Kristen Lamb

Author, Blogger, Social Media Jedi

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Posts Tagged: how to write fiction

What makes the difference between a meh novel and one we fall head over heels in love with regardless of genre? Good question and it sure would make our job easier if there existed one answer.

Though there isn’t one answer there’s a list of pretty good answers, thus for this post and the sake of brevity, we’ll pick one. Today, I posit that the reader, upon page one, is testing a potential relationship. Kinda like dating.

We (readers) BOND to the great stories much the same way we bond in human relationships. Think about it.

We even admit to this all the time without truly noting what we’re saying, “OMG, I fell in LOVE with that book! I LOVE that character!” etc.

When we authors roll with this metaphor, our job as storytellers becomes far simpler (though simple and easy are not the same thing).

Attraction

I teach a class called Hooked–Your First Five Pages (and offering it again) because those initial pages are critical. It’s like meeting a member of the opposite sex and noticing something that makes our heart flutter, that propels a longing to know more.

A vast majority of relationships start with this kind of heart-fluttering spark, though granted there are relationships where there was nothing/nada in the beginning, and, over time, something surfaced.

This happens in fiction though it’s rare. Every person who has ever recommended Girl with the Dragon Tattoo to me has told me essentially the same thing, “Oh the first hundred pages will bore the paint off the walls, but if you get past that….it’s AWESOME.”

Ok. I’m good, thanks. Not picking on this book, but just not my beer. Sorry.

I’m glad he has a great personality…. *looks for exit*

OPW versus NPW

Though not all relationships begin with an instant spark, it’s pretty amazing to have (and ideal, too). In fiction it is no longer optional. In a what I call the NPW (New Publishing World) we no longer have the luxuries of the OPW (Old Publishing World).

In the OPW, only so many authors were ever published. Discoverability wasn’t a nightmare. The competition was finite.

In the NPW? We gotta have that love-at-first-sight or the browsing reader will simply pass after glancing at the sample pages and move on until something sparks.

Story IS Seduction

All righty, so sparks are great but not nearly enough if nothing catches fire. Before Hubby, I had more than my fair share of bad dates which I want to use for the purposes of illustration.

Nothing Ned

When I was 20 a ridiculously hot Marine asked me out and he wasn’t gorgeous…he was breathtaking. Just looking at him made my knees weak…and then I went out with him.

I’m not picking on Marines because I know plenty who are brilliant, but this young man was not one of them. Though I think he was likely the most handsome man who’d ever asked me out, it was one of the most painful dates of my life. Agonizing might be a better word, namely because I find intellect attractive and this guy was about as smart as a tomato plant.

During the meal, I found myself wondering if he’d start leaning toward the light, postulating he might be able to photosynthesize his own food. Was the steak he ordered even necessary? 

Yes, I know. Not a very nice thing to think but I was only twenty. Gimme a break!

And maybe he wasn’t dumb and I simply assumed this because I was young and dumb, myself. Perhaps he was nervous or shy. But what killed the spark was he was a blank, a Nothing Ned. He parted with nothing of his own.

Me: *eagerly smiling* So, you like to mountain bike?

Him: *shrugs* Not really.

Me: *still perky* Okay, you have hobbies?

Him: *makes face* Nah. Not so much.

Me: *dying a little inside* Where are you from?

Him: *chews* Texas.

Me: *feeling the tailspin, reaching for anything* What music do you like?

Him: *butters more bread* I dunno. Really don’t listen to music.

Me: *wanting to commit Seppuku with sorbet spoon* So what do you do?

Him: *shrugs again* A lot of things.

Now maybe this guy was a genius and a layered and dimensional human being with loads of cool hobbies we could have bonded over. But, because on this ONE date he parted with NOTHING of himself, he came across as boring, dull, and frankly dull-witted.

Was he? No idea.

I didn’t have the bandwidth to endure another painful evening like that to find out. The spark of his looks were enough to get me to dinner, but nothing ignited because he refused to part with anything personal to act as tinder to make use of the spark.

Then we have the other kind of date. Again, really attractive guy, enough to spark a date and by the end of the evening…I wanted to throw myself out of a moving car.

Let’s meet…

Over-Sharing Oliver

Over-Sharing Oliver was the opposite of Nothing Ned and he spent hours using dinner as his personal confessional/therapy session relaying in vivid detail everything that had happened to him from childhood, the deets of his nasty divorce and why he hates and doesn’t trust women (but thinks I might be different—thanks) and on and on about himself.

HIS likes, accomplishments, job, hobbies, interests, opinions and thirty minutes into this ordeal I seriously wondered why the heck I was even THERE.

I felt like a prop whose sole purpose was so he didn’t look stupid eating at a restaurant and talking to himself (though he was essentially doing just that).

The Story as Romance

When we create our characters we must be vigilant to avoid the polar opposite ends of the backstory spectrum, and it IS a balancing act.

On one side the character can be a Nothing Ned. We fail to explore and articulate the backstory of WHO this character is and why he/she is a certain way. How do they see their world? Why do they act/react the way they do?

Dramatic tension cannot exist in a vacuum. There is nothing to emotionally ignite the relationship between the reader and our story.

Conversely, when we create the backstory, it doesn’t belong vomited on the reader all at once like Over-Sharing Oliver. As we talked about on Tuesday, mystery is a good thing. It keeps readers turning pages.

There is a reason the final big ending of a novel is called the climax *wink, wink, nudge, nudge*.

The reader and story bond in relationship that grows and intensifies with every struggle, setback and finally a triumph (climax)…which can be a betrayal (tosses book across room), an unsatisfying letdown (no more books by THAT gal), satisfying (cool, maybe get his next book), or a mind-blowing transcendent experience (in love, committed forever and no author does it better).

How any novel ends largely depends on the writer’s skills at wooing the reader then making them see stars 😉 . They will love YOU forever, eternally devoted. Frankly that is what we ALL want, readers and authors.

Learning to create fascinating and layered backstories is a great start, and USA Today BSA Cait Reynolds has a class on that tonight which I strongly recommend. Cait is a fantastic instructor.

Additionally, the worlds we create can in and of themselves become like a character where readers fall goofy in love because they ADORE that world (um…Cosplay anyone?).

This is why we are also offering world-building classes, because it involves so much more than one might think. Many of the MS I edit really are sad regurgitations of other worlds by other authors or, as in the case of Independence Day Resurgence a boring and bizarre cobbling of other worlds.

Hollywood: Hey, let’s retread Independence Day, slap on some Babylon 5, Battlestar Galactica and a smidge of Call of Duty Infinite Warfare. It will be awesome!

…..yeah NO.

Instead our goal is to learn to create something grounded in familiar mythos, yet wholly ours and unique and captivating. Y’all can also feel free to peruse the archives of this blog for all kinds of free posts on character, backstory and world-building.

Either way, I want y’all to succeed and to create the stories we (readers) LOVE. I want that when we think of your novel we then blather on and on like we would over some guy/gal we had a mad-stupid crush on.

What are your thoughts? Can you relate to the horrible date? The one you believed you’d enjoy and ended up only wanting to chew off your leg to escape? What about stories? What stories captivated you instantly and you’re mad in love to this day? Why?

I love hearing from you!

For the month of September, for 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. 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).

NEW CLASSES FOR SEPTEMBER AND MORE!

All classes come with a FREE recording!

We’ve added in classes on erotica/high heat romance, fantasy, how to write strong female characters and MORE! Classes with me, with USA Today Best-Selling Author Cait Reynolds, award-winning author and journalist Lisa-Hall Wilson, and Kim Alexander, former host of Sirius XM’s Book Radio. So click on a tile and sign up!

Villains & Anti-Heroes: The Characters We Love and Hate. $45.00 USD. Tuesday, September 12, 2017. 7:00-9:00 p.m. EST. Click the image to register!
Hooked: Catching Readers in the First Five Pages. $40.00 USD. Thursday, September 14, 2017. 7:00-9:00 p.m. EST. Click the image to register!
Turn Your Passion Into A Business: Making Money As A Writer. $40.00 USD. Monday, September 25, 2017. 7:00-9:00 p.m. EST. Click the image to register!
Guilty Pleasures: Writing Suspense, Thrillers, and Crime. Tuesday, September 26, 2017. 7:00-9:00 p.m. EST. Click the image to register!
Outside the Box: How to Read More, Write Less, and Up Your Fiction Game. Friday, September 29, 2017. 7:00-9:00 p.m. EST. Click the image to register!

Just finished watching Season 7 of Game of Thrones and, of course, now I’m in the post-GoT depression. I will have to wait who knows how long to GET ANSWERS! I NEED JUSTICE! WHAT IS GOING TO HAPPEN?

AAAHHHHHH!

Though I do feel slightly robbed that any television season would be legally permitted to only have seven episodes, I must take the good with the bad. Thus, today I want to talk about what writers like George R.R. Martin do so freaking well and why the rest of us would be wise to pay attention and learn.

Even if you’ve never read or watched GoT, odds are you’ve probably read a book or watched a TV series that had your nerves wound so tightly you physically couldn’t stand the tension. I know there were times watching GoT that I literally had to get Hubby to pause so I could breathe, take Pippa outside for a moment and gather myself. Brace for more.

These are the kinds of stories that drive us mad, the times when Prudent Self will tiptoe up and whisper in our ear, “Hey, um it’s almost three in the morning and you need to be up for work in a couple hours.” And, though we know she’s wise, we will then threaten to water-board Prudent Self if she doesn’t go away and leave us alone.

We’ve all done it. We promised we’d go to bed at the end of the chapter, end of the episode, whatever. But, deep down, we knew we were a dirty rotten liar who had zero intention of stopping until we had some semblance of peace.

Problem is, if a writer is great? Peace will not come without a price. It will not come easily. Great writers will never give the audience what they want…until it is time to.

Think of Christmas

Yes, I know I will probably be the only blogger ever to slot Christmas in same post as GoT but work with me.

For those who celebrate Christmas or some version of the holiday, think back to when you were a kid. Why was Christmas such a big deal? Because it was ONE day out of 365.

ONE.

***And frankly this is why we get pissy with Christmas stuff out in July because retailers are wrecking the “specialness” of it.

Oh there was a whole holiday season and we sang songs and nagged Mom to hurry with the grocery shopping because Frosty the Snowman was going to be on NBC at 7 and if we missed it? We had to wait a WHOLE year to see it again.

As kids we helped bake cookies and were allowed to maybe even eat some. We watched specials (that really were special because if we missed them, tough luck and see you next year, Kid). Though there was all this other revelry (parties, candy canes, pies) there….over there in the corner was a tree with shiny boxes of glorious mystery beneath it.

For those reading this post who are mere mortals like me, you likely had a year that you got the bright idea to peek. Maybe you eased open tape with the skill of Little Finger. Or perhaps you unearthed the stash of gifts hidden in the master closet before your parent(s) could wrap them.

In the beginning, for me, it seemed like the precise thing I wanted but in the end? All I did was spoil the singular day of surprise and joy. I got what I thought I wanted and, frankly? It sucked. Christmas morning wasn’t nearly as bright.

Back to Fiction

There is a lot to be said for delayed gratification. When we allow the audience so, so close they can almost taste what they want…then we snatch it away and say, “Uh uh *wags finger* you need to wait.” THAT is being a master storyteller. And the audience will hate and love us all in the same expanse of time.

Too often we are too easy on our readers. They beg to see what’s under the tree so instead of standing firm, we relent and give them A gift and let them unwrap it and reveal the mystery. Problem is, with every mystery we reveal, we diminish the KAPOW at the end.

What are some common ways we diminish the mystery and inadvertently wreck our own story?

Misused Flashbacks

No. No we don’t.

Flashbacks are a literary device and are excellent when used properly. Problem is? More often than not, they’re simply there to explain. Perhaps we are writing a scene and feel ourselves tense up. Well, it is human nature to alleviate tension.

We feel tense, so we insert a flashback to explain why Such-and-Such is a certain way or is making a certain decision and we feel better. But, if you press your ear to your computer and listen closely? You can hear all the gut-wrenching tension leave your story like air from a balloon (and yes it is making a farting sound 😛 ).

Resist the Urge to Explain

Mr. Darcy has left generations of women swooning because Jane Austen just let Darcy be Darcy. She resisted the urge to unseal his therapy files for us to see. Oh there were hints and dribbles here and there but she left lots and lots of blank space for us to fill in the missing slices and that made Darcy all the more desirable.

When we explain with characters or story we wreck tension.

I have a saying:

The Force was better before it was explained.

Metachlorians? FRIGGING REALLY? The Force didn’t need explaining. We (audiences) accepted The Force. It was *sputters*…THE FORCE. It was mystical and magical and then…. *farting sound*. More on that here in What Went Wrong with the Star Wars Prequels?

Metachlorians.

The same thing happened to one of the greatest villains (or anti-heroes) of the 20th century—Hannibal Lecter. Hannibal was already fascinating. We honestly didn’t need to go back in time and witness his childhood how and why he started snacking on people. The prequel movie Hannibal Rising bombed because it never needed to exist in the first place. We didn’t need to know WHY.

We wanted to, but just because we want something doesn’t mean it’s good for us. Telling us HOW Hannibal came to be a psychopath did nothing to make him a stronger character.

In fact, it did precisely the opposite. #YouveBeenMetachlorianed

Showing Your Hand Too Soon

Tonight I am teaching a class More than Gore for those who desire to write horror, though what I will teach in this class is actually highly useful for all genres.

Horror, in my POV, is one of the most challenging genres to write simply because we have a jaded audience that is tough to rattle. We no longer have access to the low hanging fruit (blood, guts, two-headed monsters) because they are tedious tropes that don’t even faze a modern six-year-old.

In horror, the fastest way to ruin the story is to reveal the monster too soon. Stephen King in Danse Macabre talks about this phenomenon, and why so often the ending of horror stories are such a letdown.

It is because of HOW the human mind works. When our imagination is left to run amok, we are terrified because what we are facing is UNKNOWN.

Once it the UNKNOWN becomes KNOWN, the audience lets out a collective scream of terror…and relief. See, if we are creeping up the stairs and something is bashing against a giant door with such force the hinges are loosening, our imaginations run wild. It’s terrifying.

The second we open the door and see the fifty-foot bug? We yell out, but our brains instantly go, “Whew! Okay a fifty-foot bug. I can deal with that. Thank GOD it wasn’t a hundred foot bug.”

If it was a hundred foot bug, brain would scream then go, “Thank goodness it wasn’t a thousand foot bug.” Y’all get the gist. Once we have the reveal? The tension instantly bleeds away. Thus, knowing this, we need to become excellent secret-keepers. Delay the gratification.

While some of y’all might believe this only holds for horror? Untrue. One word for the older folks… Moonlighting.

Audiences were riveted, dying for Dave and Maddie to get together. The show won all kinds of Emmys, broke records, and audiences were riveted until Episode 14 of Season 3 when their relationship finally was consummated. Though the show continued for a total of five seasons, that singular episode toward the end of Season 3 marked the decline in viewership.

Of course it did!

The audience had unwrapped the “gifts” and all that remained were leftovers and turkey sandwiches.

Beware of Low-Hanging Fruit

I’ve read romances where, by chapter four we know through POV that both guy and gal are mad for each other and the only thing keeping them from making out like teenagers on prom night are bad situations and inconvenient interruptions.

I’ve read other genres where the MC has more divine intervention than the Book of Acts. Journals, dreams, visions, letters, and plot puppets who conveniently appear and who have zero purpose for existing beyond babysitting the MC out of a mess.

Readers want the easy way, but they really don’t. It’s why I love Game of Thrones. I just about think the story is going to go one way then WHAMMO….George kills a character I love or tosses them under a pile of ice zombies, or throws them in prison or whatever. George R.R. Martin is a horrible sadistic, cruel, emotionless, psychopathic—sigh—genius storyteller.

In the end, remember the heart of fiction is the struggle. Build the anticipation and crush the urge to give over your mysteries too soon or too easily. The harder it is for audiences to get that satisfaction they so desire? THE BETTER.

What are your thoughts? What other shows can you think of that were awesome until the writer(s) made it too easy or gave up the mystery too soon? What shows make you CRAZY because you just can’t seem to get what you want? What books kept you up all night? What characters resonate with you because there is STILL mystery to them? They weren’t ever fully “explained.”

And yes this is likely the first blog to use GoT, Christmas, Moonlighting, Hannibal Lecter AND Star Wars 😛 . But I really hope it helps up your storytelling skills.

I love hearing from you!

For the month of September, for 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. 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).

Still time to sign up for tonight, and remember a FREE recording is included with purchase!

Instructor: Kristen Lamb
Price: $35.00 USD
Where: W.A.N.A. Digital Classroom
When: TUESDAY, September 5, 2017. 7:00-9:00 p.m. EST

Humans have always been fascinated with what scares them which is why horror fiction is a staple genre. It is also, quite possibly, the most challenging genre to write. Giant bugs and chainsaws just don’t get the screams they used to.

Blood, guts, gore and shock factor are low-hanging fruit (and always have been) and worse than that? They simply don’t have the impact they used to.

Audiences are too desensitized. This means we need to work harder to dig in and poke at what REALLY frightens/disturbs people.

Though this genre is extremely challenging to write well, there is an upside. The horror genre lends itself well to the short form (novellas and short stories).

Believe it or not, some of our staple horror movies–and the BEST horror movies—were actually adaptations of short stories and novellas (1408 by Stephen King and Hellbound Heart by Clive Barker being two examples).

Meaning, if you want to go Hollywood? Hollywood loooooves horror.

In this class we will cover:

  • The science behind fear and why people crave it. Why fear is even healthy!
  • Psychology of fear, thus how to locate the pain points.
  • Why audiences are craving MORE horror (Yes, this actually does go in cycles).
  • The different types of horror fiction.
  • The importance of character in horror.
  • How horror can actually resonate much like literary fiction.
  • How to generate page-turning tension that will leave readers with a story they can’t stop thinking about…and that might even give them nightmares.

 

NEW CLASSES FOR SEPTEMBER AND MORE!

All classes come with a FREE recording!

We’ve added in classes on erotica/high heat romance, fantasy, how to write strong female characters and MORE! Classes with me, with USA Today Best-Selling Author Cait Reynolds, award-winning author and journalist Lisa-Hall Wilson, and Kim Alexander, former host of Sirius XM’s Book Radio. So click on a tile and sign up!

Villains & Anti-Heroes: The Characters We Love and Hate. $45.00 USD. Tuesday, September 12, 2017. 7:00-9:00 p.m. EST. Click the image to register!
Hooked: Catching Readers in the First Five Pages. $40.00 USD. Thursday, September 14, 2017. 7:00-9:00 p.m. EST. Click the image to register!
Turn Your Passion Into A Business: Making Money As A Writer. $40.00 USD. Monday, September 25, 2017. 7:00-9:00 p.m. EST. Click the image to register!
Guilty Pleasures: Writing Suspense, Thrillers, and Crime. Tuesday, September 26, 2017. 7:00-9:00 p.m. EST. Click the image to register!
Outside the Box: How to Read More, Write Less, and Up Your Fiction Game. Friday, September 29, 2017. 7:00-9:00 p.m. EST. Click the image to register!

 

Image courtesy of Rune E.’s generosity via Flickr Creative Commons

Ah personal vows. I’m big on those and one core vow I made several years ago was to seek out the best of the best. Locate talent, nurture it, then share it with you guys. I’m passionate about mastery. Mastery however requires sacrifice, and that sacrifice is we cannot do all things. We need to let go. Knowing that, I made it my personal mission (and my company W.A.N.A. International’s mission) to recruit those who were masters of THEIR realms.

My motto? If I am the smartest person in the room, I’ve done something horribly wrong.

Many of you have already had the pleasure of taking a class with USA Today Best-Selling Author Cait Reynolds. If not? She has a whole list of classes coming up (listed below). Today, however, another master is here to share her gifts with us today.

Lisa Hall-Wilson is one of the best teachers I’ve ever had the honor to work with. She taught me Facebook 😀 . But she’s also an unbelievable craft teacher so I’m handing today’s post over to her for an amazing lesson about the power of vows….

***

The beautiful image courtesy of the generous Candida.Performa via Flickr Creative Commons

Want to raise the stakes for your character through internal conflict? Deep POV is a great technique to bring out this tension because it allows the reader deep into the character’s psyche and allows for an intense examination of their motivations and morals.

Drawing a line in the sand, giving your character a personal vow, can create the kind of inner turmoil that drives a character to outrageous page-turning decisions and mistakes. Vows also give insight into backstory and help define character voice.

I love that scene from the Fellowship Of The Ring where Gandalf screams at the Balrog: “You shall not pass!” Awesome. That was a game changer scene, it ratcheted up the conflict several notches. Gandalf went to the ultimate extreme to make sure that Balrog did not pursue the rest of the Fellowship.

Does your main character have a line in the sand, a personal boundary past which they will not cross? Great!

Now go shove them off the cliff.

*Note: Not every character does or should have a personal vow. It adds a layer of complexity that requires skill with characterization to pull off well because a vow should influence a character’s motivations and morals, but it’s rarely their main story goal.*

Ever whispered a vow in the dark of the night, tears streaming down your cheeks? Maybe you were caught in the middle of a messy divorce. Maybe you experienced a trauma of some sort, the kind that haunts you – and down deep inside you made yourself a promise so that hurt never happens again:

I will never…

Image via Ryan Vaarsi’s generosity courtesy of Flickr Creative Commons

Everyone has a line in the sand, a secret vow. No matter what else happens, this is one inviolable line they will not cross. Most people, at some point, make several of these vows, some innocuous, some more serious.

Some people make these vows consciously and others are completely unaware of these personal vows. We are more committed to some vows than others. Some vows are made to prevent a past hurt or harm from being repeated (I’ll never date a drug lord again), and some vows are harmful and need to go (I will never weigh over 100 pounds).

Pushed Beyond All Limits

Laurell K. Hamilton’s Anita Blake Vampire Hunter novel Blue Moon uses a really great personal vow as a story element. Anita Blake has several rules or lines in the sand which have been firmly established in previous books in the series, but she is forced to violate one rule after another. It started off innocently enough, Blake is uncomfortable, she’s not happy, but she can shake it off.

As the novel continues, Blake faces escalating circumstances. Some of her compromises haunt her, change her (and not always for the better) and she has to figure out how to live with that. Blake ends up back-tracking and…well, go read it. I couldn’t put it down.

But the reverse can also work.

I loved the movie Law Abiding Citizen with Gerard Butler and Jamie Foxx. At the beginning of the movie, Foxx’s lawyer character comes across as a good guy, but someone willing to cut corners to achieve what he saw as the greater good. Butler’s character creatively, and rather gruesomely, pushes Foxx to the point where he has to dig in and say here and no farther.

By the end of the movie, Foxx sees the problem with cutting certain corners and draws a line in the sand: I will never make a deal with a murderer ever again.

Complexity

Image courtesy of Joana Coccarelli’s generosity via Flickr Creative Commons

Vows are hard to pull off in simple plots. These lines in the sand are often in addition to a character’s main goal in the story. For instance, Scarlett O’Hara in Gone With The Wind vows: “As God is my witness, I’m going to live through this and when it’s all over I’ll never be hungry again…” Scarlett’s conscious goal for the story though is to be with Ashley Wilkes. *shakes head – never understood that* That’s what she schemes for, dreams about, etc.

Her unconscious goal is to have the love of a man who can make her feel secure (ahh – see the built-in tension there when what she’s pursuing won’t get her what she really wants). She isn’t even aware of this internal conflict until the end of the book when Ashley finally becomes available and she realizes it’s actually Rhett she wants. Rhett Butler is the one who makes her feel secure (she talks about how he comforts her in the night after a bad dream, etc), but now Rhett’s gone.

However, Scarlett never went hungry again. Her preoccupation with money caused a lot of problems for her, because she confused money with security. It’s easy to see how that vow added tension and conflict for her character.

The Writer’s Dilemma

Image courtesy of the generosity of Benbenben11 via Flckr Creative Commons

The problem with this story element is that a reader might lose respect if a character breaks ALL of their personal vows. For a character to remain worth cheering for, if a line in the sand has been defined, at some point the character has to stand their ground no matter what it costs them.

There may be gray areas of their vow they compromise on, there may be some backtracking. They may make a vow part way through the story as Scarlett does. Maybe the character needs to give up a harmful or unrealistic vow. Regardless, these vows strongly influence the character’s motivations and desires heading into the big main conflict. If they don’t, I’d question whether they need to be there.

Personal vows are one way to add compelling conflict, but it requires an intensely personal POV.

I’m teaching a two-week intensive on Method Acting For Writers: Learn How To Write Deep POV starting August 1st. This is just one appendix lesson from that class. I’m offering a WANA-only price for this course.

What are some of your favorite literary vows or lines in the sand?

I’m also teaching a class on Facebook, so you can learn what to post so readers respond on July 22 and a new class on September 9 on creating strong female characters. Check out those classes!


***

THANK YOU LISA!

Talk to us! We love hearing from you. Well, I do, namely because I am lonely and y’all are seriously interesting. What vows have you made? Good or bad or dumb?

I’ve done all of the above, and have particularly excelled in bad and dumb vows (but I’m much better now 🙂 ). Seriously, I think one of my greatest strengths is I am loyal, but sometimes being loyal is just being epically stupid when you’re loyal to the wrong people, ideas, goals etc.

For instance, I vowed I wouldn’t give up on my first novel. Took 5 years to see I actually didn’t even HAVE a novel so that was a seriously stupid vow. Remember what I always tell you guys, Persistence looks a lot like stupid. Sometimes it IS hard to tell.

And MAKE SURE to check out the classes below and sign up! Summer school! YAY!

For the month of JULY, for 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. 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).

NEW CLASSES WITH USA Today Best Selling Author CAIT REYNOLDS!

Obviously, I have my areas of expertise, but I’ve wanted for a long time to fill in some gaps on classes I could offer.

Cait Reynolds was my answer.

She is an unbelievable editor, mentor and teacher and a serious expert in these areas. She consults numerous very successful USA Today and NYTBS authors and I highly, highly recommend her classes.

 

  

Gaskets and Gaiters: How to Create a Compelling Steampunk World July 21st $35 w/ Cait Reynolds 

Lasers & Dragons & Swords, Oh MY! World Building for Fantasy & Science Fiction July 28th w/ Cait Reynolds $35/ GOLD $75/ PLATINUM $125

Classes with MOI!

Blogging for Authors July 20th $50 ($150 for GOLD)

Branding for Authors  July 27th $35

Classes with Lisa Hall-Wilson

Growing An Organic Platform On Facebook July 22nd $40

Image via Flickr Creative Commons courtesy of FromSandToGlass

So last time we introduced Deep POV. What is it and why do readers love it? Well, as I touched on last time, I think readers love it because it’s just clean, tight writing that pulls them into the story. I also think like all other POVs that have evolved in tandem with social changes, deep POV is a consequence of our world. We are a reality TV generation and we love that intimacy.

But after noodling it a couple days, I thought of yet another reason it behooves writers to learn deep POV. I think the reason readers love it is it hooks them. We live in a world chock full of millions of tiny distractions, which has made all of us more than a little ADD. A hundred years ago, readers weren’t distracted by emotionally distancing words.

They were an easier fish to catch, so to speak.

I think these days, writers really have a challenge. We are already competing with countless distractions, so why add more into our work? We need to hook early, hook hard and drag that reader under before he swims away.

Today is the HOW TO DO THIS.

To accomplish “deep POV” yes, there are style changes we can make, like removing as many tags as we can and ditching extraneous sensing and thinking words. But deep POV is more than just tight writing, it’s also strongly tethered to characterization. Good characterization.

It is essential to know our cast if we hope to successfully write “deep POV.”

KNOW Your Cast

There are all kinds of ways to get to know our characters. I often write detailed character backgrounds before starting a story so it doesn’t become a fish head.

Why we need to know our characters is that deep POV is a reflection of the inner self, how that character sees the world, responds, evades, processes, etc. It is also a reflection of personal history and relationship dynamics. It is his/her PARADIGM.

*cue brain cramp* *hands paper bag*

It’s okay. Breathe. We’re going to unpack this.

Reflection of the Character

Image via Flickr Creative Commons, courtesy of DualD Flip Flop

Back when I ran a weekly workshop, I had writers do a little exercise to help them learn POV and also strengthen character-building skills. I gave this scenario:

We have a family of four—Mom, Dad, a grandparent (either gender) and a teen (either gender) who has spent a year saving for a family vacation. On the way to their destination, the vehicle breaks down. What happens and tell it from the perspective of EACH family member.

Every week, writers showed with the perspective of one of the four. We had ASTONISHING creativity.

Who These Characters ARE Changes the Story AND Deep POV

When we layer in some background, the characters (and consequently the story, problems and conflict) all change drastically.

What if dad is finally home from his forth tour in Afghanistan and has terrible PTSD?

What if Mom is a closet alcoholic?

What if the teen is recently in remission from Leukemia?

What if Grandma is a tireless flirt who’s antics got her turned into a vampire and the family can’t understand why Granny wants to travel only at night?

What if the teen is an asthmatic and forgot his inhaler?

What if Granddad has early on-set Alzheimer’s?

What if the teen has been recruited for a mandatory deep space mission by the New Earth government and will never see the family again?

What if the teen was adopted and the purpose for the trip was to meet the child’s birth mother? How would this impact the emotions of those in the vehicle?

What if there used to be TWO children and one had died in an accident a year previously?

Do you see how by changing WHO these people are, this cannot HELP but affect everything else?

If Dad has PTSD, he might jump at every lump of roadkill because that’s how insurgents hide IEDs. If the family is stranded and Mom can’t get to a liquor stash, she might start getting belligerent or, left too long, start going through DTs. What would an addict notice? Likely nothing beyond how to get a fix.

While a kid in remission with a new lease on life might enjoy being broken down in the middle of nowhere (appreciating the little things in life) the addict would be hysterical.

All of this will impact Deep POV because we are in the HEAD and EMOTIONS of the character.

Let’s pick on Mom for an illustration. I’m riffing this, so the writing is just an illustration. Just roll with it.

Geiko Caveman.
Geiko Caveman.

Kidding! Lighten up. You seem tense.

Example One:

Fifi clutched the baby picture, the one she’d carried everywhere for fifteen years. She hated she was happy the old van had finally given out. Her husband stared, bewildered at the smoking engine. Other than car trouble, he seemed fine. Fine. How can he be fine?

She glanced back at her daughter, the living reflection her of all her dreams and failures. She’d wanted a baby more than life. Every night on a freezing floor. One miscarriage after another and then came a tiny bundle of everything she’d ever longed for.

That woman hadn’t wanted her. That woman had abandoned her. That woman was Gretchen’s real mother and now Gretchen wanted to meet her. Real mother, like hell. And I’m a real astronaut.

How had she failed? If she’d been a good mother, Gretchen would have forgotten that woman and they wouldn’t be here.

“You okay?” Her daughter bent between the seats and kissed her cheek. “You said this was okay, that we could do this. You’re sure, right?” A wary smile revealed new braces, the braces Fifi paid for with money she’d saved for a new van.

“I’m fine, Honey.” She crumpled the baby picture and opened the van door. She needed air.

***

Example Two:

Fifi clutched the baby picture, the one her daughter had given her a week ago for Mother’s Day when they picked her up from rehab. Ninety days clean. At least that was the lie she’d packed along with her swimsuit and the hairspray can with the secret compartment and the only pills they hadn’t found.

The pills that were now gone.

They should have already been at the resort, the one staffed with eager friends willing to help her out. Friends with first names only who took cash and asked no questions.

Fifi scratched at her arms. Millions of insects boiled beneath her skin, invaded her nerve endings and chewed them to bleeding bits. Pain like lightning struck her spine, the section crushed then reconstructed. Pain like lightning spidered her brain, frying her thoughts. She glanced again at the baby picture, then at the fine young woman in back. Her daughter Gretchen.

What am I doing?

Maybe she would be okay. Maybe she hadn’t had enough pills to completely undo her. Maybe she could ride this out. And maybe I’m the Queen of England.

Gretchen bent between the seats and kissed her on the cheek. “I love you, Mom. You okay?”

Tears clotted her throat. She nodded. “Yes, I’m fine, Honey.”

“You mean it?”

She hesitated then smiled. “Yes. Yes I do.”

She tucked the baby picture in her shirt pocket, close to her heart and opened the van door. She needed air. She also needed to change their plans. Visit somewhere with no friends. With no one who took cash.

Do you see how changing WHO Fifi is changes everything? Everything she is sensing, feeling, thinking. Being in the emotions of a heartbroken mother who feels betrayed is a very different experience from being in the head of a sympathetic addict who’s struggling to get clean and stay clean.

***

Both women are impacted by the daughter. One Fifi is hurt by the daughter, the other Fifi finds hope in the daughter. Both women are conflicted. One is tormented with feelings of failure and betrayal and the other is tormented by failure, but very real physical problems of addiction that impact the story.

Deep POV has thrust us into the head and emotions of both women. We feel what they feel. The author is invisible because there are no tags. The sensations are raw and visceral because we have gotten rid of the coaching words.

Instead of:

Fifi felt millions of insects boiling beneath her skin….

We get right to it.

Millions of insects boiled beneath her skin…

The sensation is CLOSER. There is no psychic distance. She isn’t thinking she is going to lose it. She isn’t wondering if she can keep it together. She is experiencing everything real-time and up-close.

Instead of:

Fifi thought, What am I doing?

She just does. We KNOW Fifi is thinking because we are camped in her head.

Deep POV is Akin To Method Acting

Screen Shot 2015-05-20 at 9.49.06 AM
Couldn’t resist. I LOVE “Tropic Thunder”!

When we know our characters, who they are, how they came to be, the formative experiences, what they want from life, etc. we can then crawl in that skin and become that person. By us becoming that character, we then have the power to transport our reader into the skins we have fashioned.

I hope this helps you guys understand the magical, mystical deep POV and now you’re all excited about writing stronger characters. What are your thoughts?

Before we go, check out the new classes below (including a two-week workshop on Deep POV by powerhouse editor Lisa Hall-Wilson). W.A.N.A. is also offering two NEW classes for romance authors, one on how to write shifters and the other on how to write great historical romance without needing a PhD in History.

I also have a SUPER AWESOME DEAL to help you whip that WIP into fighting form! I put together a Book Bootcamp (3 craft classes—6+ hours of instruction with MOI—for $99 & RECORDINGS included in the purchase price) as well at a Book Bootcamp GOLD (also 3 craft classes for the price of two PLUS three hours with ME one-on-one plotting your novel OR repairing the plot for your novel). So make sure to check those out below along with all kinds of new classes!

Make sure you check out the newsletter class with Jack Patterson. He’s sold almost a quarter million books, so probably someone to listen to. Just sayin’…

What are your thoughts?

I LOVE hearing from you guys!

****The site is new, and I am sorry you have to enter your information all over again to comment, but I am still working out the kinks. Also your comment won’t appear until I approve it, so don’t fret if it doesn’t appear right away.

Also know I love suggestions! After almost 1,100 blog posts? I dig inspiration. So what would you like me to blog about?

Talk to me!

And 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. 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).

SIGN UP NOW FOR UPCOMING CLASSES!!! 

Remember that ALL CLASSES come with a FREE RECORDING so you can listen over and over. So even if you can’t make it in person? No excuses! All you need is an internet connection!

Be a Better Hooker (How to Write a Compelling Newsletter)

April 29th $45

In this class, learn how to compose a newsletter that is entertaining and compelling—and all without stealing most of your writing time. Learn how to get your hooks in your readers and keep them until the end.

With a mailing list of over 15K subscribers, mystery/thriller author Jack Patterson will share some of his tips that will spice up your newsletter and get your subscribers opening it up every time you send one out.

BUNDLE DEALS!!! 

Book Bootcamp  $99 ($130 VALUE)

Book Bootcamp GOLD $269 ($430 VALUE) This includes the log-line class, antagonist class, the character class AND a three-hour time slot working personally with ME. We will either plot your idea or, if your novel isn’t working? Fix it! Appointments are scheduled by email. Consults done by phone or in virtual classroom.

Individual Classes with MOI!!! 

Pitch Perfect—How to Write a Query Letter and Synopsis that SELLS! $45 April 13th, 2017

Blogging for Authors $50 April 27th, 2017

Your Story in a Sentence—Crafting Your Log-line $35 May 4th, 2017

Bullies & Baddies—Understanding the Antagonist $50/$200 (Gold) May11th, 2017

The Art of Character $45 May 18th, 2017

NEW CLASSES/INSTRUCTORS!!! 

Growing an Organic Platform on Facebook $40 May 6th, 2017 Lisa Hall-Wilson is BACK! She is an expert on Facebook so check out her class!

Method Acting for Writers: How to Write in Deep POV $85 for this TWO WEEK intensive workshop with editor and writing instructor Lisa Hall Wilson.

Shift Your Shifter Romance into HIGH Gear $35 May 19th with powerhouse editor Cait Reynolds.

Researching for Historical Romance (How to NOT Lost 6 Hours of Your Life on Pinterest) $35 May 20th

 

For those who need help building a platform and keeping it SIMPLE, pick up a copy of my latest social media/branding book Rise of the Machines—Human Authors in a Digital World on AMAZON, iBooks, or Nook

 

Last time, we talked about the core antagonist or as I like to call it, the Big Boss Troublemaker. The BBT is responsible for creating the core story problem in need of being solved and we will continue our discussion on the BBT and different types of antagonists later.

But before we do that, I want to talk about a symptom of a novel with no BBT. Sort of like a doctor might take blood pressure or check off a list of symptoms before cracking open your chest to diagnose a bum ticker.

As an expert on plot, one clear symptom of a novel with no plot (or the fatally flawed manuscript), is the story will break out in little darlings. The more the severe the outbreak? The sicker the manuscript. Some cases are even fatal. Nothing to do but pull the plug and harvest for clever dialogue.

Why is this?

When we fail to have a core story problem, deep down we sense something is missing and so we put our best work into buttressing weaknesses. We spend hours on scenes of lavish description, or sections of super witty dialogue, or crazy twists and turns and a surprise ending that only makes sense if we use jazz hands and flannelgrams to explain them.

Because there is no simple CORE problem, we must invent contrived backstory, interstellar empires and black magic conspiracies to explain the, frankly, unexplainable. And, since we put a LOT of brainpower into this? Pulling us off these clever bits of our story is like trying to deprogram a family member from a New Mexico cult.

We’ve partaken of our own Kool-Aid and dammit, we like it!

Yet, the problem with a mass outbreak of little darlings is that, if we don’t spot them and then kill them dead? The novel has no chance of being saved because the little darlings are often the very thing keeping it sick.

What’s a Little Darling?

Image via Flikr Creative Commons, courtesy of Niki Sublime
Image via Flikr Creative Commons, courtesy of Niki Sublime

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 Google Doc 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. They can also look like “never before thought of ideas” and “wicked twist endings that put Shyamalan to shame.”

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. 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. Here are three BIG reasons your little darlings need to die.

#1 We Risk 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 my awesome friend and talented author/writing teacher Les Edgerton mentioned a while back 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.

Since little darlings are often birthed from a flimsy plot (or no plot), the writer is left to manufacture conflict (melodrama). This weakness often manifests in pointless fight scenes, chase scenes, flashbacks or hospital/funeral scenes that seem to go nowhere.

Zzzzzzzzzz.

We are creating bad situations, not authentic dramatic tension.

#2 We Mistake 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 demon, but a nice demon because in my world some of the demons actually were half human mage which makes them not evil. Anyway he’s a demon, well half-demon, and 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?

Me: No, what does she need to do? What bad thing must she stop?

Writer: Someone is stalking her.

Me: *looks for closest bar*

Most new novels don’t have a singular core story problem. As mentioned earlier, it’s my opinion that new 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 subconscious 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 it will fly. How do I know this?

I used to own stock in Plot Bond-o.

“Complicated” is Not Conflict

Little darlings are often birthed from us getting too complicated. We frequently get too complicated when we are trying to BS our way through something we don’t understand and pray no one notices.

Um, they will. Trust me.

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.

“Complicated” is the child of confusion, whereas “complexity” is the offspring of simplicity.

I can prove this. Let’s take one of the most complex stories of the 20th century. Yes, yes, you know where I am going. Lord of the Rings. Simple story. I can give it to you in ONE sentence.

A race of naive and innocent homebodies must travel across a dangerous world to drop an evil ring in a specific volcano before a power-hungry necromancer takes over the world and casts all they love in darkness and despair.

The CORE of that complex story is two Hobbits tossing a ring in a volcano. Everything else supports that singular simple idea.

The difference between complex and complicated is this. With a complex plot we can say what the story is about in one sentence. When the story is complicated? Trying to unravel our plot is about as easy as unravelling the Gordian Knot.

#3 We Fail to Spot/Correct Weaknesses

We fall so in love with our fun characters, our witty dialogue, our amazing inter-stellar conspiracy that we never finish. We can’t finish.

Screen Shot 2016-03-30 at 9.59.35 AM
You’ve rewritten me 14 times. You think I’m going to leave without a fight? Hssssssss.

Since we aren’t being honest about why the book isn’t working, we aren’t doing the hard work that would make the story publishable and we end up making a bad mess even worse.

In the end, 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.

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? If you need help looking at your own plot with honest eyes, I have never met a plot I couldn’t fix and am an expert at assisted suicide for Little Darlings, so email me at kristen at wana intl dot com if you need help. I would also strongly recommend my Hooked—Your First Five Pages class below because you get me shredding through your novel’s intro. I can spot every problem in a novel in 20 pages or less. So save some time and get my help. There is no shame in needing outside eyes.

I LOVE hearing from you guys!

****The site is new, and I am sorry you have to enter your information all over again to comment, but I am still working out the kinks. Also your comment won’t appear until I approve it, so don’t fret if it doesn’t appear right away.

Also know I love suggestions! After almost 1,100 blog posts? I dig inspiration. So what would you like me to blog about?

Talk to me!

And to prove it and show my love, for the month of MARCH, 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. 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).

February’s winner of the 20 page critique is Dominic Scezki. Congratulations! Please send your 5000 word WORD document (12 point, Times New Roman, one-inch borders, double-spaced) to kristen at wana intl.com.

SIGN UP NOW FOR UPCOMING CLASSES!!! 

Remember that ALL CLASSES come with a FREE RECORDING so you can listen over and over. So even if you can’t make it in person? No excuses! All you need is an internet connection!

Individual Classes with MOI!

Blogging for Authors $50 March 30th, 2017

Pitch Perfect—How to Write a Query Letter and Synopsis that SELLS! $45 April 13th, 2017

Hooking the Reader—Your First Five Pages $40 March 18th, 2017

For those who need help building a platform and keeping it SIMPLE, pick up a copy of my latest social media/branding book Rise of the Machines—Human Authors in a Digital World on