DON’T TALK ABOUT IT—Drive the Flaw to the Surface for Great Fiction

Image via the movie 28 Days by Columbia Pictures.

Creating a core story problem is essential for any kind of fiction. Dimensional characters should have an inner want, a desire. The story problem is what shoves them out of that comfort zone and dares the character to try and maybe even fail.

There is a great quote in David Corbett’s The Art of Character:

One of Constantin Stanislavski’s key innovations was recognizing the central role of desire in our depiction of the human condition. The fundamental truth to characterization, he asserted, is that characters want something, and the deeper the want, the more compelling the drama. Desire is the crucible that forges character because it intrinsically creates conflict.

It is not enough for a protagonist to sit and think about how she really needs to be a better team player, to have a home, to find love, to overcome addiction, to fit in.

SHOW IT

This can be easier when the plot problem is clearer. In murder mysteries, the goal is to find the killer. In thrillers? Locate the terrorists and stop the bomb. But what about the more existential stuff? This is where a lot of writers can get lost and end up navel-gazing instead of writing great fiction.

Man Against Himself

Your antagonist will often represent the shadow side of the nature your protagonist wants to overcome. If she is an alcoholic, then her old boozing best friend, her alcoholic family, or her heavy drinking coworkers are all antagonists (either scene antagonists or the core antagonist—Big Boss Troublemaker—responsible for the core story problem in need of resolution by Act III).

The BBT creates the story problem. In 28 Days, the BBT is alcoholism, but a PROXY—a judge who’s job is to punish drunk drivers—sentences the protagonist Gwen Cummings to rehab (creating story problem). If Gwen doesn’t complete rehab (ticking clock), she goes to jail (stakes). Yet, though the judge creates the problem and the stakes, he’s not seen more than a couple times.

The real force of tension her being placed in a position where she must choose between the hard-partying boyfriend, Jasper (who represents ALCOHOLISM), who wants his girlfriend to go back to being fun (drinking) versus counselor Eddie Boone (represents SOBRIETY) who offers her the path to a sober life and authentic love. Drinking and Jasper allow her to numb the demons, whereas Boone forces her to face the real reason she drinks and challenges her to a sober life.

BUT…if Gwen hadn’t gotten busted for DUI (story problem), her demons could have remained happily trapped inside her as she partied with Jasper. The STORY PROBLEM forces the internal demons to the surface and grants Gwen opportunity to succeed or fail.

Without being sentenced to rehab, Gwen could remain in pain, drinking the demons into silence.

In your current WIP? Is there a CORE STORY PROBLEM in need of resolution? Can your protagonist fail? What are the stakes? What are the consequences?

Man Against Nature

No, we are not interested in a 70,000 word book about bad weather. Nature is often the backdrop, the catalyst that drives the interior flaws to the surface for the character(s) to succeed or fail. Often Man Against Nature will also be a Man Against Man (The Perfect Storm) often coupled with Man Against Himself (Left for Dead–My Journey Home from Everest).

Man Against Society

Again, what issue are you (the writer) wanting to tackle? If it’s how blacks are treated in Southern white society of the 1960s? Create a protagonist caught in the middle of this dilemma (The Help), and an antagonist who represents all this protagonist is fighting against.

Celia Foote (antagonist) represents the repression the protagonist is battling.

An aspiring (female) author, in the midst of the Civil Rights movement, decides to write a book about the struggles of the African American women who rear and care for so many of the wealthy white children. This story forces the protagonist onto a battlefield where she will be forced to choose sides and answer these tough questions as stakes grow steadily higher.

In Footloose, the BBT was religious fundamentalism that forbade dancing, represented by the town preacher (and father of the love interest).

Writers can tackle major societal issues. It’s what we do and how we’ve been changing the world for centuries. Yet, to really connect with a reader, it’s a good idea to focus that issue in the manifestation of something tangible. Fascism is evil, yet hard to wrap our heads around. Ah, but fascism represented by Adolf Hitler? THAT places fascism in context and focuses our emotions and repulsion.

What are your thoughts? Questions? Did this clear up some of your struggles? Or are you more confused than ever? What are some of your favorite books or movies that addressed deep human issues, and how did they do it?

I love hearing from you!

To prove it and show my love, for the month of May, everyone who leaves a comment I will put your name in a hat. If you comment and link back to my blog on your blog, you get your name in the hat twice. If you leave a comment, and link back to my blog, and mention my book We Are Not Alone in your blog…you get your name in the hat THREE times. What do you win? The unvarnished truth from yours truly.

I will pick a winner once a month and it will be a critique of the first 20 pages of your novel, or your query letter, or your synopsis (5 pages or less).

And also, winners have a limited time to claim the prize, because what’s happening is there are actually quite a few people who never claim the critique, so I never know if the spam folder ate it or to look for it and then people miss out. I will also give my corporate e-mail to insure we connect and I will only have a week to return the 20 page edit.

At the end of May I will pick a winner for the monthly prize. Good luck!

Talk is Cheap—For Great Fiction Drive the Demons to the Surface

The Road

On Monday, we talked about a major way writers can ramp up the tension in their novels. How do we do this? We externalize (or, in Corbett’s words “exteriorize”). Stuff in a character’s head has no outward consequences, thus making it impossible to generate dramatic tension.

The Road—Talk is Cheap

Many writers try to skirt externalization, because they “say” they want to write “literary works.” Yet, even in literary fiction, externalization is critical. Why?

Because 99 times out of a 100, when someone tells me their writing is “literary” this is actually code for “pages and pages of self-indulgent mind-vomit.” Hey, I’ve been guilty, too. Don’t feel badly. If we aren’t making mistakes we aren’t doing anything interesting.

Thinking does not literature make. Many writers don’t like externalizing because, as humans, we have been conditioned to shy away from conflict at all costs. Great fiction writers must do the exact opposite and generate as much (outward and inward) conflict as possible. Even “literary” writers don’t get a pass.

I have two Post-It Notes on my computer. One reads GO FOR THE GUTS and the other is THROW A ROCK IN IT. The second the characters get a breather? RUIN IT.

In Cormac McCarthy’s Pulitzer Award-Winning book The Road, we see a similar situation to Would You Rather? (discussed Monday). It’s one thing to say we will never give up our humanity, that we will never resort to the animal state…but what about when that is tested? How long can The Man go without food? How long can he watch his son go without food before he compromises?

These tough existential questions are what drive the tension of the book because the big questions are placed into context so they can be tested—a regular guy and his boy in a world that has gone horribly wrong. Yes, there is some internalization, but the outside characters and circumstances force that existential question out of the character’s mind and into reality.

Make Them Commit 

It is not enough for The Man to think about how society has gone to hell in a hand basket and he isn’t like them (those who’ve resorted to cannibalism to survive). He and The Boy have to be placed in situations that externally test this conviction. How will we (the reader) know the characters have succeeded? They will make it to the ocean without eating other humans or die trying.

Simple.

An Exercise:

Think about whatever it is that your character is battling, then externalize this. If the person is a drug addict, don’t go on and on with backstory of cocaine binges or drag us into backstory about his abusive father. Show his buddies stopping by in a limo full of hot babes with high-dollar cocaine to offer. Make him CHOOSE and MAKE HIM SQUIRM. Give him a problem, stakes and a real opportunity to fail and face BIG CONSEQUENCES.

TORTURE YOUR CHARACTERS—IT IS GOOD FOR THEM!!!

Give him a story problem with REAL stakes. Make him scream!

If your character is shy, force her to speak in public. If your character is a sex addict, have his coworkers demand he join them at a strip club for a bachelor party. If your character is a control freak (Marlin in Finding Nemo) pair him with an ally that will make him nearly break from stress (like Dori, another fish with short-term memory issues).

What are your thoughts? Questions? What are some of the movies or books you like? Why do you like them? How did they torture their characters?

I love hearing from you!

To prove it and show my love, for the month of May, everyone who leaves a comment I will put your name in a hat. If you comment and link back to my blog on your blog, you get your name in the hat twice. If you leave a comment, and link back to my blog, and mention my book We Are Not Alone in your blog…you get your name in the hat THREE times. What do you win? The unvarnished truth from yours truly.

I will pick a winner once a month and it will be a critique of the first 20 pages of your novel, or your query letter, or your synopsis (5 pages or less).

And also, winners have a limited time to claim the prize, because what’s happening is there are actually quite a few people who never claim the critique, so I never know if the spam folder ate it or to look for it and then people miss out. I will also give my corporate e-mail to insure we connect and I will only have a week to return the 20 page edit.

At the end of May I will pick a winner for the monthly prize. Good luck!

Frankenfriends & Zombie Tweets–Writers, Social Media and the Undead

It writes the words or is gets the hose….

Writers are funny when it comes to social media. Okay, we are funny when it comes to more than social media. Face it, if you had a normal childhood, you likely never grew up to become a writer. Likely you aren’t rich either, because then you could have afforded therapy.

So if you are a writer, you probably are at least tangentially insane and too cheap to pay for an fancy shrink. It is why we write, right? And this is all well and good, because I think sane people write lousy books anyway, but crazy has advantages and disadvantages. Crazy makes for killer books, but it tends to also lend itself to extreme thinking.

Writers are really bad about all or nothing, even in social media. Either we are on the verge of resorting to adult diapers because we can’t pry away from Twitter, or we hiss and scurry for safety in the shadows when anyone mentions social media.

Writing is a Killer

Writers who are successful have to learn two things. First, we need to learn balance. I still struggle with this. The writer who is going to be here for the long-haul to reap success is the one who gets sleep, exercises and eats more than Skittles chased with Red Bull.

Yeah, learned that one the hard way. 

Also, we must learn to balance when to have that pit bull focus, and when to ease back on the throttle and remember we have other responsibilities…like basic hygiene, finishing books and social media.

I would love to say that writers didn’t need to do social media, but I already lie about my height and my age and too many lies is just beggin’ for bad juju. So we know we need to participate in social media, and build a platform and write books and floss every day, and it gets overwhelming, and so we resort back to that all or nothing stuff, and disappear.

A Totally True Brief Story About Writers & the Undead

I get that writers already struggle with being mistaken for one of the undead (refer to picture above taken before Starbucks, as you can tell).  In fact, I believe we writers are the cause of all these stories. Seriously.

Werewolves

Legend has it that a monk (early writer) on deadline chained himself to a wall to finish his edits, because he was getting sidetracked with the new social craze…sending carrier pigeons (early version of Twitter). So he had this new chapter of the Bible due or he was totally going to burn for eternity (and you thought revisions were hard on YOU) and so yeah, he chained himself to the wall with nothing but a quill and paper.

When the other monks wanted to play beer pong (what else do you think they invented beer for?), they couldn’t find him. When they went to check on him, they saw he’d turned into this horrible beast with fangs, and there was this full moon. Naturally they thought the moon was turning him into this beast. Easy mistake. No one ever put two and two together that their buddy’s deadline always fell on the full moon.

It wasn’t the moon…it was last-minute revisions that turned him into this beast.

Vampire

Early writer in Transylvania, couldn’t quit his day job of selling…carrots. Stayed up all night writing and all the red ink from edits just, say…let to misunderstandings.

Frankenstein

Early experiments with energy drinks gone horribly wrong.

True stories I just made up. Okay, yes I have a point. I have to make this fun. How else am I going to teach writers social media unless I coat it with sparkly vampires?

The Undead and Social Media

I get it. I understand you guys. I’m a writer first. Sometimes we have to stay up all night and we do seem to grow fangs, normally around the 65th time a family member has interrupted us, since “we aren’t really working.” I feel your pain. But we have to be really careful that we aren’t bringing undead habits into social media. No one likes to hang out with the undead. Frankenstein? Zero friends. Zombies? Again, zero friends. Vampires? A few friends, but all with serious trust issues.

Hmmm, must be a writer’s conference….

Zombie Blog and Frankentweet

There are writers who I see all the time and I like their blog and then….GONE. Nowhere on Twitter. No longer commenting. No pulse. Then, just about the time I have mourned their loss and moved on to make new friends?

They come baaaack.

Three months or even six months later, their twitter handles or blogs rises from the dead and needs to feed. Now they are tweeting all the time and talking to people and likely telling everyone about the book they have coming out or just released. Only, if you pay close attention, you will see it is the same tweet trying to appear it’s alive when it isn’t (automated). It has no mind and just prowls for victims readers.

Instead of braaaaaiiiiiiins, it moans saaaaallllllleeeeeesssss, buuuuyyyyyyyy, freeeeeeeeeeee. Buuuuy myyy booook.

Don’t be a Frankenfriend

Remember that all-or-nothing thinking I mentioned at the beginning? That is what gets us in trouble and turns us into a Frankenfriend. If we make these unrealistic goals, or we don’t understand how to use social media effectively, we burn out, we go to extremes…and we don’t get the full benefits of having a social media platform.

Less is More

Social media takes less than 20 minutes a day (unless you add in a blog, which I DO recommend). Even with a blog? Not that much time. Get my books or take my classes. We actually have far more impact if we aren’t posting a bunch of times a day. We just have to show up. Attendance counts. A handful of tweets or interactions a day.

Quality, not quantity.

And sure, if you are a Chatty Cathy like me, it is fine, but on those days, weeks when you can’t be chatty? Just pop in. Say “hi.” Give us proof of life. It’s all we ask.

Work in a Team 

Yes, writers need a social media platform, but no one ever said you had to do it all alone. Join up with the WANAs either on Twitter at #MyWANA, Facebook, or the WANA social site, WANATribe (here is an invitation). We work together. All easy-squeezy. Books are not so cost-prohibitive that we can’t support each other.

This is one of the benefits of being a WANA. We are not alone.

When we work as a team, we can pull weight for each other. If we have to do revisions, our pals can guest post for us. We have friends who can tweet about our book or blogs if, for some reason we can’t (like illness or emergency). All of us serve each other because we are totally paying it forward. We know we are going to have to ask for help one day, too.

So what are your thoughts? Are you a member of the Twitter undead? Did you see a light? How did you make it back? What are your stories of social media undead? Heck, let’s have some fun. Do you think writers are the source for all these stories of creatures roaming the night? What’s your version? Have writers been mistaken for any other creatures of the night? Mythical beasts? How do you balance your social media and writing? Are you a WANA and wana give your team a shout-out and tell stories of how the WANAs have been there for you? Bought beer?

Oh, for those in the Denver, Colorado area, I will be speaking this weekend for the Heart of Denver Romance Writers. Come! I would LOVE to meet you! Register here!

I love hearing from you!

To prove it and show my love, for the month of May, everyone who leaves a comment I will put your name in a hat. If you comment and link back to my blog on your blog, you get your name in the hat twice. If you leave a comment, and link back to my blog, and mention my book We Are Not Alone in your blog…you get your name in the hat THREE times. What do you win? The unvarnished truth from yours truly.

I will pick a winner once a month and it will be a critique of the first 20 pages of your novel, or your query letter, or your synopsis (5 pages or less).

And also, winners have a limited time to claim the prize, because what’s happening is there are actually quite a few people who never claim the critique, so I never know if the spam folder ate it or to look for it and then people miss out. I will also give my corporate e-mail to insure we connect and I will only have a week to return the 20 page edit.

At the end of May I will pick a winner for the monthly prize. Good luck!

Would You Rather? An Exercise in Creating Max Conflict in Fiction

From the movie “Would You Rather?”

Last week, I was blessed to attend and teach at the DFW Writers’ Workshop Conference. Edgar-Nominated Author David Corbett taught a really excellent class about building dimensional characters. There was a particular message in his talk that stood out for me.

Force your characters to exteriorize. Thoughts and feelings can be taken back. Action makes characters commit to consequences.

Genuine Drama=Commitment

There is a newbie author mistake we all make. Thinking, feeling, more thinking but nothing happening. I’ve blogged many times that writing can be therapeutic, but it isn’t therapy. I feel that Corbett’s point really crystallized what I was trying to say, but couldn’t seem to articulate nearly as well as he did.

As Long as We are in the Character’s Head, NOTHING is at Stake

There is no push-back, no opposition, thus no conflict. This really gets to the heart of the SHOW DON’T TELL line we have all had drummed into our heads.

I LOVE good horror movies (not slasher flicks). I have two reasons. First, if I am having a really bad day, a horror movie reminds me that life can always be worse. Yes, I am warped that way. But, for me, why I gravitate to horror is that GOOD horror authors understand people.

They have this way of digging down into the primal parts of who people are, for better or worse. Good movies—even horror movies—make you want to discuss the film (or book) afterwards. They rattle you and make you think. I believe this is why Stephen King is such a genius (particularly his early works).

King gets people. He pokes at the tender parts and makes people squirm.

The Higher the Stakes, the Better the Story

There’s one particular movie we watched recently (and I will do my best not to ruin it), but Hubby and I talked for at least an hour after the film was over. In the film Would You Rather? the protagonist is a young woman whose parents have died, leaving her the sole caretaker of her brother who has cancer. It’s a bit more gruesome of a film than I care for, but the character dynamics were fascinating.

Essentially, a sadistic aristocrat seeks out people who are in dire straits, seemingly willing to do anything to solve their current plight. It could be an ill family member who needs an organ donation (the protag’s brother needs a bone marrow transplant), crushing debt, whatever. Play the game. One winner. Winner takes all and the aristocrat has the power to solve all “the winner’s” problems in an instant.

The players are invited to dinner. They chat, get to know each other as people…and then the nightmare begins.

Slowly at first…just a taste.

The crux of the movie is that everyone has a price…or do they? The participants are toyed with through dinner. For instance, the alcoholic who’s been sober ten years is given a bottle of scotch. How much money can coerce him to drink the bottle of scotch? What amount of money will make him compromise all he’s worked for?

Movies are great for studying the show don’t tell rule because it is a purely visual medium—everything is externalized. We see the former alcoholic swear he will never drink again. He’s worked too hard to kick the habit that has landed him in his current desperate situation.

The host has his butler set $5000 in cash right next to the drunk. A dare. Five thousand dollars for just one sip. The alcoholic sweats. He pulls at his collar. He refuses to make eye contact and focuses on the meal. Then $10,000 is stacked next to him and on and on until he finally breaks…proving the aristocrat’s point that anyone can be bought.

The participants are all given an opportunity to leave. Last chance. Ah, but these are people with big things at stake. They stay…and probably wished they hadn’t. The doors are locked and anyone who tries to leave will be shot.

The game is afoot.

Would You Rather?

Take ten lashes with an rattan (a cane that slices flesh) or choose for someone else to take the beating in your stead? Will you endure ten seconds of electric shock? Or give it to someone else? Early on we start seeing the true character of the players revealed. Why? Because everything is exteriorized and has a consequence.

It is one thing to say or believe I am a good person, but will we stick to that when put to the test? When demons are externalized, we see who people really are. Talk is cheap. What will that character do when the heat turns up? Will they sell their soul (the inner man) to solve their problems (outer man)? In case you hadn’t guessed, the game doesn’t reward those with sound moral fiber.

Understanding Your Character’s Weakness Will Help Plotting

Your story problem should be your trial by fire that forces the inside angst to the surface. The plot should change the protagonist leaving a better version at the end (unless it’s horror or a French film and then everyone can die at the end).

An Exercise to Help You Externalize (and, yes, I’m being indulgent and using my novel to give you examples):

What is your character’s greatest strength? Now look to the shadow side and that is likely his/her greatest weakness.

In the novel I just finished, my protagonist is kind and loyal. The shadow side is that she is naive. Predators can smell this. They use her proclivity to believe the best in people against her.

What is his/her greatest fear?

She grew up as white trash in a trailer park. She sacrificed everything to go to college to escape. Her family despises her because of her education, yet she finds herself equally disdained by the rich. They feel she’s nothing but gold-digging trailer trash who doesn’t have the sense to “know her place.”

Her biggest fear is she will always be viewed as trailer trash no matter what she achieves and she will never “belong” anywhere.

What problem can make this character struggle the most?

The story antagonist used my protagonist to build his corporation then, in an scheme of ENRON-like proportions, took off with over a half a billion dollars. He was her fiancé (to add insult to injury). He has left her penniless, broken-hearted, and blackballed. She’s unable to find a job anywhere. Additionally, she owes money to the IRS (also stolen) and she’s the FBI’s favorite suspect.

What problem will force tough moral choices?

Being without options, she must return to the trailer park and rely on the family she abandoned in order to solve the mystery of her mother’s murder and find the missing money and regain her reputation.

What problem has the highest stakes? The most to win or lose?

If she fails, she could die, but that’s not the thing she REALLY fears. She is terrified she’ll be stuck back in the trailer park, working as a maid and taking care of her abusive, angry father and kleptomaniac grandmother.

Will she have to sacrifice the best part of her (her view of humanity) in order to conquer the problem? Will “winning” cost her good heart?

What are your thoughts? What books or movies really made you squirm? Why?

I love hearing from you!

To prove it and show my love, for the month of May, everyone who leaves a comment I will put your name in a hat. If you comment and link back to my blog on your blog, you get your name in the hat twice. If you leave a comment, and link back to my blog, and mention my book We Are Not Alone in your blog…you get your name in the hat THREE times. What do you win? The unvarnished truth from yours truly.

I will pick a winner once a month and it will be a critique of the first 20 pages of your novel, or your query letter, or your synopsis (5 pages or less).

And also, winners have a limited time to claim the prize, because what’s happening is there are actually quite a few people who never claim the critique, so I never know if the spam folder ate it or to look for it and then people miss out. I will also give my corporate e-mail to insure we connect and I will only have a week to return the 20 page edit.

At the end of May I will pick a winner for the monthly prize. Good luck!

Will announce April’s winner later this week. Scrambling to catch up .

The Secret Recipe for Writing a Perfect Pitch

All the right ingredients can make magic…

Today, I am preparing to teach this weekend at the DFW Writers Workshop Conference, so I asked Marcy to guest post on an important topic. Conference season is upon us. Many of you will be talking to agents and editors soon. Or, you might be wracking your brain trying to nail down the hook for a query letter. Marcy is a master at teaching how to refine those tens of thousands of words into something coherent and interesting….

Take it away, Marcy!

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Writing a book is easy…at least when compared to what we need to do after we finish. We had 50,000 to 100,000 words to write our novel, and now we have to condense that down into a couple of paragraphs for an agent pitch, query letter, Amazon description, or back cover copy.

It feels unfair. Mean really. After all, if we’d wanted to write something short, we would have written a short story.

But it’s not as scary as you might think if you break it down into a formula. If formula sounds too scientific, then think of it as baking cookies and this is your secret recipe to cookies a pitch that will make anyone’s mouth water.

Hook + Character Introduction + First Plot Point + (Optional) Closing Sentence

Start with a hook.

There are a few ways to do this.

You could start with your tagline or with a couple of catchy sentences written specifically for the description.

It wasn’t that she wanted to live forever. She just didn’t want to die – from the description of Stealing Time by Elisa Paige.

I call these the “ooo” openings because the whole point is to make you go “ooo” and keep reading.

You could also just jump right in with a really interesting fact about your main character or about the setting.

Most everyone thinks Ward of Hurog is a simple-minded fool—and that’s just fine by him – from Dragon Bones by Patricia Briggs

It tells you a lot about a character when they don’t mind letting people think they’re stupid. You immediately want to know if he’s really a simple-minded fool. And if he’s not, why doesn’t he mind being thought of as stupid? In other words, curiosity drives you to read the rest.

Introduce your main character.

All you really need is their name and a descriptor. Try to stick to one sentence or less.

Indiana Jones, a professor of archeology…

Young hobbit Frodo Baggins…

Go to the First Plot Point.

The point in the story that I want you to aim for goes by a lot of different names. James Scott Bell talks about it as the point of no return, a door closes forever behind the character, taking them out of Act 1 and into Act 2.

Some people will call this the inciting incident.

In his fantastic book Story Engineering, Larry Brooks calls it the First Plot Point. I like this term best because the First Plot Point and the inciting incident can be the same, but they can also be different. Don’t worry. I’m going to explain it all.

When we talk about the inciting incident, we usually mean the event that changes everything for our protagonist. It disrupts their normal world. In the movie The Fugitive, this is when Richard Kimball is convicted of his wife’s murder and sentenced to death. The inciting incident leads to the decision your main character is going to need to make at the First Plot Point.

The First Plot Point is the point from which your main character can no longer turn back. The main conflict of the story is introduced, and your protagonist commits to their goal. If we go back to our example in The Fugitive, while Richard Kimball is being transported to death row, his bus crashes.

In the confusion, the prisoners on the bus escape. Kimball has to make a choice that sets his goal for the rest of the story. He can wait around for the police to arrive and haul him off to prison, maybe appeal his conviction. Or he can make a run for it and hunt down the man who really killed his wife.

If your book is structured correctly, the First Plot Point is going to be at about the 20-25% mark.

And that’s as much plot as you should be covering in your pitch. No more than the first 20-25%.

This works because you don’t give away any spoilers, you don’t have to get into any twists and turns that might lose your listener/reader, you highlight the main conflict, and most importantly, you leave your listener or reader wanting to know more. And after all, making them want more is the whole point of a pitch.

After the first plot point, you can add one more sentence. No more than one. And keep it simple. The end.

I’m serious. If you don’t have them by that point, neither will your book, and then you have bigger problems.

Let me show you how all this looks when it comes together. This is the Amazon description for Sandra Brown’s Mirror Image.

The crash of a Dallas-bound jet wasn’t just a tragedy to TV reporter Avery Daniels; it was an act of fate that handed her a golden opportunity to further her career. (Hook & Character Introduction) Mistaken for a glamorous, selfish woman named Carole Rutledge, the badly injured Avery would find that plastic surgery had given her Carole’s face, the famous senatorial candidate Tate Rutledge for a husband, and a powerful Texas dynasty for in-laws. And as she lay helpless in the hospital, she would make a shattering discovery: Someone close to Tate planned to assassinate him. (First Plot Point) Now, to save Tate’s life, Avery must live another woman’s life — and risk her own… (+1 Sentence)

Want to learn more about creating loglines, taglines, and pitches?

On Saturday, May 11, I’ll be teaching a 90-minute webinar where I give even more tips on crafting awesome loglines, taglines, and pitches. You can sign up or learn more by clicking here. If you can’t make it at the time it’s scheduled but still want to attend, sign up anyway. The webinar will be recorded and sent to registrants along with a PDF of the slides.

I’ve also put together something special as a thank you to people who sign up for my newsletter where I let you know about my upcoming classes and books. I’m offering a free PDF called Everything You Ever Wanted to Know about Hiring a Freelance Editor But Were Too Confused to Ask. Click here to sign up for your copy.

What do you struggle with most when it comes to writing your pitch?

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About Marcy Kennedy

Marcy is a fantasy writer who believes there’s always hope—sometimes you just have to dig a little harder to find it. Alongside her own writing, Marcy works as a freelance editor for both fiction and non-fiction. You can find her blogging about writing on Wednesdays/Thursdays and about the place where real life meets science fiction, fantasy, and myth on Mondays and Fridays Because Fantasy Is More Real Than You Think…

Marcy Kennedy, WANA Instructor Extraordinaire

I LOST THREE Followers—Twitter & Tips to Keep from Going CRAZY

Image courtesy of Cellar Door Films WANA Commons

Twitter is a highly effective social media tool for writers when used properly (which is code for DON’T SPAM US ABOUT YOUR BOOK). There seems to be a lot of concern about numbers of followers, but I want to give some advice:

Ignore the Numbers

There is only one reason we need to care about Twitter numbers. We need to be following enough people in return or Twitter will not allow us to follow more. There is a certain ratio to be maintained and this is just one of many ways that Twitter combats spammers. If I click on someone and they are following 350 people and have 3 followers? That’s a HUGE clue this is a bot.

Yes, I have over 9,300 followers (I had to look it up), but I was also a member of Twitter before anyone knew what the heck it was. I’ve been on Twitter FIVE YEARS. New people get wrapped up in not having enough followers, but just relax.

Talk to people. Use hashtags. Create relationships. #MyWANA is a great place to start because I warn people once about auto-tweeting then I report them as spammers. A good number of the people using #MyWANA are real people.

Large Numbers DO NOT Mean More Influence

There are all kinds of services out there willing to get you a zillion followers for a fee. When you see someone has 25,000 followers, maybe they worked to get that following, but they also could have paid for it.

Means NOTHING.

WANA is all about a team. We work together, thus content travels exponentially, not linearly. I don’t need 25,000 followers to reach 25,000 people. I just need a couple more people with decent followings to tweet or REtweet what I have to offer.

Having 50,000 followers doesn’t translate into influence. It’s akin to me  me holding up a phone book claiming I have 50,000 “friends.”

WANA is a lot about doing more with less. It’s why I stress authenticity. People ignore automation, and they RESENT automation made to look like a real person. I just followed a writer and immediately got this auto-tweet:

Thanks for following! Which do you prefer? Vampires or werewolves?

I’m sure some social media expert recommended this behavior, but it is SPAM and it is ANNOYING. I wanted to tweet back, Actually, I prefer people not to crap up my DMs with automated silliness.

Focusing on the Numbers Can Be a Ticket to Crazy Town

Piper Bayard used to make me nuts with this when I first dragged her on to Twitter back in 2009. She’d have a day where she lost a handful of followers and then she’d comb through her tweets worried she’d said the wrong thing or insulted someone. Instead of focusing on writing, she wanted to eat chocolate and cry.

She’s totally outgrown this, btw.

I never look at my numbers (unless I am writing a blog and I have to get an idea where I stand). We can lose followers for any number of reasons, and often it has NOTHING to do with us.

Aside from Being an @$$clown

Unless you are misbehaving and being unprofessional FUGGETABOUTIT. And if you are misbehaving and being unprofessional, STOP IT. What takes years to build takes minutes to destroy.

Twitter is awesome because we can go viral more easily than any other social site…but it can be a nightmare because we can go viral more easily than any other social site.

Some random woman made a snarky, mean comment about Ice T’s wife and fans went for her digital throat. She practically had to go into Witness Protection, and the comment, I’m sure, was nothing she thought much about before she tweeted it.

Yes, we tweet in our jammies, but we are not alone.

We can be real, fun, chatty, and authentic. We can even engage in deep discussion. BUT if you couldn’t say it at the company BBQ and expect to still have a JOB the next day…DON’T TWEET IT.

As far as losing followers. Ignore the numbers and save the angst.

Reasons We Lose Followers (Aside from Acting Like an @$$clown)

Twitter Could Have Taken Down The Account

A lot of those who follow us are bots. They could have finally been “found out” and reported enough and Twitter smited them…and now you’re eating a pan of brownies and calling your therapist because Twitter did you a favor and smited a bot.

DON’T.

Some People Get Hacked and Have to Start Over

Some people get hacked and have to close down an account. Often, if you tweet good stuff…they will find you. Depending on how the person is hacked, they could lose all their followers. Don’t freak out. The person hacked will look for you and refollow.

Some People Don’t Have HootSuite or TweetDeck and Get Overwhelmed

People are getting more and more social media savvy, but those of us who use TweetDeck or HootSuite are spoiled. We have a tool that manages all the influx. We can be chatting away, not realizing some Twitter Noob with Regular Twitter thinks we are blowing up their feed and they are having a complete panic attack.

OMG!!! @KristenLambTX never SHUTS UP! She’s tweeted four times in the past 30 minutes.

Often they might unfollow, then complain to a friend…who then shows them the beauty of HootSuite and TweetDeck and then they realize we really weren’t tweeting too much. They had the wrong format to manage any active conversations on Twitter.

Some People Simply Lack Good Taste

And of course there is this: We cannot be all things to all people. Shocking as it may sound there are even people who don’t like me.

*GASP!!!!*

I know, right? Which proves there are plenty of people in the world who lack taste and the sophistication to appreciate how awesome we are. They probably hate kittens and unicorns too, so just feel super sad for them and hope they come to their senses.

At the end of the day, focus on people, not numbers, not technology. Have you ever nearly had a panic attack when you saw you’d lost followers? Do you ignore your numbers? Do you now feel super liberated because you have permission to LOOK AWAY?

I love hearing from you!

To prove it and show my love, for the month of May, everyone who leaves a comment I will put your name in a hat. If you comment and link back to my blog on your blog, you get your name in the hat twice. If you leave a comment, and link back to my blog, and mention my book We Are Not Alone in your blog…you get your name in the hat THREE times. What do you win? The unvarnished truth from yours truly.

I will pick a winner once a month and it will be a critique of the first 20 pages of your novel, or your query letter, or your synopsis (5 pages or less).

And also, winners have a limited time to claim the prize, because what’s happening is there are actually quite a few people who never claim the critique, so I never know if the spam folder ate it or to look for it and then people miss out. I will also give my corporate e-mail to insure we connect and I will only have a week to return the 20 page edit.

At the end of May I will pick a winner for the monthly prize. Good luck!

Creating Multi-Dimensional Characters #2—Everybody Lies

Image via the award-winning show “House.”

Monday, we started talking about ways to create multi-dimensional characters. It’s tempting for us to create “perfect” protagonists and “pure evil” antagonists, but that’s the stuff of cartoons, not great fiction. Every strength has an array of corresponding weaknesses, and when we understand these soft spots, generating conflict becomes easier. Understanding character arc becomes simpler. Plotting will fall into place with far less effort.

All stories are character-driven. Plot merely serves to change characters from a lowly protagonist into a hero….kicking and screaming along the way.

One element that is critical to understand is this:

Everyone has Secrets

To quote Dr. Gregory House, Everybody lies.

All good stories hinge on secrets.

I have bodies under my porch.

Okay, not all secrets in our fiction need to be THIS huge.

Secret #1—”Real” Self Versus Authentic Self

We all have a face we show to the world, what we want others to see. If this weren’t true then my author picture would have me wearing a Gears of War T-shirt, yoga pants and a scrunchee, not a beautifully lighted photograph taken by a pro.

We all have faces we show to certain people, roles we play. We are one person in the workplace, another with family, another with friends and another with strangers. This isn’t us being deceptive in a bad way, it’s self-protection and it’s us upholding societal norms. This is why when Grandma starts discussing her bathroom routine, we cringe and yell, “Grandma! TMI! STOP!”

No one wants to be trapped in a long line at a grocery store with the stranger telling us about her nasty divorce. Yet, if we had a sibling who was suffering, we’d be wounded if she didn’t tell us her marriage was falling apart.

Yet, people keep secrets. Some more than others.

In fact, if we look at The Joy Luck Club the entire book hinges on the fact that the mothers are trying to break the curses of the past by merely changing geography. Yet, as their daughters grow into women, they see the faces of the same demons wreaking havoc in their daughters’ lives…even though they are thousands of miles away from the past (China).

How could she just LEAVE those babies?
Image via IMDB “The Joy Luck Club”

The mothers have to reveal their sins, but this will cost them the “perfect version of themselves” they’ve sold the world and their daughters (and frankly, themselves).

The daughters look at their mothers as being different from them. Their mothers are perfect, put-together, and guiltless. It’s this misperception that keeps a wall between them. This wall can only come down if the external facades (the secrets) are exposed.

Secret #2—False Face

Characters who seem strong, can, in fact, be scared half to death. Characters who seem to be so caring, can in fact be acting out of guilt, not genuine concern for others. We all have those fatal weaknesses, and most of us don’t volunteer these blemishes to the world.

The woman whose house looks perfect can be hiding a month’s worth of laundry behind the Martha Stewart shower curtains. Go to her house and watch her squirm if you want to hang your coat in her front closet. She wants others to think she has her act together, but if anyone opens that coat closet door, the pile of junk will fall out…and her skeletons will be on public display.

Anyone walking toward her closets or asking to take a shower makes her uncomfortable because this threatens her false face.

Watch any episode of House and most of the team’s investigations are hindered because patients don’t want to reveal they are not ill and really want attention, use drugs, are bulimic, had an affair, are growing marijuana in their attics, etc.

Secret #3—False Guilt

Characters can be driven to right a wrong they aren’t even responsible for. In Winter’s Bone Ree Dolly is driven to find her father before the bail bondsman takes the family land and renders all of them homeless.

Ree is old enough to join the Army and walk away from the nightmare, but she doesn’t. She feels a need to take care of the family and right a wrong she didn’t commit. She has to dig in and dismantle the family secrets (the crime ring entrenched in her bloodline) to uncover the real secret—What happened to her father?

She has to keep the family secret (otherwise she could just go to the cops) to uncover the greater, and more important secret. She keeps the secret partly out of self-preservation, but also out of guilt and shame.

Seeking the truth is painful…
Image via “Winter’s Bone”

In my WIP (that I JUST finished, YAY!), my protagonist takes the fall for a massive Enron-like scam. She had nothing to do with the theft of a half a billion dollars and the countless people defrauded into destitution. Yet, she feels false guilt. She feels responsible even though she isn’t.

This directs her actions. It makes her fail to trust who she should because she’s been had before. When she uncovers a horrific and embarrassing truth about someone she trusts, she withholds the information (out of shame for the other person) and it nearly gets her killed.

This embarrassing secret is the key to unlocking the truth, yet she hides it because of shame. Shame for the other person and shame that this information reveals her deepest weakness…she is naive and has been (yet again) fooled.

Be a GOOD Secret-Keeper

This is one of the reasons I HATE flashbacks. Oh, but people want to know WHY my character is this way or does thus-and-such.

Here’s the thing, The Spawn wants cookie sprinkles for breakfast. Just because he WANTS something, doesn’t mean it’s the best thing for him. Don’t tell us WHY. Reveal pieces slowly, but once secrets are out? Tension dissipates. Tension is key to maintaining story momentum. We WANT to know WHY, but it might not be good for us.

The Force was more interesting before it was EXPLAINED.

Everybody LIES

They can be small lies, “No, I wasn’t crying. Allergies.” They can be BIG lies, “I have no idea what happened to your father. I was playing poker with Jeb.” Fiction is one of the few places that LIES ARE GOOD. LIES ARE GOLD.

Fiction is like dating. If we tell our date our entire life story on Date #1? Mystery lost and good luck with Date #2.

When it comes to your characters, make them lie. Make them hide who they are. They need to slowly reveal the true self, and they will do everything to defend who they believe they are. Remember the inciting incident creates a personal extinction. The protagonist will want to return to the old way, even though it isn’t good for them.

Resist the urge to explain. 

Feel free to write it out for you…but then HIDE that baby from the reader. BE A SECRET-KEEPER. Secrets rock. Secrets make FABULOUS fiction.

What are your thoughts? Questions? What are some great works of fiction that show a myriad of lies from small to catastrophic?

To prove it and show my love, for the month of May, everyone who leaves a comment I will put your name in a hat. If you comment and link back to my blog on your blog, you get your name in the hat twice. If you leave a comment, and link back to my blog, and mention my book We Are Not Alone in your blog…you get your name in the hat THREE times. What do you win? The unvarnished truth from yours truly.

I will pick a winner once a month and it will be a critique of the first 20 pages of your novel, or your query letter, or your synopsis (5 pages or less).

And also, winners have a limited time to claim the prize, because what’s happening is there are actually quite a few people who never claim the critique, so I never know if the spam folder ate it or to look for it and then people miss out. I will also give my corporate e-mail to insure we connect and I will only have a week to return the 20 page edit.

At the end of May I will pick a winner for the monthly prize. Good luck!

Ways to Create Multi-Dimensional Characters–Tip #1

Elle Woods in “Legally Blonde.”

To give characters depth, we have to be people-watchers. Study people. Know thyself. I strongly recommend reading books on psychology as part of research. For instance, I read a lot of FBI books on profiling.

As writers, characters need some amount of consistency without being predictable. If there is some deviation from the profile, there must be a good reason WHY, other than we need a character to act a certain way to move our story forward.

For instance, the shy librarian who rescues spiders cannot suddenly gouge out the eyes of a guy mugging her unless we can offer a reasonable explanation for this deviation from archetype. I.e. She could have been raped and left for dead as a teenager. Yes, she remained shy and soft-spoken and true to her character…until circumstances brought out that wounded part who was capable of going for the eyes.

Today I will focus mainly on the protagonist, but you simply reverse this for the antagonist.

Every Strength has a Weakness

One key factor we must appreciate is that every strength has a flaw. A loyal person is noble, but they are also often naive. A strong leader gets the job done, but often is a control-freak who fails to rely on a team and sucks at delegating. A tender-hearted person is kind, loving, but often used.

Part of creating conflict is to place the character in situations where the strength becomes a fatal flaw. The character’s arc is to learn to address this flaw and change.

In my current novel, the character is bubbly, likable and loyal. She is also naive and that is why she’s initially taken advantage of and used to take the fall for a massive Enron-like scheme.

Often, the inciting incident creates a personal extinction. What the character believes about her world and those around her evaporates. The plot problem serves to bring the protagonist back into balance, but as a better, New and Improved version.

We all want homeostasis. We want our old life back, but often that old life wasn’t good for us. THIS is what your plot will reveal to your protagonist.

In Legally Blonde Elle Woods must learn to see people for who they really are. She is naive, but underestimated (she even underestimates herself). People assume she is a dumb Pollyanna, but they miscalculate that Elle will be tested by fire and change. They assume, wrongly, that being bubbly and sweet=stupid.

THAT is the flaw that brings the victory. Remember, the antagonist who took advantage of the initial weakness is counting on the character failing to learn and grow, and this will be their ultimate undoing.

Gracie Hart “Miss Congeniality”

In Miss Congeniality, undercover Gracie Hart is a tough hard-@$$ who is such a control freak she cannot rely on her (very capable) team. This costs them a major bust at the beginning of the movie and lands her in her version of hell–going undercover as the very type of woman she despises.

Gracie suffers personal extinction. She cannot be the belching woman in comfortable shoes who arm-wrestles for who’s going to buy the next round of beers.

She has to face her scary place—her femininity and being vulnerable. She also has to learn to rely on others for help and it is the story problem—being thrust into a world of girly-girls—that makes her evolve as a human being. The very women she initially despised ironically hold the keys to her personal growth and thus her ultimate victory.

She loses nothing of the take-charge bad@$$ that makes her who she is, but it’s a far better version…in heels. Again, the opposition underestimates Gracie’s ability to face her demons and change.

Agent Gracie Hart, NEW AND IMPROVED

In Lord of the Rings the Hobbits are naive, sheltered and childlike. We see this early on when Merry and Pippin break in to hijack some of Gandalf’s fireworks. The discovery of the Ring of Power is what creates the personal extinction—getting out into the scary world full of bad stuff that lies beyond the Shire.

There is almost an unspoken societal rule. Hobbits don’t LEAVE the Shire. They stay in Happy Hobbit Land and believe the bad will stay away.

Problem is, in order to destroy the Ring of Power, the Hobbits have to grow up. They can’t light fires for a midnight snack when dark undead kings are after their heads. The very characteristics that make them the most immune to the influence of the Ring—their good hearts, their childlike ways, their innocence—must be tempered and eventually sacrificed for the good of all.

My favorite scene (and I cry every time) is at the end of Return of the King. The same Hobbits from the beginning are back in having a pint, but rather than dancing and singing like all the other Hobbits, they huddle at a table and no longer speak. They left The Shire as boys and have returned war-weary men who gave up their innocence so the world would be saved.

Innocence lost to save the world.

It is Sauron’s gross underestimation of the Hobbits that is is ultimate undoing. He fails to ever even see them as a viable threat. Yet, had the Hobbits NOT been able to rise above their natures, they would have all died in Book (Movie ) ONE. It’s their ability to grow up and lose their innocence that saves the world.

Thus, when looking at your characters, look to what their best qualities are…then what are the dark sides of those traits? The inciting incident obliterates what the person believes about who they are.

What is the other side of the personality trait? How can you harness this to put your protagonist into tough spots that goes against their nature and forces change? Who can you pair that character with to create the most friction?

In Miss Congeniality she is no longer in charge and gets waxed, tweezed and forced to walk in heels. She’s shoved out of her comfort zone and she resists with all she has because she wants things to go back to the way they were. BUT, if the protagonist regresses, the story problem will not be solved. Bad guys win.

TOO PERFECT CHARACTERS ARE BORING.

Always remember that bad decisions are the beating heart of great fiction.

What are your thoughts? I try to use a blend of movies and books because it’s easier for more people to get the references, but what are your favorite instances of character arc? What do you struggle with?

To prove it and show my love, for the month of April, everyone who leaves a comment I will put your name in a hat. If you comment and link back to my blog on your blog, you get your name in the hat twice. If you leave a comment, and link back to my blog, and mention my book We Are Not Alone in your blog…you get your name in the hat THREE times. What do you win? The unvarnished truth from yours truly.

I will pick a winner once a month and it will be a critique of the first 20 pages of your novel, or your query letter, or your synopsis (5 pages or less).

And also, winners have a limited time to claim the prize, because what’s happening is there are actually quite a few people who never claim the critique, so I never know if the spam folder ate it or to look for it and then people miss out. I will also give my corporate e-mail to insure we connect and I will only have a week to return the 20 page edit.

At the end of April I will pick a winner for the monthly prize. Good luck!

Humor is Everywhere–The Art of Being Funny

Looks legit.

One of my absolute favorite people in the world is humor author and mommy-blogger Leanne Shirtliffe. I know if I’m having a rough day, that I just need to stop by Leanne’s blog or Facebook page, because she’ll have me smiling in minutes. One of the advantages of starting my company, WANA International, is I was able to abduct recruit my favorite people to teach.

Today, Leanne’s, going to give us some tips about how to make the world our muse—> then make it LOL.

Take it away, Leanne!

******

Humor is everywhere, from Tom Cruise’s teeth to your local pet store. You just have to look for it.

How do you find humor?

Watch what children do:

Genetic modification for the tween set.

I grabbed a notebook out of my bedside table. On the next available page was this note from my daughter.

Look at sign combinations:

Gives new meaning to “strip mall.”

Gives new meaning to the saying “to hell and back”

Evidently my garage is a “community”

Does watching mommy and daddy skull beers count as “live entertainment”?

Visit your local book store, especially the bargain books section. Look for weird combos of books.

So you’ve found humor. Now what?

• What about having a character in your manuscript come across one of these signs or combinations of books? Even non-humorous characters can see or find humor.
• Creating characters with unique characteristics is one way to be original; observing quirky details is yet another way to develop a distinctive voice.

Interested in finding out many more humor techniques?

Attend my WANA webinar on Wednesday, April 24 from 8:30-10:00 PM EST, “How To Be Funny (Er): 10 Techniques for Writers of Fiction and Nonfiction.“

All participants will be entered to win a copy of my soon-to-be-released humor book, Don’t Lick the Minivan: And Other Things I Never Thought I’d Say to my Kids.

Click here for more details on the webinar and/or to register.

Where’s your favorite place to “find” humor? What makes you laugh?
How do you use humor in your writing?

~~

About Leanne Shirtliffe

Leanne Shirtliffe is a humor writer whose book, Don’t Lick the Minivan: And Other Things I Never Thought I’d Say to my Kids, has received positive endorsements Jenny Lawson (The Bloggess), Jill Smokler (Scary Mommy), Kirkus Review, and others. She writes for the Huffington Post, NickMom.com, and IronicMom.com. When she’s not stopping her eight-year-old twins from licking frozen flagpoles, Leanne teaches English to teenagers who are slightly less hormonal than she is.

Thanks Leanne! Please show her some love for making your Fridays more fun .

I LOVE hearing from you guys!

To prove it and show my love, for the month of April, everyone who leaves a comment I will put your name in a hat. If you comment and link back to my blog on your blog, you get your name in the hat twice. If you leave a comment, and link back to my blog, and mention my book We Are Not Alone in your blog…you get your name in the hat THREE times. What do you win? The unvarnished truth from yours truly.

I will pick a winner once a month and it will be a critique of the first 20 pages of your novel, or your query letter, or your synopsis (5 pages or less).

And also, winners have a limited time to claim the prize, because what’s happening is there are actually quite a few people who never claim the critique, so I never know if the spam folder ate it or to look for it and then people miss out. I will also give my corporate e-mail to insure we connect and I will only have a week to return the 20 page edit.

At the end of April I will pick a winner for the monthly prize. Good luck!

Little Darlings & Why They Must Die…for REAL

Remember me?

Almost any of us who decided one day to get serious about our writing, read Stephen King’s On Writing. Great book, if you haven’t read it. But one thing King tells us we writers must be willing to do, is that we must be willing to, “Kill the little darlings.”

Now, King was not the first to give this advice. He actually got the idea from Faulkner, but I guess we just took it more seriously when King said it…because now the darlings would die by a hatchet, be buried in a cursed Indian flash drive where they would come back as really bad novels.

…oops, I digress.

Little darlings are those favorite bits of prose, description, dialogue or even characters that really add nothing to the forward momentum or development of the plot. To be great writers, we must learn to look honestly at all little darlings. Why? Because they are usually masking critical flaws in the overall plot.

Right now I am almost through Act II of my novel and I can already see the little darlings in Act I that need to go. Fortunately, I’ve been through this enough times to kill with ruthless efficiency.

But why are little darlings so dangerous?

Because th-they come back….but *shivers* they are…different.

Let me explain why it is important to let go.

Hazard #1—Mistaking Melodrama for Drama

Drama is created when a writer has good characterization that meets with good conflict. The characters’ agendas, secrets and insecurities collide.

As Les mentioned in his lesson about dialogue, subtext is vital. It’s more than what’s said. This can only happen when 3-D characters meet with real baggage that gets in the way of solving a CORE STORY PROBLEM.

There is a scene in my current book where the protagonist becomes angry and hurt by the FBI agent trying to help her. Did the agent do anything wrong? No. But his behavior reminded her of her ex (the antagonist) and that ignited an unhealed hurt/insecurity inside my protagonist.

As is happens in life, we sometimes strike out at others not because of what they did or didn’t do, rather we are punishing them for unhealed wounds from our past often inflicted by other people. If my protagonist is pushing away the one person there to help her, she is five steps back from solving the core plot problem that’s upended her life.

Conflict.

Hazard #2—Mistaking Complexity for Conflict

Complexity is easily mistaken for conflict. I witness this pitfall in most new novels. I teach at a lot of conferences, and, in between my sessions, I like to talk new and hopeful writers. I often ask them what their books are about and the conversation generally sounds a bit like this:

Me: What’s your book about?

Writer: Well, it is about a girl and she doesn’t know she has powers and she’s half fairy and she has to find out who she is. And there’s a guy and he’s a vampire and he’s actually the son of an arch-mage who slept with a sorceress who put a curse on their world. But she is in high school and there is this boy who she thinks she loves and…

Me: Huh? Okay. Who is the antagonist?

Writer: *blank stare*

Me: What is her goal?

Writer: Um. To find out who she is?

Most new novels don’t have a singular core story problem. It is my opinion that baby writers, deep down, know they’re missing the backbone to their story—A CORE STORY PROBLEM IN NEED OF RESOLUTION. Without a core story problem, conflict is impossible to generate, and the close counterfeit “melodrama” will slither in and take its place.

I believe when we are new writers, we sense our mistake on a sub-conscious level, and that is why our plots grow more and more and more complicated.

When we fail to have a core story problem, often we resort to trying to fix the structural issue with Bond-o putty and duct tape and then hoping no one will notice. How do I know this?

I used to own stock in Plot Bond-o .

The problem is, “complicated” is not conflict. 

We can create an interstellar conspiracy, birth an entirely new underground spy network, resurrect a dead sibling who in reality was sold off at birth, or even start the Second Civil War to cover up the space alien invasion…but it ain’t conflict. Interstellar war, guerilla attacks, or evil twins coming back to life can be the BACKDROP for conflict, but alone are not conflict.

And, yes, I learned this lesson the hard way. Most of us do. This is all part of the author learning curve, so don’t fret and just keep writing and learning.

Little darlings are often birthed from us getting too complicated. We frequently get too complicated when we are trying to b.s. our way through something we don’t understand and hope works itself out.

Um, it won’t.

Tried it. Just painted myself into a corner. But we add more players trying to hide our errors and then we risk falling so in love with our own cleverness—the subplots, the twist endings, the evil twin—that we can sabotage our entire story.

I sincerely believe these little darlings are like fluffy beds of leaves covering punji pits of writing death. “Complicated” is the child of confusion, whereas “complexity” is the offspring of simplicity.

Be truthful. Are your “flowers” part of a garden or covering a grave? We put our craftiest work into buttressing our errors, so I would highly recommend taking a critical look at the favorite parts of your manuscript and then get real honest about why they’re there. Make the hard decisions, then kill them dead and bury your pets little darlings for real.

You have rewritten me 14 times. You think I’m going to leave without a fight? Hssssssss.

So what do you do with your little darlings? What’s been your experience? Do you have any tips, tools or tactics to help us dispose of the bodies?

I LOVE hearing from you guys!

To prove it and show my love, for the month of April, everyone who leaves a comment I will put your name in a hat. If you comment and link back to my blog on your blog, you get your name in the hat twice. If you leave a comment, and link back to my blog, and mention my book We Are Not Alone in your blog…you get your name in the hat THREE times. What do you win? The unvarnished truth from yours truly.

I will pick a winner once a month and it will be a critique of the first 20 pages of your novel, or your query letter, or your synopsis (5 pages or less).

And also, winners have a limited time to claim the prize, because what’s happening is there are actually quite a few people who never claim the critique, so I never know if the spam folder ate it or to look for it and then people miss out. I will also give my corporate e-mail to insure we connect and I will only have a week to return the 20 page edit.

At the end of April I will pick a winner for the monthly prize. Good luck!