Posts Tagged tension
We’ve spent the past several weeks talking about my Deadly Sins of Writing, which are seven newbie mistakes that interfere with our fiction. “Was” clusters and ellipses overkill are distracting, and POV shifts just make us want to lie down until the dizziness passes. Ah, but once you have successfully removed the offending sins, you can more clearly see the actual story…but that doesn’t mean there isn’t more trouble ahead. There still might be more work to do.
Many of you have vowed to take your craft more seriously this year, which means more conferences and many, many more queries. For those of you who have submitted before, every wonder how an agent can ask for the first 20 pages and still reject our book? Did you ever wonder if the agents really read these pages? How can they know our book isn’t something they want to represent with so little to go on? I mean, if they would just continue to page 103 they would see that the princess uncovers a whole underground movement of garden gnomes with interdimensional capabilitites, and they wouldn’t be able to put it down. Right?
For those of you hoping to win my contest, you might be wondering exactly how much my 5 or 15 page critique is going to help you. Well, today is a peek inside my head. Please ignore the laundry. I’ve been meaning to get to that.
Back in the day before I wrote full time, I paid my dues doing a lot of editing. I have edited countless manuscripts, and today I am going to let you see the first 5-20 pages through the eyes of an agent or editor. Novel Diagnostics 101. The doctor is in the house.
I mean no disrespect in what I am about to say. I am not against self-publishing and that is a whole other subject entirely. But, what I will say is that there are too many authors who dismiss why agents are rejecting them and run off to self-publish instead of fixing why their manuscript was rejected.
Agents know that a writer only has a few pages to hook a reader. That’s the first thing. But agents also know that the first 20 pages are a fairly accurate reflection of the entire book.
Years ago, when I used to edit, I never cared for being called a book doctor. I rarely ever edited an entire book. I guess one could say I was more of a novel diagnostician. Why? Doctors fix the problems and diagnosticians just figure out what the problems ARE. Thus, what I want to help you guys understand is why beginnings are so imporant.
I generally can ”diagnose” every bad habit and writer weakness in ten pages or less. I never need more than 50 pages (and neither do agents and other editors). Why? Well, think of it this way. Does your doctor need to crack open your chest to know you have a bum ticker?
He pays attention to symptoms to diagnose the larger problem. He takes your blood pressure and asks standardized questions. If he gets enough of the same kind of answer, he can tell you likely have a heart problem. Most of the time, the tests and EKGs are merely to gain more detail, but generally to confirm most of what the doc already knows.
The first pages of our novel are frequently the same. So let’s explore some common problems with beginnings and look to the problems that they can foreshadow in the rest of the work.
The beginning of the novel starts the reader off with lengthy history or world-building. The author pores on and on about details of a city or civilization or some alien history all to “set up” the story.
In my experience, this is often the hallmark of a writer who is weak when it comes to characters and even plotting. How can I tell? He begins with his strength…lots of intricate details about a painstakingly crafted world. Although not set in stone, generally, if the author dumps a huge chunk of information at the start of the book, then he is likely to use this tactic throughout.
This type of beginning tells me that author is not yet strong enough to blend information into the narrative in a way that it doesn’t disrupt the story. The narrative then becomes like riding in a car with someone who relies on hitting the brakes to modulate speed. The story likely will just get flowing…and then the writer will stop to give an information dump.
Also, readers read fiction for stories. They read Wikipedia for information. Information does not a plot make. Facts and details are to support the story that will be driven by characters with human wants and needs.
Sci-fi/fantasy writers are some of the worst offenders. It is easy to fall in love with our world-building and forget we need a plot with players. Keep the priorities straight. In twenty years people won’t remember gizmos, they will remember people.
Book Starts Right in the Middle of the Action
A lot of new writers are being told to start right in the action, and this tip is wrong…well, it needs to be clarified. We need some kind of conflict in the beginning to make us (the reader) choose to side with/like the protagonist. This conflict doesn’t necessarily have to do with the main story problem (directly).
For instance, in the Hunger Games we are introduced to Katniss and we get a glimpse of the hell that is her life and the burden she has of feeding her family. We feel for her because she lives in a post-apocalyptic nightmare where life is lived on the brink of starvation. Nothing terribly earth-shattering happens, but we care about this girl. So, when Katniss is chosen to participate in The Hunger Games–a brutal gladiator game held by the privileged Capitol–we want her to win, because that means a life of food, shelter and relative safety.
Suzanne Collins didn’t start out with Katniss in the arena fighting the Hunger Games. That is too far in and is too jarring. We need time with Katniss in her Normal World for The Hunger Games to mean anything or this action would devolve quickly into melodrama. Even though in the beginning, she isn’t per se pitted directly with the Capitol, she is pitted against starvation and depravity…which leads us nicely into the main cause of that starvation and depravity (the Capitol) and the solution to this life (win the Hunger Games).
Yet, many new writers take this notion of “start right in the action” and they dump the reader straight into the arena. The beginning of the novel starts us off with the protagonist (we think) hanging over a shark tank and surrounded by ninjas. There are world-shattering stakes and we are only on page 2.
This shows me that the writer could be weak in a number of areas. First, she may not be clear what the overall story problem is, so she is beginning with a “gimmick” to hook the reader in that she is unsure the overall story problem will. Secondly, this alerts me that the writer is weak in her understanding of scene and sequel novel structure.
Scenes are structured: Goal-> conflict -> disaster
So when a writer begins her book with Biff hanging over a shark tank surrounded by ninjas, two major steps in a scene have been skipped. Also, if you go back to an earlier blog from last fall, Normal World serves an important function. Thus when a writer totally skips some fairly vital parts and thrusts us straight into disaster, I already know the author will likely rely on melodrama from this point on. Why? Because that was how she began her book.
Book Begins with Internalization
Fiction is driven by conflict. Period. Writing might be therapeutic, but it isn’t therapy. When a writer begins with a character thinking and internalizing that is another huge warning flag of a number of problems.
Do you need internalization in a novel? Yes! But it has its place. Most internalization will be part of what is known as the sequel. Sequels transpire as a direct reaction to a scene. When a writer begins the novel with the sequel, that is a huge warning that, again, the writer is weak when it comes to structure. There is a definite purpose for reflection, but kicking off the action is not one of them.
Also, beginning with the protagonist “thinking” is very self-indulgent. Why do we as readers care about this person’s feelings or thoughts about anything? We don’t know this character. The only people who listen attentively to the thoughts, feelings, and disappointments of total strangers are shrinks, and they are being paid well to do so.
Now, give us (your readers) time to know your character and become interested in her, and then we will care. But, starting right out of the gate with a character waxing rhapsodic is like having some stranger in the checkout line start telling you about her nasty divorce. It’s just weird.
Also, like people who tell you about their abusive alcoholic father the first 30 seconds after you’ve met them, they likely will keep this trend of rudely dumping too much personal information. When the protagonist begins with all this thinking and more thinking…and more thinking, it is probably a bad sign for the future. Just sayin’.
Book Begins with a Flashback
Yeah…flashbacks are a whole other blog, but lets’ just say that most of the time they are not necessary. We do not need to know why a certain character did this or that or why a bad guy went bad. Again, that’s for therapy.
Did we really need to know why Hannibal Lecter started eating people for Silence of the Lambs to be an AWESOME book AND movie? Now I know that there was a later explication of this….but it was an entirely different story (and one that really didn’t do well, I might mention). We didn’t stop the hunt for Wild Bill to go on and on about how Hannibal’s family was slaughtered in the war and the bad guys ate his sister…and it worked!
Flashbacks often alert me that the writer needs time to grow. She hasn’t yet developed the skill to blend background details with the current conflict in a way that supports the story.
I’ll give you a great example.
Watch the J.J. Abrams Star Trek. We find out exactly how Dr. Leonard McCoy gets his nickname, Bones…one line. “Wife got the whole planet in the divorce. All I got left is my bones.” The audience didn’t have to have a flashback to get that McCoy’s divorce was really bad. That is a great example of a writer seamlessly blending character back story.
Flashbacks, used too often, give the reader the feel of being trapped with a sixteen-year-old learning to drive a stick-shift. Just get going forward, then the car (story) dies and rolls backward.
Also, sometimes, not knowing why adds to the tension. The Force was more interesting before it was explained. For more why over-explaining is a total story-killer that RUINS tension, I recommend a visit to my post What Went Wrong with the Star Wars Prequels.
There are three really great books I highly recommend if you want to work on your beginnings (and even learn to fix the problems that bad beginnings foreshadow). Plot and Structure by James Scott Bell, Hooked by Les Edgerton, and Scene and Sequel by Jack Bickham.
Many authors are being rejected by the first 20 pages, and because most agents are overworked, they don’t have time to explain to each and every rejected author what they saw. Thus, too many writers are reworking and reworking their beginning and not really seeing that their weak beginning is a symptom of larger issues.
It is the pounding headache and dizziness that spells out “heart condition.” We can take all the asprin we want for the headache, but it won’t fix what is really wrong. Hopefully, though, today I gave you some helpful insight into what an editor (or an agent) really sees so you can roll up your sleeves and get to what’s truly going on.
What are some novels you guys can think of that had amazing beginnings? What the Night Knows by Dean Koontz, Hunger Games by Suzanne Collins, Winter’s Bone by Daniel Woodrell are some of my favorites. I know that I had to put down Next by Michael Crichton because it just went on and on without addressing a core problem. I was a hundred pages in and had no idea what the book was truly about, and had been introduced to so many characters, I had no clue who I was supposed to be rooting for (most of the characters were utterly unlikable).
What hooks you? How long will you give a novel before you buy it? How long will you give a novel you have bought before you put it down?
I do want to hear from you guys!
And to prove it and show my love, for the month of September, 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.
Last Week’s Winner of Five-Page Critique–Ted Henkle.
Please send your 1250 word Word doc to my assistant Gigi at gigi dot salem dot ea at g mail dot com. Gigi will make sure I get your pages.
NOTE: For those of you who haven’t yet gotten your pages back, I am going on an exploratory mission in my spam folder to see if anyone has been missed. If you don’t have your pages back by Thursday then please resend to my assistant. I get about 500 e-mails a day, so I am redoing things so submissions don’t get lost in the ether. Thanks for your patience.
I will pick a winner every week for a critique of your first five pages. At the end of September I will pick a winner for the grand prize. A free critique from me on the first 15 pages of your novel. Good luck!
Note: GRAND PRIZE WILL BE PICKED THIS MONTH. I am keeping all the names for a final GRAND, GRAND PRIZE of 30 Pages (To be announced at the end of September) OR a blog diagnostic. I look at your blog and give feedback to improve it. For now, I will draw weekly for 5 page edit, monthly for 15 page edit.
I also hope you pick up copies of my best-selling books We Are Not Alone–The Writer’s Guide to Social Media and Are You There, Blog? It’s Me, Writer . Both books are ON SALE for $4.99!!!! And both are recommended by the hottest agents and biggest authors in th biz. My methods teach you how to make building your author platform FUN. Build a platform and still have time left over to write more great books! I am here to change your approach, not your personality.
Last week, I introduced you guys to my first three Deadly Sins of Writing. Many of you, in the comments, requested I keep going and reveal the rest of my Deadly Sins. All I have to say is, y’all asked for it .
Creating great characters has to be one of the toughest tasks for any fiction writer to successfully accomplish. Let’s be honest. Plot is important, but characters have the power to make or break a story. Most of us don’t remember plot…we remember people. We identify. There is something about that character resonates within our soul, and we’re hooked.
Today’s blog will help you give life to great characters. How? By teaching you not to kill them.
There are a number of ways to strangle, smother, or otherwise crush the life from what could have been a wonderful character. One popular method of involuntary homicide (character-cide?) is the ever-tempting Bog of Back-Story.
Like a real bog, the Bog of Back-Story looks lush, verdant, and innocent from afar. One might even easily mistake this smooth green landscape for solid ground…but take a closer look. This sucker is nothing but mud and muck and quicksand. Step in deep enough and we ain’t getting out.
I have edited hundreds of short stories and novels. I cannot count the number of times I’ve read a really clever story that had some great forward momentum…only for the author to stop and go back in time to explain why such-and-such did thus-and-such. What? Huh?
It is my opinion that the Bog of Backstory is most often the by-product of our failure to plan ahead of time. Writers (especially new writers) are super excited to start writing, so they often charge into a plot without understanding the psychological terrain of the characters ahead of time. As a consequence, it is then easy for characters to wander off the path (plot) and end up stuck in the mire of memories and recollections.
New writers often try to thread flashback after flashback into the plot as they try to understand who their characters really are. Weighting down any plot with bag after bag of memories, dreams and flashbacks is a surefire way to sink any story…and kill all souls on board.
Failure to understand key characters ahead of time often has terrible effects.
Back Story Kills Plot Momentum
Loading back story onto the narrative often has the effect of riding in a car with a fifteen-year-old learning to drive a stick-shift. We just about get going and it looks promising and….we roll backwards, stall and have to wait a few minutes to get going. Just like we wouldn’t want to make a 700 mile drive this way, readers don’t want to read a novel this way either. It leaves them beat up, exhausted and in a foul mood.
Back Story Creates Fish Heads
On virtually every first novel I’ve edited, there is what author Candy Havens calls a fish head. It is almost always 100 pages long. Why? Because the writer who takes off writing without knowing her characters needs roughly a hundred pages to figure them out. The first hundred pages of first-time novels (98% of the time) are something that can be chopped off and thrown away…ergo the term fish head.
Every character sounds alike and the dialogue is flat. Then, suddenly about page 100, the characters start coming alive and develop their own voices. It is also about this point the writer finally settles on what the real story problem is.
Doing detailed character backgrounds ahead of time can prevent fish heads. Take time to write out each major character’s story. Write freely and let your imagination go wild. Then, once you get to the plotting, it will be easier to see what parts of the back story are good to harvest for your main story for plot and even sub-plots.
Back Story is Important but not Always Relevant
Back story is critical for our characters. In fact, in my current critique group, highly detailed character backgrounds are the first step before ANY plotting. It is absolutely essential to know each of the characters and why they are good, evil, confused, etc.
Because we are all the sum of our experiences and our backgrounds affect our choices, body language, dialogue and decision-making. Characters need to be real people with baggage (Just because they have baggage, doesn’t mean the reader wants to hear about it. That is therapy, not fiction).
What is NOT, relevant, however, is that the reader know ALL of these critical details unless they apply to the current story problem. We don’t need a heavy-handed flashback to when our heroine was a little girl and her father left her and there was great crying and gnashing of teeth.
We (readers) really don’t need to know the why behind everything. Don’t believe me? Go read my post about why the Star Wars prequels sucked. Explaining is not necessary and it ruins tension (The Force was better before it was explained).
Yes, our readers might want to know why, but let them suffer. Not giving readers what they want when they want it is exactly what keeps them turning pages and buying books. It’s called dramatic tension.
Instead of dumping a crude flashback in the beginning so your reader will understand Such-and-Such…let them wonder. It’s good for them and it’s good for your career.
Think of it this way.
Writers are word magicians. If we tell the audience how we made the woman float, we ruin the show.
Back Story Needs to Be Used Sparingly
Back story gives life to a character much like water gives life to a plant. However, filling a plot with back story (like overwatering) will just kill forward momentum and drown your character. Part of growing as novelists requires we learn finesse. Many of us, when we start our writing, are very heavy-handed and it takes time, practice and study to acquire the skill of folding back story seamlessly into the narrative. We need to learn to be so smooth that the reader never even sees what we’re doing.
A quick example:
“Fifi, are you going to the dance tonight?” asked Lola.
Fifi wanted to meet up with Josh, and hoped the night would go as planned. But, bad things had happened before. Fifi thought back to the time her father had promised he would take her to the Father-Daughter Dance. She had been waiting weeks to wear the pink chiffon gown her mother had bought her for the occasion. Even though her mother had forbidden her to wear it, Fifi would sneak the dress out of her closet and twirl in front of the mirror like a ballerina. She remembered counting the days up to the dance and how it had started to rain and her mother begged her father not to go to the store for a corsage to go with Fifi’s dress…
And we have just taken a side-trip into The Land of “Who Cares?”
This approach takes away from the current story problem and trails the reader down a story thread that may or may not be relevant to the current story problem. Yes, Fifi might have had a tragedy, but telling all the details kills the mystery and ruins the momentum of the current conflict.
So instead, try something like…
“Fifi? Are You going to the dance tonight?” asked Lola.
“I don’t know. I don’t have the best history with dances,” Fifi replied. “People tend to die.”
See how much shorter this is? It gives back story, but doesn’t tell so much the reader gets lost and distracted. Also, by not telling everything, the reader wants to know more.
Fiction is a lot like dating. We writers are courting the reader. Give too much too soon, and it’s too easy. We ruin the thrill. Don’t give enough? The reader goes looking for more exciting fiction.
So have you escaped the Bog of Back Story and lived to tell the tale? What techniques do you recommend for avoiding this writing pitfall? Have you thrown a book across the room because it kept going back in time? Or does it not bother you? Come on and share your thoughts.
I love hearing from you! And to prove it and show my love, for the month of August, 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 every week for a critique of your first five pages. At the end of August I will pick a winner for the grand prize. A free critique from me on the first 15 pages of your novel. Good luck!
Note: I am keeping all the names for a final GRAND, GRAND PRIZE of 30 Pages (To be announced) OR a blog diagnostic. I look at your blog and give feedback to improve it. For now, I will draw weekly for 5 page edit, monthly for 15 page edit.
Last Week’s Winner of 5 Page Critique–Ruth Nestvold. Please send your 1250 word Word document to kristen @ kristen lamb dot org.
In the meantime, I hope you pick up copies of my best-selling books We Are Not Alone–The Writer’s Guide to Social Media and Are You There, Blog? It’s Me, Writer . Both books are ON SALE for $4.99!!!! And both are recommended by the hottest agents and biggest authors in th biz. My methods teach you how to make building your author platform FUN. Build a platform and still have time left over to write more great books! I am here to change your approach, not your personality.
What is the one ingredient we MUST include to have great fiction? CONFLICT. No conflict, no story. One of the biggest stumbling blocks I see in new writers is that they fail to understand the difference between authentic conflict versus a bad situation. Bad situations do not make good fiction. Bad situations are boring and probably the largest source of melodrama. Today I am going to give you tools to make sure your fiction grabs the reader and doesn’t let go. The best way to ensure your reader is your captive is to have conflict on every page.
The most important component to creating loads of conflict is that our protagonist must have an active and tangible goal.
Conflict is relative. If we have no idea of the objective, then bad events are just bad events. Bad events must become setbacks. How can we transform bad luck to a setback? Give a hint of the end goal.
Want to know one of the quickest ways to get a reader on the edge of her seat? Show a glimpse of the mountain summit, then throw rocks at the characters and knock them off every cliff. If they get to a nice place for a breather, there better be at least a small rockslide to knock them back a 1000 feet. Yet, these setbacks will mean nothing if the observer doesn’t see the end goal.
Too many new writers do not present the story goal, or the goal is passive. Passive goals suck. Passive goals are like “containing Communism.” Guess what? Didn’t work in Vietnam, and it won’t work in our story either.
In my Warrior Writer Boot Camp (inspired by Bob Mayer), every participant MUST tell us what her story is about in ONE sentence. I recommend you check out this earlier blog for a more detailed explication.
Yes. ONE sentence, and the number of the counting should be ONE. Not three, not two. FIVE????…is right out! But the number of the counting shall be ONE. Then thou shalt cast off thy Holy Hand Grenade of Antioch and blow thine enemies to teeny tiny….
Oops. Got sidetracked. Okay. ONE sentence. That sentence needs your protagonist, the antagonist, and an active goal.
Recently one of my WWBC participants sent in this log-line.
A teenager must protect the princess of Atlantis from an angry grief-stricken scientist who wants to take her power which will unknowingly release Chaos into the world.
Um, all righty. What is the goal? Protection. This is a passive goal. This is “containing Communism.” It sounds kind of interesting, but do we really get a picture of what this story is about? For all we know the entire story could be an Atlantean Princess stuffed in a human-size hamster ball with the protag guarding her with a shotgun. Not very interesting fiction.
Protection is one of those things that is kind of implied. I recently edited a book for a friend, and her protag’s main goal was “to survive.”
Okay, don’t know about you guys, but survival is my goal every day. In fact, when I wake up each morning, probably my biggest objective for the day is, “Don’t get killed.” It’s why I don’t blow dry my hair in the tub or lick light sockets. It’s why I wear a seatbelt and don’t run through my house with knives.
Duh! Unless we are suicidal, EVERYONE’S goal is survival. Fiction is only interesting when characters have goals that are special and unique, and since most of the world’s population has the goal to stay ALIVE…survival is BOOOOOOOOOOOOOOOOOOOOOOOOORRRRRRING!
A main goal to protect or survive is IMPLIED. When Frodo and Samwise set out with the Ring of Power, I guarantee you that they want to protect the Ring. I also guarantee you they want to survive, but these two goals are not what make The Lord of the Rings interesting. What makes it interesting is that they MUST protect the Ring long enough, and stay ALIVE long enough to toss the evil ring into the fires of MOUNT DOOM.
Okay…volcanoes are interesting. Volcanoes named Mount DOOM are super interesting.
So my little writer had a passive goal with his “protecting the Princess.” Boring! After a sound thrashing from the Death Star as my students fondly call me, the participant came up with THIS…
A popular computer geek and the princess of Atlantis must find the last remaining time machine in order to prevent an idealistic Guardian from stealing her power and controlling Atlantis.
Awesome! Now we have a GOAL. The protagonist and allies must make it to a time machine before the bad guys do or BAD THINGS HAPPEN. Those bad things that must be prevented are called STAKES. Great books have HIGH STAKES.
YES, I HAVE HAD A LOT OF COFFEE TODAY AND I AM USING THE CAPS A LOT.
STAKES ARE INTERESTING.
In this new log-line, there is a tangible finish line and a goal that is different than the rest of the world. I bet you woke up today wanting to survive. Did you wake up with the sole notion that you would find a time machine???? Okay, you in the back be quiet, and if you find one, let me know.
I might be going out on a limb here, but I would wager that most of us did not wake up this morning with the goal of finding a time machine. It is an interesting goal.The writer has now provided us with a glimpse of the “summit.” We also know bad things will happen if our hero fails. STAKES!
When we do not have a tangible goal for our protagonist, this is like dropping him in the Andes and watching him eat his friends to stay alive. Kind of interesting in a morbid way, but we have nothing to root for. It is different than dropping Pedro and his soccer team in the mountains and they have to make it to THAT mountain…THAT mountain over THERE…because there is a shed full of food and a radio.
Before, our soccer team was just stranded. Every blizzard and rockslide was merely a BAD SITUATION on top of a BAD SITUATION. Yet when Pedro and the Halfbacks set out for a particular mountain the quality of the situation changes. NOW there is a specific objective that we, the observer can SEE. Every avalanche that takes them farther from food, blankets and a radio makes us squirm in our seats and worry if they will make it in time.
But still, as I just said, that is just a Bad Situation layered on a Bad Situation. Not really genuine conflict…yet. To ensure GREAT fiction, we need a CONFLICT LOCK (via Bob Mayer again ). A conflict lock can only happen when two parties disagree. If you have a scene with only one person, there ain’t conflict. Sorry. Navel-gazing is therapy, not great storytelling.
And don’t try to cheat with the She is her own worst enemy. Who among you LIKE those people let alone want to see them win? Seriously. I know a lot of people who cannot stand prosperity and will sabotage every good thing in their lives. They are annoying. Readers want to follow heroes and heroines…not losers who can’t get their act together.
If you have a scene, there need to be two people (minimum) and they cannot agree…ever. In fact, it really has to get bleak before they can work as a team. I find it so funny that I get all these novels and everyone just works together. No one questions authority. Yeah, right.
Great fiction mirrors life and I can tell you from experience that if you have more than three people with the same goal, they will almost never agree. Go run a committee for ANYTHING and tell me I am wrong.
Fiction is the path of greatest resistance.
Back to the Andes….
If Pedro and Juan are the only two living soccer players, Pedro will want to keep climbing and Juan will want to lie in the snow and die. And the reader will be screaming and hoping that Pedro can convince Juan to keep going…despite the avalanche that just knocked them back 1500 feet down the slope and took their shoes.
Every scene needs a problem that needs to be solved so that protag and allies can make it closer to the goal.
Big Goal: Make it to top of Big Mountain where there is a shed of supplies.
Scene Problem: An avalanche sweeps Pedro and Juan 1500 feet and takes their shoes.
Pedro wants to continue barefoot to the top of Mount X no matter what.
Juan has given up. He wants to lie in the snow and die.
Stakes: If they don’t keep going they will DIE.
Every scene needs a conflict lock, which means every scene needs an antagonist. The scene antagonist is whoever is in opposition with the protagonist. Juan is interfering with the main goal of getting to the shed on Mount X, ergo he is the antagonist. His refusal to be on board with the party plan is what injects genuine conflict into the story. It makes the reader worry. Worried readers can’t quit turning pages until they get relief…the conclusion.
THAT is good fiction.
Why must our characters never agree? Because if they do agree, there is only so much we can throw at them before it is just wash, rinse, repeat. This happens in a lot of bad action movies. We only can endure so many car chases and explosions before we are bored. Same with our stranded soccer players. Great, there have been 12 avalanches. We get it. Oh, but this is a bigger avalanche? Oh, a bigger blizzard? Yeah. Sorry. Really don’t care. That is bad luck, not good fiction.
1. Goals must be active and tangible.
2. Bad situations are not enough. Tragedies are not fiction, they are news headlines.
3. Every scene needs a conflict lock.
4. There must be high stakes; either physical or emotional annihilation.
So what are your thoughts? What are some of your favorite stories? What kept you glued to your seat? What are some books or movies that fell flat? Was it because of one of the reasons I just mentioned? I want to hear from you!
And, to prove it and show my love, for the month of February, 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 WANA in your blog…you get your name in the hat THREE times. What do you win? The unvarnished truth from yours truly. A free critique from me on the first 15 pages of your novel.
Until next time….
In the meantime, if you don’t already own a copy, my best-selling book We Are Not Alone–The Writers Guide to Social Media is recommended by literary agents and endorsed by NY Times best-selling authors. My method is free, fast, simple and leaves time to write more books.
Also, I highly recommend the Write It Forward Workshops. Learn all about plotting, how to write great characters, and even how to self-publish successfully…all from the best in the industry. I will be teaching on social media and building a brand in March. For $20 a workshop, you can change your destiny….all from the comfort of home.