250 word count, you are forcing yourself to be succinct and stick to the core of the story. If you're doing this for the benefit of developing your idea you'll be tempted to cheat -- but you shouldn't. Get your main plot down. You will be able to overlay your subplots later. But no matter how many smart sub-plots you add, it will not make up for a flawed main plot. Make sure your main story rocks.

8. Rhythm: You need to develop an ear for rhythm. That's accomplished by reading your lines out loud, We've talked about this, reading out loud is a good (critical) practice. This practice will also highlight clunky writing. Reading out loud tells you when "They are" sounds better than "They're." Rhythm will also establish the tone and voice of your story.


9. Entice: The whole point is for the reader to say, "I want to know more." As you write the query letter, you should get excited too! Your blood should be pumping, and your fingers should be ready to explode with words.


10. Test: Let your writer friends read it. Get their input. Not only for proof-reading (which is critical, of course) but to see if they get it, if they're excited, if they want to read the manuscript. A good query letter/story treatment should sell itself.


As for me, I have to apply all the above to my query letter and story. 


I'd love to hear your thoughts on this. Do you have anything to add to this list? I'm sure you do. You can tell uncle Ara :)

Fight the good fight.

60,000 Words in Ten Days

This is not a marketing gimmick. For one, I have nothing to sell... not yet.

This is something that two years ago I would not have thought possible. In the past I never quite finished my stories. And those that were almost there, really sucked. I got over that hump with Aces. But this type of productivity is not the norm for me.

So what did I actually do?

I wrote a 60,000-word romantic comedy in two weeks (ten actual days of writing). And I'm still having a hard time believing it.

Flashback...

Back on August 25th, just before I drifted off to sleep, a seed sprouted in my brain--a story about forgiveness and closure. I dreamt about it and when I woke up the next day I had a surge of flammable adrenalin.

The next day on the 26th, I wrote a blog about my new story. I flippantly said that I was having an affair. At that point in time, I was developing the idea. And as the parts of it came together, I started obsessing over it.

The fact is that I was in love--and I mean that sincerely. I was in love with the idea. I was in love with the characters. I began to feel those butterflies and anticipation and longing that one feels when you fall in love. I could't stop thinking about the story. I wanted (needed) to know how things would come together. Would they come together? Is it possible to fix things that went wrong in the past?

And when I get this way, my dreams are shattered. I've blogged about this as well. My world of dreams and reality get blurred. This is a curse, I admit. I was not able to sleep. I would work off the fumes of love and passion.

As I developed the story, I used a tried and true system that has worked well for me in the past (James Scott Bell's framework for plot and structure). This time, I incorporated what I learned in his seminar which I attended in Los Angeles.

By August 29th I was ready to start. I want to stress, that this is a very short, even by my impatient standards, period of planning time. But I had identified what I needed. I knew my main characters very well. Too well. I knew the conflict and the challenges. What I didn't know was how I would end it... but I never know that.

To get into the right state of mind, I spent time flipping through old year books (oh yeah, I worked myself up). I reminisced, bringing back and tapping into those awkward days. I read the notes that my friends wrote ("You're the best. KIT" -- "Lakers rule!"). Then I hit the mother load. I had forgotten that during 9th grade I kept a journal for about three months. As I read the horrible melodrama that was my life, I knew that I was ready to explode with content.

But I did one more thing on the 29th. I analyzed one of my favorite romantic comedies -- Notting Hill. I even blogged about it for you. My new story is a romantic comedy so I wanted to assure that I had not left any page unturned.

I bagan to write in earnest on August 30th. I wrote the first chapter and stopped there. I have this ceremonial thing that I write the first chapter and evaluate the voice, the dialogue and the characters. The next day I gave it to my wife. She smiled and said the thing every writer wants to hear. "I want to know what happens next."

The surge was unstopable. On Sept 7th I tweeted the following:

The next day, on Sept 7th I tweeted this:

Nine days of writing and I was at 53k words.

By the next day I was sitting at 60k words. Which happened to be the goal for this particular story.

I wrote fast, because I honestly couldn't stop the process. I was scared that I would lose it if I didn't burn through it. Also, I needed to know how the story would end. I used all my tools that I've written about in the past. Scrivener, Evernote and the iPad. Not to mention Nutella (#nutellaWriters) and espresso.

On Sept 9th, I was done. Over the past couple of days I've taken a break. I have to tell you, writing like that has a burn out effect. I was (am) exhauseted. To keep up this clip I would wake up at 4 AM to write until 6 AM. Then from 7 PM until 1 or 2 AM.

Now, I'm done. And a bit shell-shocked.

Now I'm letting it simmer. I'm creating distance from the story. I will return to it in a month (maybe two weeks... maybe one). And I have to say, I'm dying to read it. I'm already considering a few additional scenes... but I must admit, maybe I wrote those scenes already. 

I can't recall. 

It was all a blur. 

A dream, but a real dream.

Fight the good fight!

Plot & Structure Analysis - Notting Hill

When I come across a book or a movie that I like, I immediately want to analyze what they did right. I want to learn from it, but also appreciate the clever use of tried and true techniques. It takes creativity and ingenuity to write yet another love story, while at the same time keep the story fresh.

A tool I use to study effective structure is from James Scott Bell's best seller "Plot & Structure." Whether you're a plotter or a pantser, it's wise to consider the major scenes of your story and how they sustain the story starting with the first sentence all the way to "The End."

Quick Refresher

The foundation this model is built on is that stories follow the three act structure: Beginning (Act I), the long middle (Act II), and the end (Act III).

Mr. Bell argues that a novel's structure is held together with a well thought out initial disturbance and two doorways of no return leading to grand finale. 

Early in Act I, we come face-to-face with a disturbance. This is where the lead's normal life is altered (it can be a change, trouble, etc.)

Act I ends when we arrive at the first Doorway of No Return. This is the transition into the confrontation of Act II. The key is that it must be a doorway of no return. If the lead can say, "Screw it, I don't care anymore," then there's no real conflict. It needs to matter, greatly. And turning back needs to be impossible (physically or emotionally).

Throughout the second act, the stakes need to rise. It needs to build up to something drastic which makes the resolution or winning even more critical than ever before. Act II is the longest portion of the story.

This leads us to the second Doorway of No Return. Like the first one, it's a kick in the pants, with no choice but to enter the doorway. This propels us into the final battle, the confrontation, the do or die section of the novel. This second doorway drives us directly into Act III, the waging of battle.

Finally, with the end of Act III comes the final battle and resolution. Then there's the aftermath where the story leaves a lasting impression, or a resonance.

The book has plenty of samples and clarifying explanations. But with this high level refresher in mind (because I know that you've read the book and if you haven't you can win it -- see my contest), let's see how it works in the real world.

Applying The Model

I like real examples. I need to see it. More importantly, I need to do it on my own to internalize it. Although on the surface I get it, concepts never really sink in until I apply it to things that I understand. For illustration (and educational) purposes, I will apply it to a romantic comedy, Notting Hill.

Notting Hill -- Starring Julia Roberts and Hugh Grant

SPOILER ALERT -- If you haven't seen the movie, I will be giving away key plot points and the ending. You really should watch it. It's a fun movie.

The Hero - HG
The Heroine - JR

The Disturbance


HG is a not-so-successful book store owner (they only sell travel books--clearly, he has not been following the industry trends). In walks the biggest actress of the time. He immediately recognizes her, but does his best to be low-key about it. Is this the disturbance? Sure, a mini disturbance no doubt. But the real one is coming.





A couple of funny scenes later, she buys a book and leaves. He's a bit taken by the surreal nature of the experience, but moves on. HG leaves the store to buy coffee and juice. On his return he runs into JR spilling the juice all over her. Major disturbance.



First Doorway of No Return

She's a mess, but as luck would have it, he lives across the street. She needs to change so she agrees to go there. She changes, he apologizes, they laugh, she leaves. All's sort of back to normal, right? But you can see that trouble is brewing. They stare a little too long, smile a little too easily. But she's gone. Done... maybe not.

Doorbell rings. It's her. She forgot her bag at his home. She grabs it, they stare at each other and... she kisses him! No friendly kiss on the cheek. This is the real deal.

Is this a kick in the pants? I don't know about the rest of you, but if a world-famous actress, who's the hottest thing on the planet, kisses you in a passionate moment, chances are things will not be the same for you. You have slipped down the rabbit hole. THE FIRST DOORWAY. This is a key point. He's a regular guy, going through the motions of life and the biggest celebrity has suddenly kissed him.

Escalation of Stakes

We're in Act II now. She leaves but the very next day calls him. More funny scenes ensure (otherwise, it wouldn't be a romantic comedy). She joins him as his date to his little sister's birthday. This is a classic scene that you must see. After dinner they take a walk and enter a private park in Notting Hill when she has an emotional moment, realizing that people do sometimes love each other forever. They kiss again and they fall for each other.

But all's not well.

Turns out, she has a boyfriend (another famous actor). And when he shows up in London, HG understands that he was silly and naive to think that an average bloke like him, would ever have a chance.

She leaves, he's broken hearted. Things are not the same for him. He is damaged. This is the escalation of conflict.

Second Doorway

Some months later, out of nowhere, she shows up at his house.

She's distrught. Pictures taken of her when she was younger have hit the rags -- nude shots. He takes her in and comforts her. She's a mess but in a short period of time, he gives her peace, comfort and more importantly friendship.

Later that night, they make love. The next morning, she asks if she can stay with him longer. He says, "Stay forever."

That's the SECOND DOORWAY. He's in love. He wants her to stay with him--forever! There's no turning back now. Impossible.


Lights Out

We're in Act III now. And you know what that means--something's got to go wrong. And that's when the Fit hits the Shan. The fairy tale doesn't last long.

In fact, it lasts, about 25 seconds in movie time. The paparazzi find her at his home and take pictures of them in their underware.

She pops a fuse, blaming him, saying that he will get all the benefit of the exposure, while she will regret it forever. This breaks his heart. She goes diva on him and storms out (typical celebrity).

It's all bad at this point. Months pass. He's in a state of depression. This is appropriate for someone who has entered through the second doorway. He had it all... for a few seconds, but still had it all, and now she's gone.

He then hears that she's been in London filming a new movie. He needs to see her (emotional death is at stake if he's not with her), so he goes to visit.

She's a bit distant but invites him in. As he watches them shoot, he hears her tell a co-star that she doesn't know why he (HG) showed up. HG finally gets it. He leaves without saying a word.

Final Battle

The next day, she shows up at his bookstore. This is another classic scene. He turns her down when she asks if they can try again. She explains that she didn't want her co-star to know what was really going on in her life. But as far as HG is concerned, his heart can't take it anymore. He needs to have a clean break, because he's certain that she will break his heart again. She leaves with a classic gut-wrenching scene. "Remember, that I'm just a girl, standing in front of a boy, asking him to love her." She walks out and he's left there planted.

But a romantic comedy must have a happy ending, right?

He calls his friends and recounts what happened. As he explains the whole thing to them, it dawns on him that he was a "daft prick" and got it all wrong.

The chase is on.

They're trying to find her before she leaves the country. They finally find her at a press conference where she's explaining that she will take a break for some time and leave London immediately. The last question, goes to the gentleman in the pink shirt. Yup, it's HG. He asks her to take him back in front of the press, and of course, she does. A true knockout ending. Done with brilliance.

The aftermath

We see a montage of scenes from red carpet appearances together, to their wedding, to the final scene where they're in the same private Notting Hill park where she learned to believe in everlasting love. They're on a bench. He's reading a book. She's laying her head on his lap while caressing her tummy -- she's pregnant.

Everyone--even the mega-stars and bookstore owners--deserve happiness.

Final Thoughts

I hope this has been helpful. Try it. Pick a movie, TV show, or a novel and see if you can identify these scenes. When they're done well, they make the story world believable. And the more you do it, you'll get a better feel for what makes for convincing scenes that move the plot along.

I have a separate journal for this type of analysis.

Do you also analyze your favorite movies and books? Do you dissect them to see what made them great? How do you do it? What do you look for? Do share.

Fight the good fight!

CONTEST- By Writers, For Writers

On October 1st, 2010 I started to blog about my writing journey.

On October 27th, 2010 I created my Twitter account.

Today, I have nearly 1,300 followers on Twitter, and 50 on my blog. And to each of you, I am grateful.

Seth Godin, in his book "Meatball Sundae," challenged me. He said, write a blog and see how it changes your life. And change it has. I have met more wonderful people than I could have ever imagined. I have learned more than I could properly account for. I am more excited about the future than I have ever been. And it's thanks to you (well... maybe not you. Yeah, you. The one over there, with the red baseball cap. You need to comment more often!)

So, in honor of these two milestone, I want to give away two -- that's right, TWO -- books to my friends.

Both books are by the guru himself, James Scott Bell. These books and Mr. Bell, have helped me in ways that I will never be able to properly repay. The books are:

• Plot & Structure: This is a must for all writers. It has been a game-changer for me

• Art of War for Writers: An inspirational and powerful book for all facets of your writing career

Did I mention that they are SIGNED by Mr. Bell?

Oh yeah. I'm giving away the kind of thing you'll add to your last will and testament.

The contest starts NOW and ends on Friday, September 30th, 2011 at 9 PM PST.

One day before my blog-a-versary.

The contest is open internationally. 

The rules are simple. I would love to hear your best advice for other writers. By Writers, For Writers. There are more people now than ever that are jumping into the world of writing. Each time I speak to a high-school student who tells me he/she wants to be a writer, I run through a bunch of things that I feel I need to share and explain. Why not go to the community of writers and ask them? Some of you are already published. Some will be published soon. Some, like me, are inching your way closer.

Your advice can be about:

• What made your writing better? For example, was it something you read on dialogue, plotting, creating better structure, or character development. What made your stories better?

• What helped you transition into a better or more effective writer? This could be a tool--like Scrivener--or an advice--like a writing quota.

• Industry advice?

How will this work?

• Write your advice directly into the comments below (preferred)
• Or if you're really shy, then email me at araTHEwriter [at] gmail [dot] com

At the end of the contest, I will consolidate the feedback and bring it all together into the "Best advice: by Writers, for Writers" post. Each of you who contributed will be famous... sort of.

How do you win?

+ One winner will be picked by me and a two other secret people. We will debate and choose our favorite advice. Maybe Mr. James Scott Bell can be coerced into giving his opinion also... maybe :)

+ One winner will be picked by Random.org by a entry system:
- Each comment gets +5 entries (for your contribution)
- Follow my blog and get +1 entries (for your good taste)
- Already following my blog, you get +2 entries (for being a visionary)
- Spreading the word via your blog, Facebook or twitter +2 entries (make sure you tell me about it. For example including my Twitter account @araTHEwriter in the tweet is a fast and easy way)

Simple. Got it? Great. Now go and do it.

Just to kick this off, I'll be the first to share with two! ... I hope I win...

Daily and weekly word quotas: For years I floundered. But when I read Plot & Structure I understood the power of the word quota. It immediately helped me create a writing structure that helped me write an average of 1,500 words per day and then up to 2,500 words per day. It enabled me to be focused on producing words on paper. There is nothing more powerful than seeing you inch your way closer to the finish line

One stinkin' rotten word: My mentor, Michael Levin, said every writer should write one page a day, every day. But he understood that sometimes, we were too busy or too tired, or too something else. He said, on those days, write one word. Write "The" if that's all that comes to mind, then walk away. But he knew something that little 'ol me was unaware of. Once I wrote one word, I wrote a sentence, then a paragraph... until I had written a few hundred words. One stinkin' word is all it takes to get things rolling sometimes.

As a bonus, here's The Word Quota advice by James Scott Bell... in his own words...



Check out his other videos on his YouTube channel.

Fight the good fight!

Business Travel Doesn't Alway Suck

Actually, that's not true. I change my mind. Business travel does suck.

But sometimes... just sometimes... something unexpected makes it all worthwhile.

My Tweeps (Tweeps = Tweeter Peeps (Peeps = My Peoples (Peoples = you know... people... a lot of 'em))) got a handful of tweets from me when I was on my latest trip in San Diego.

I shared a picture of the marina from my room... If you haven't been to San Diego, find an excuse. It's one of those places that gets a hold of you and does not let go.

The trip itself was good. Conferences, coffee, workshops, coffee, one-on-ones with experts, coffee, meet new people, coffee, strategy sessions, and... let's see... did I mention coffee?

From 7 AM until approximately 6:30 PM I was busy with this stuff. And typically, my brain is fried when I go to these things. So much information, limited capacity left in my brain, and that typically results in no more juice left to be creative.

This time, it was a bit different.

Maybe it was the weather.

Maybe it was this statue that just spoke to me.

Maybe it was the coffee.

Or maybe it was the fact that I was still on a high from the James Scott Bell seminar that kickstarted the revisions of Rocky Peak.

Whatever it was, I had a phenomenal three nights of writing. From Sunday evening (when I arrived) to Wednesday afternoon (when I left), I had accomplished two things:

(1) I had added all the new scenes that I had identified ~ 12k words in 3 days
(2) I had completed the manuscript

And boy am I proud of how things have come together with this story. I am now doing a final read-through before I send off a copy to my mentor Michael Levin and my wife.

So I thought I'd share a couple of additional pictures. My "Hotel Room Office" and the elements that I use to get things done.

This is what's on my desk.

And when I look over my right shoulder, this is what I see.

It may be hard to figure out, but what I have on my window is a bunch of stickies.

Throughout the day, I jot down ideas.

It may be a new scene...

An inconsistency...

A good line...

A question...

or a reminder to further peel the onion layers of the plot challenges...

These are the things that bring everything together. The little accents that make the pieces flow with texture.

When I was revising, as I addressed a sticky, I would move it off of my "To Do Window" and set it aside in my "Done" pile. This is a very effective method that I've used for more than just writing. It comes from a project management methodology called SCRUM. Maybe I'll tell you guys about this rapid and agile process for getting things done in a future post.

Finally, Here's a blow up of my desk with some explanation

Research Material: 

• My iPad with all the Evernote research in front of me.
• My Revision plan -- A few sheets that includes the plot summary

The Avatar:

• That's my now infamous Moleskin notebook and pen that are my avatar on Tweeter

Music:

• Self-explanatory. In this case, I was listening to Evanescence

The JSB Flashcards:

• Read my post on James Scott Bell's seminar and some of the amazing tools I learned to use

Scrivener in Action:

• Read my post on why I love Scrivener so much here and here

Coffee:

• Really? You need me to explain this?

Fight the good fight!

A Weekend to Remember

I must confess, sometimes I can be a snob.

The Myth, the Man, the Master
James Scott Bell

Not over silly things, mind you. Well... okay, I can be a coffee snob. But any writer will tell you, coffee is one thing we should not take too lightly. But I digress.

No, I'm talking about being a snob over what I "already" know.

The thing is that if I learned something, if I have experience in the domain, if I feel that I've paid my dues and now I'm a bit of an expert, then I don't want to be treated like a novice. After all, I am an 'expert' now.

I've chronicled my challenge-paved path to writing before, but I think it's worth explaining again. For years (eight to be exact) I fiddled with a manuscript. On-again, off-again, but yes -- eight stinkin' years. And in the end, this manuscript was categorically bad.

It's sobering to admit something like this. But I have always been my best (or worst) critic. Of course, I didn't understand what made it stink. I just knew a bad smell when I sniffed it!

To the rescue: James Scott Bell's book on the craft --  Plot & Structure. I can't properly explain how much it helped me. As I read the pages, I became convinced that he wrote this for me. I had no quota and no goal. Every silly plot twist, flat character, and boring dialogue that you can think of, I was guilty of committing to paper. All of 'em!

So I dove into JSB's book. I like to believe that I became an expert on the material. And the result was that I completed the first draft of Aces in a matter of weeks. 8 years and I produced junk. 12 weeks and I had a complete novel. After I was done revising and editing, I started my second full-length novel, Rocky Peak. Same results.

Therefore I felt like I had it all down. I am the master. "I can probably teach that book," I thought very (very) quietly. Then I saw the posting of the "Seminar" by JSB. In LA, less than 10 miles from me.

Full Disclosure: I thought the seminar was for beginners. NOT me! I got this. I'm D man! What can he possibly team ME?

The reality is that I was struggling with the revisions phase for Rocky Peak. I felt like I was getting close, but something was missing. I couldn't put my finger on what exactly. This is where my snob-like mentality was my biggest obstacle. Once I got off my high-horse, I registered and in that act alone, things started to open up.

Last weekend, June 4th and 5th, I attended Jim's seminar "Novel & Screenplay Intensive." I walk in and there he is. Either he's very tall or I'm really short (okay, keep your opinions to yourself!). And this is when I knew I was in for a great weekend. Jim is a humble man. You would never know that he's a best selling novelist, a talented writer, and an expert teacher of the craft. Because he comes across as if he's still learning, but wants to share what he knows. In the business world -- in the domain of leadership -- we call this type of person a Level-5 leader (as explained in Good to Great by Jim Collins). Mr. Collins says Level-5 Leaders "...display an unusual mix of intense determination and profound humility." This statement personifies James Scott Bell.

A true expert isn't someone that hoards the knowledge, but one who willingly shares the knowledge for the overall improvement of the tribe (in our case, the writing community). And share he did. Some of us at the seminar joked that JSB is like Master Yoda. Although considerably taller, and less green!

One of the wonderful things about seminars is the people you meet. Yes, some were like me: working on getting their first novel published. But then there were others who had already published many novels. These are experts! They make a living writing novels. And they were at the seminar! Learning, taking feverish notes. No, you are never done learning and every novel you write will have its unique challenges. As a writer, I felt transformed and reinvigorated.

The seminar was filled with tools, techniques, and phenomenal examples from novels and movies. What he taught, sunk in. I mean really deep. I can't think of a technique or tool as a theoretical idea anymore. There are examples engrained within me. I do have a very long list of movies that I want to watch now, but that's a personal issue.

I hope that what he taught us will be released in his next craft book because there are nuggets of brilliance there. I don't want to give details about the seminar. So no real spoilers here (okay maybe one!).

At the end of day one, Jim showed us a tool that was worth the price of any seminar, book or on-line workshop he gives. He calls it the "12 Signpost Scenes."

If you've read his Plot & Structure book, or Art of War for Writers, or Revisions & Self-Editing, a lot of the "Scenes" will be familiar. But what he does here is he provides a framework for these critical scenes. The general flow, the main disturbances and "Doorways of No Return" and clearly articulated timeline.

Before you "purists" who write from the seat of your pants get all wound up, this is a simple exercise that helps you identify the big scenes, but just as important, you identify the big GAPS! That's it. You can stop there if you want. But oh, it gets better. I promise you.

I got home that first night and prepared my 3x5 cards for the "12 Signpost Scenes." And you know what? The problem that I faced with Rocky Peak suddenly became clear. There it was! I made that one correction, then the pieces magically started to fall into place. It was magic. It is magic. And Jim Scott Bell is a master magician of the craft.

I am a better writer as a result of this seminar. I have met other great writers. And I am in awe of JSB.

Now, if you don't mind, I have revisions to work on.

Fight the good fight!

Tools for Brainstorming - Part III

It seems that everything needs to be a trilogy. Why not my tools for brainstorming? The wait is over. The final installment is here...

Method III - The Mind Map

Let's start with Wikipedia:

"A mind map is a diagram used to represent words, ideas, tasks, or other items linked to and arranged around a central key word or idea. Mind maps are used to generate, visualize, structure, and classify ideas, and as an aid to studying and organizing information, solving problems, making decisions, and writing."

Well, if Wikipedia says so, then it must be true. And it is. I've used mind maps for years and I have to say that it has become my tool of choice for generating ideas, brainstorming, thinking out processes, and improving comprehension & recollection.

Let's talk about ideas. I start with the premise that you already have great ideas. Don't argue with me. I believe in you. We are stuck and struggling for ideas not because we don't have the capacity to generate ideas. The ideas are trapped in your head. Trapped. All your day's challenges and work have a dampening effect on your creativity. You are too busy thinking about work, or that term paper, or paying that bill, remembering to call mom, you name it. I say that "We" are creative creatures by design.

Furthermore, I argue that we are less than six degrees of separation from problem to solution. My experience is closer to three. Said differently, the path from your starting point (the challenge/question) to the brilliant idea/breakthrough can be solved in less than six hops.

So what we need is a mechanism to help us extract these ideas. Let me stress this. You need to believe that your mind is infinitely more powerful than you give it credit. I never enter any situation believing that a solution may not be in reach. So please, please, please, do not be a defeatist. Believe in yourself and amazing things will happen

"Things are only impossible until they are not" ~Patrick Stewart as Cpt. Jean-Luc Picard in Start Trek the Next Generation

How do I do this mind map thingy?

The mind map starts with the central node -- the central idea. Think of it as the central question, or problem you're trying to solve. For example, let's say you are Ara eighteen months ago and really wanted to write. You are committed to this path. You stand on your desk and yell, "No more excuses!" Except that you have an excuse -- and it's a nasty one -- time. I have a demanding job. I travel. I have a wife and two boys and two cats, and, and, and.

So you start at the center node: I need more time to write

Now draw a branch from there and brainstorm options. Don't judge them -- not yet. There are no judgements when you brain storm. Get yourself out of the way. Be objective and belive that a solution is somewhere out there. Maybe early in the morning? write it down. Then draw another branch form the central node. How about during work? write it. Next, what about at nights? What if I quit my job? These are all options.

As you write these branches, you may find that your mind immediately generates an association and wants to develop that option. Let your mind roam here. Don't stop inspiration.

In my case when I wrote "At Nights" I drew a node and wrote "When?" Which then led to three new nodes: a) When I get home from work, b) after dinner, c)After the kids are asleep

I can not stress the power of writing it down. Succinct, crisp phrases. Many will add drawings as they do this. Do whatever feels write. But commit it to paper.

The brain opens up secret doors when you commit things to paper. But I don't have to tell you this, do I? Have you noticed how a story unfolds when you actually write it?

Ara, are there tools for this?

There are a lot of great tools out there. And I've used them all. Here are some:

Click to enlarge image

Pen & Paper


Nothing more powerful than being able to get a piece of paper and solve a major problem while waiting for a venti iced caramel machiato with an extra shot and some cinnamon powder.

Here I've shown a simple example. The issue is the same as above "How do I make time to write?" In fact this is a recreation of the real mind map I created nearly 18 months ago. In the real one I have some things that are "Personal" so I recreated it here for you.

You can see that I am thinking up of anything and everything.

iThoughtsHD for the Apple iPad

Say what you will about the iPad. It is a mobile tool that has phenomenal apps for almost anything.

Here's a screen print of this fantastic tool.

When I bought it, it was $5. Now it's $10. And worth every penny. In fact. Pay them extra.

Here I show you a bogus scene in a story. The point here is that I am able to quickly create a mind map, then add comments and images to my thoughts: Thumbs up, thumbs down, etc. I can even create links to show potential associations.

Novamind


There are other tools like Novamind, which I also use. It's a great application. You can do amazing things with it. Very intuitive but also a few hundred dollars depending on which version you get. In fact, with the iPad and iThoughts HD, I don't see a need for any other tool.

Below is a screen print of a complex mind map I created for fleshing out ideas. One of my reference books is "James Scott Bell's Plot & Structure. JSB explains the LOCK framework (Lead - Objective - Challenge - Knockout Ending). I created a template in Novamind so that I think of these items as I develop the concept.

A final word on the concept of "solution." Sometimes the solution is a painful one. It does not change the fact that it is a solution. In my case, in order to write I had to give up the concept of seven hours of sleep. So when I say that I believe we can find a solution to anything, there is a caveat that says, if it matters to you, you will be more excited over doing what you love and not be too concerned over what you have to give up.

BONUS MATERIAL:

And for sticking with me, I share this video by Stephen Pierce. This video shows you a very simple method in using Mind Mapping to accelerate comprehension when reading. I guarantee that with minimal effort you will be able to retain information better than ever before.

The key is that when you read something or you attend a conference, you need to have a goal, or a purpose for what you hope to learn. Get that etched in, then start mind mapping while listening. I guarantee better comprehension and recollection.

I use mind mapping when I read an article of interest. When I go to conferences and I want to get the core message with all the rest set aside.

I shared my mind map for JSB's LOCK framework. You guessed it. I created that when I first read the book. I wanted to make sure I understood and internalized it.

Fight the good fight.

Tools for Brainstorming - Part II (redux)

[Because of the Great Blogger debacle of 2011, I lost my original Part II post along with the comments. So Here is my attempt at recreating the genius I had committed to pixels - Editor]

 
I've decided to break this segment out into three parts. Why? Because this is my blog, and I can do whatever I want. How you like them apples?

Too heavy handed? Okay fine. How's this: I have so much information, such an avalanche of insight to share, that the only appropriate move is to give each technique their due time.

Or, something like that...

Method II - Sit on the Couch

This method came to me after I read the great James Scott Bell's "The Art of War for Writers." In it, he describes the Voice Journal, which is a great way "get to know" your character. You write in first person, and lay out the character's attitude, way of talking, answering questions that pop up. This is a steam of consciousness type of journaling.

I've used this method often, but I have a bit of a spin on it for the purpose of breaking through when I hit a rough patch.

When I'm revising, I will sometimes hit a spot that just doesn't feel right. Why did my main character (MC) do that? Why would he say that? Does it sound believable? Hundreds of questions come to me.

Think of yourself as the psychologist with a finely tuned truth detector that in the course of a conversation can pick up plausibility, believability and reasonability. You, the therapist, are asking the MC questions. You want to see why he did what he did? What was his "motivation" for acting that way, behaving that way, and saying the things he said.

As a consumer of entertainment -- be it books, TV, or movies -- I don't like it when others insult my intelligence. Picture this scene:

The Hero and Heroine love each other. But they have not expressed their true feelings, yet. The Heroine misunderstands the situation. The Hero should explain and resolve the misunderstanding. Simple. Just say it. JUST SAY IT. But he doesn't. The result is that they break up. Then that silly misunderstanding spirals into more challenges. And approximately 150 pages or so later, they realize they made a mistake. Sorry saps! 

Are you kidding me? If you've watched Telenovelas (Spanish/Mexican soap operas) you see this all.the.stinkin'.time. Please! What do you take me for?!

What? Oh, do I watch telenovelas? Em... well, you see... sometimes... umm, it's my wife, not me. It's her, I tell you!

Back to the couch. I imagine the MC trying to justify his decisions. It needs to make sense to me. I don't want to insult the reader. I don't my MC to insult me either. I need to make it plausible and realistic. In other words, would real people behave that way? As my reader you need to stay on my roller coaster, otherwise I risk losing you.

So when I find a scene that doesn't seem right, I sit my character on the couch and ask questions. I write fast and furious. In first person, with all the attitude that is appropriate for the character. He may even reveal things that are part of his unwritten back story. In other words, he tells me "why" his experiences and perceptions of the world have caused him to behave the way he has.

In practice, I usually find that my main character can not justify the questionable behavior but in this stream-of-consciousness writing, my character reveals new things that I can layer into the scene.

I find that my characters, when given the opportunity to tell me who they really are, I find a goldmine of information. I find more material than I could have imagined.

To those of you who write in earnest: has it happened that as you write a scene, your character does something completely unexpected? You pause and think about this behavior. You consider changing it. You tell your character, "That's not what I wanted you to do!" But if you're wise, you honor your character and let him show you what's really happening.

Sometimes the best way to have a breakthrough is by getting out of the way. Your job is to tell your character's story. Not your interpretation of the story.

So far we've discussed how to get focused (Part I) and how to let your characters speak up (Part II). In Part III, I will introduce a great tools -- the mind map.

Fight the good fight!

As seen on Twitter: Writing Prompts by Donald Maass - Consolidated

[Updated on April 27th, 2011 - Added April's writing prompts]

If you are a writer, this blog post is for you.

A month ago, literary agent and author, Donald Maass (@DonMaass) started posting writing prompts on Twitter. For those in the business, Donald Maass is a house-hold name.

He is not only the founder of one of the premiere literary agencies but also the author of a various books to help transform your next novel, into a breakout novel. Recently, the paperback version of his latest book, "The Breakout Novelist" was released.

Also, you know that I am a huge fan of James Scott Bell. Connection? Mr. Maass represents Mr. Bell. Nuff' said!

I got a lot of value out of these prompts and used them as my night-time "Do This" exercise. I'm editing my second novel while I query ACES. These helped me go back and revisit scenes, motivations, and more.

I understand that he plans on doing more of these and will also post them on his agency's site. Until then, I've compiled them. I wanted to have these all in one place, and said to myself, "Self, I bet your peeps would like these also."

If you like these, you'll love his books.

Without further ado, here are all of his promts, as seen on Twitter:

01 What’s the worst thing your MC does? Whom and how does that hurt? Now work backwards, set it up to hurt even more. #Maass

02 What’s the most selfless thing your MC does? What good change or effect does that have on someone unexpected? Add that in. #Maass

03 Find any violence in your ms. Delete any shock, fear or horror. Replace with two *conflicting* emotions that are less obvious.#Maass

Today's Breakout prompt may be tougher than it looks. Let me know. Ready? Here we go...

04 Choose a middle scene: What does POV character feel most strongly? Evoke that feeling without naming it, through actions alone. #Maass

A tragedy really puts things in perspective, yes? Help others, live strong, write. Today's Breakout prompt for whenever you're ready...

05 What should your readers most see, understand or be angry about? At what story moment will that happen? Heighten it in two ways. #Maass

We grow and change day by day. Characters can too, scene by scene. Today's Breakout prompt coming up...

06 How does your POV character change in your current scene? Work backwards. Make that change unlikely, a surprise or impossible. #Maass

It's Sunday, but no rest for fiction writers! Today's Breakout prompt coming up in just a minute...

07 What does a sidekick or secondary character see about your MC that your MC denies? Force a showdown over it. #Maass

Our friends sometimes know us better than we know ourselves. Today's Breakout prompt coming up...

08 What does a sidekick character know about your MC that your MC refuses to see? Force a showdown over it. #Maass

08 Over what does your MC disagree with his/her boss or mentor? When does the boss/mentor prove to be right? #Maass

Ever been in a place you just can't seem to get away from? Today's Breakout prompt coming at ya...

09 What’s a place in your story where something significant happens? Switch two other story events to that location too.#Maass

It's characters inner lives that make fiction involving. Adding to that is not subtracting from story. Today's Breakout prompt coming up...

10 In your current scene, what’s a setting detail that delights or disgusts your POV character? Why? Elaborate & add. #Maass

Sometimes it’s the small things in life that overwhelm us with their beauty. Today’s Breakout prompt sneaking up on you…

11 Find a small passing moment in your manuscript. What big meaning does your MC see in it? Add that. #Maass

How do we know that big events are truly big? Because of the details that stick with us. Today's Breakout prompt coming up...

12 During a big dramatic event, what’s one small thing your POV character realizes will never change or never be the same again? Add. #Maass

Weekends are a good time for reflection--by your MC. Today’s Breakout prompt is coming up…

13 For your MC, what are the best things about these times? The worst? Create a passage of his/her take on this era. #Maass

The world of the story is mostly the world as your MC sees it. Today’s Breakout prompt is on the way…

14 In your climactic scene, what are 3 details of place that only your MC would notice? Cut more obvious details, replace with these.

Reversals big and small are one of the most dynamic effects in fiction. Today’s breakout prompt in a moment…

15 What’s one thing your MC hates as the story opens? By the end have your MC love that same thing. (Or vice versa.) #Maass

To provoke a noticeable change, create a sharp provocation. Today’s Breakout prompt zeroes in on your current scene…

16 What’s the precise turning point in your current scene? Make its trigger more dramatic—or less obvious. #Maass

Characters’ convictions anchor them. Pulling up those anchors is deeply dramatic. Today’s Breakout prompt is sailing your way…

17 Who in your story has an ironclad, unshakable belief? Shatter or reverse it by the story’s end. #Maass

Engaging characters are passionately engaged in life. Their feelings tell us so. Today’s Breakout prompt coming up…

18 Give your MC passionate feelings about something trivial: e.g., cappuccino, bowling, argyle socks. Write his/her rant. Add it.#Maass

It doesn't advance the story, it deepens character. @suelder How does a trivial rant advance the story?

What do you stand for? What about your MC? Today’s Breakout prompt matters…

19 What principle guides your MC? At what moment is it most tested? When does it fail? Put it into action three times. #Maass

Saturdays are good for cleaning up clutter. Here comes today’s Breakout prompt…

20 Cut 100 words from your last 3 pages.You have 5 minutes. Fail? Penalty: cut 200 words. #Maass

Dialogue is an opportunity not to be missed—an opportunity for tension. No relaxing on Sunday, guys! Today’s Breakout prompt is…

21 In the last dialogue passage you wrote double the friction, disagreement, overt hostility or hidden agenda. #Maass

Exposition, inner monologue, stream of consciousness…whatever you term it, use it to create tension. Today’s Breakout prompt is…

22 In the last inner monologue you wrote insert one insight, question or worry that hasn’t hit you (or your MC) before now. #Maass

People’s observations—especially of other people—make them interesting. Same is true of characters. Today’s Breakout prompt is…

23 What does your MC know about people that no one else does? Create 3 moments when he/she spots that in others. #Maass

In fiction, obvious emotions rarely need stating. The reader’s already felt them. Go deeper with today’s Breakout prompt…

24 Find a strong emotion and replace it with a secondary one; find a throw-away moment and infuse it with rich feelings. #Maass

Secondary characters can come and go, making little impression—a shame. Today’s Breakout prompt is about to make a grand entrance…

25 Before a new character debuts, give your MC an expectation or fear. Make the reality three times better or worse. #Maass

MC’s make mistakes but often it doesn’t cost much. Today’s Breakout prompt is designed to hurt. Here it comes…

26 Whom is your MC afraid to let down? What is the sacred trust between them? What would cause your MC to break it? Break it.#Maass

What you don’t know can’t hurt you? Heck, why *wouldn’t* you want to hurt your MC? Here comes today’s Breakout prompt…

27 What secret is your MC keeping? Who is keeping one *from* your MC? Spill the truth at the worst possible time. #Maass

Why have your characters merely talk when they can snipe, attack, burn or lay waste—verbally, I mean? Here’s today’s Breakout prompt…

28 Set off fireworks between two characters. What’s the biggest skyrocket you can explode for the finale? Go ahead…kaboom!#Maass

Down to the last three Breakout prompts! Hope you’ve found them useful. Here’s today’s…

29 What’s the emotion or experience you’re most afraid to put your MC through? Go there. Do it. Now. #Maass

Emotional research: ask others who have @DeniseBruce22 but what if you honestly haven't lived that emotion yet..don't know how to write it?

Only two Breakout prompts left! How many have you worked into your ms? Be honest. Here’s today’s…

30 What’s the worst thing that happens to your MC? Work backwards. Make it something your MC has spent a lifetime avoiding. #Maass

This is it! The final day in this month of daily Breakout prompts. Which has helped you most?

For this final Breakout prompt, an adaptation of a classic Breakout stakes raising technique. Ready? Here it comes...

31 What’s the very worst aspect of the main problem your MC faces? Find one way to make it still worse. #Maass

And some nice news for Breakout prompt users: I'll be posting weekly prompts for the rest of the year. Stay tuned. #Maass

-- April 2011 --

Ever get an eerie chill, an empty feeling inside, and know--just know--you are somewhere unsafe? Here's this week's Breakout prompt...

32 Find a corner, crossroads or dark object in your story. Invest it with eeriness, unknown portent or dread. Go there three times.#Maass

It’s Breakout Tuesday. Today’s prompt is inspired by Anne Perry, noted for the moral power of her novels. But there’s a trick to that.


Does the message in your story drop like a rock on the reader’s head? Better is to make your MC sensitive to the morality of small moments.


33 Find a small hurt someone suffers. What’s the big principle or hidden injustice it represents? Stir your MC to anger over it. #Maass

Breakout Tuesday! This week begins a series of prompts focusing on plumbing emotional depths in your WIP. Here it comes...


33 In your current scene, what’s the strongest emotion? Why is it welcome? Why not? What’s good about it? What’s utterly wrong?#Maass

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Fight the good fight!