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!