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Kristen Lamb

Author, Blogger, Social Media Jedi

Kristen Lamb — Photo

Posts Tagged: how to write great stories

bad people, Kristen Lamb, unlikable characters, storytelling, writing a novel, characters

Bad people make better stories. Why? Because I cannot say this enough, ‘Fiction is about one thing and one thing only—PROBLEMS.’

Who better to create a lot of problems than damaged, broken, unlikable, foolish and possibly even unredeemable human beings?

***I use the term ‘human beings’ for all characters because aliens, otherworldly beings, and any ‘thinking’ creature will possess anthropomorphic (human-like) qualities.

So why do ‘bad people’ make better stories?

Perfect people, first of all, are unicorns and don’t exist. Secondly, they are boring.¬†Thirdly, we can’t relate to them because we aren’t unicorns (just deluded we are ūüėõ ).

What’s the story killer with perfect people? To be blunt, these characters have nowhere to grow. Since ‘perfect people’ handle every crisis with a level head and can be trusted to always do the right thing, the reader won’t ever worry.

If the reader never worries, guess what kiddies?¬† You don’t have a story, you have a lot of words.

Villains are a whole other post. So is the Big Boss Troublemaker (our core antagonist responsible for creating the overall story PROBLEM).

Today, what I want to address is HOW to roughen up our MC and supporting cast in ways that will ratchet tension and drive the character arcs of everyone around.

We need a change agent who will turn pages, without turning off readers.

***Please keep in mind, it is impossible to write a story everyone will love. Knowing this, get in and get dirty.

Bad for the Sake of Bad

One of the most common mistakes newbie authors make is that they lack the confidence to make any character (who isn’t the villain) flawed at all. From the perfect hair to the perfect outfit, these literary paper dolls do all the right things.

After enough rejection or feedback from critique partners, the emerging writer might start realizing that perfect equals dull.

What then happens is they can go to the other extreme and overcompensate. They create a character so abrasive and awful, readers can’t root for them. Always remember, that artists don’t craft a bad character solely to be bad.

Every character—even a ‘bad’ one—serves a purpose.

There are going to be some possible spoilers in this post, but I’ll work hard to maneuver around that. Usually I strive for older movies and series, but after almost two thousand blogs, I need fresher examples.

‘Bad People’ Make Great Mirrors

Kristen Lamb, broken people, Netflix, Bird Box, unlikable characters
John Malkovich in the Netflix original movie, ‘Bird Box.’

I read Josh Malerman’s novel ‘Bird Box’ and also watched the Netflix original movie. Both versions are excellent. The movie did a fabulous job (which is pretty remarkable in and of itself).

Even though the movie is very different from the book, it did a great job of maintaining the core idea.

***In this post, I’ll refer mostly to the movie version for simplicity.

I mention Bird Box because Douglas was one of my favorite characters. When chaos is unleashed and the world is very literally ending, our MC Malorie has no choice but to take shelter with a group of strangers or die.

Douglas is one of the founding members of this group, and he is not happy to add the very pregnant Malorie to their numbers.

Douglas is rude, selfish, acerbic, and blunt and one of my favorite characters because he is precisely what Malorie needs if she has any hope to survive and evolve. He’s a mirror.

What do mirrors do?

Mirrors show us what IS, not what we want.

When I look in a mirror, I’d love to see a hot babe with six-pack abs, the legs of a dancer, hair that rivals and an anime character…and flawless, wrinkle-free skin. But this is delusion, not reality.

A mirror shows me what IS. It shows me what’s good—that outfit is BANGIN’! But, it also shows me what I need to work on—maybe lay off the carbs. Ultimately, it shows me what I need to learn to accept and embrace—smile lines are a privilege denied to many.

Douglas minces no words. He doesn’t pretend to be anything other than what he is…a mean bastard who expects the worst and is usually right. Though it isn’t nice to say, Malorie IS soft (in more ways than being pregnant).

She’s been coddled by a modern world she took for granted. Malorie expected her sister to always be there, for her to simply have a doctor and hospital to give birth to a baby she doesn’t want. She’s transitioning into a world where a two-mile trip to get groceries costs lives.

Douglas shows her a new reality she must see if she has any hopes of living longer than a week.

To paraphrase Douglas, there are two kinds of people—@$$holes and the dead. The reason we ‘like’ him is he isn’t wrong. Civility is of zero value when civilization has collapsed.

Douglas also demonstrates a really painful truth.

Not everyone who smiles at you is your friend.

Stephen King’s “The Shining.”

While Douglas is ‘mean,’ he’s so much more than that. He’s a pragmatist, a survivor. According to Douglas it makes no sense to take in every person who begs for shelter, not in a world with limited resources.

It also makes sense to be extremely wary of WHO is allowed into their inner circle. Sometimes you have to make the hard choices for the greater good even if that means leaving a stranger outside to possibly die.

***Time will prove out how right he is.

If the goal is to survive when all hell breaks loose, then choose the party wisely. They no longer have the luxury of making bad choices, and not everyone is who they claim to be.

Douglas is very forthright and honest about who and what he is. He makes no pretense that he’s a miserable S.O.B. Yet, this is a quality that I found endearing.

When lives are at stake, truth is the most precious currency, even if it stinks.

‘Bad People’ Drive Change

Douglas minces no words about how he feels about Malorie. She is blind long before the blindfolds. She’s weak, soft and a liability. Mirrors show us what’s wrong, what we need to fix. Is our fly down? Do we have the back of our skirt tucked in our underwear?

Is there a giant glob of spinach between our teeth? Has a pigeon pooped in our hair and no one has told us because they ‘didn’t want to embarrass us’?

The mirror might show a lot of what we don’t LIKE, but it offers us the clearest vision of what must change. The same goes for our MC (and all characters if we do our job properly).

In¬†Bird Box, Malorie has to toughen up emotionally and physically to make it through. Yet, at the same time, one of the reasons she doesn’t like Douglas is because he reminds her of her father.

She doesn’t want to be like her father so she’s dismissed any quality her father possessed as ‘bad’ and ‘unwanted.’ The story will show her that the qualities she hated in her father (and in Douglas) are the very attributes that will ensure her survival.

Ah, but what she will ALSO learn (arc) is there is a time and a place for these ‘negative’ qualities.

Before the end of the world, Malorie’s dad irreparably damaged his marriage, family, and his two daughters. Even Douglas admits his personality flaws and his drinking cost him two marriages and any meaningful friendships.

What Malorie learns is to not summarily dismiss these attributes as ‘good’ or ‘bad’ because these qualities have a time and a place.

When she’s fighting for survival, she can’t afford to be soft. Paranoia, ‘cruelty,’ emotional distance and a sociopathic level of compartmentalization keep her and those she cares about alive. But, once the storm has passed, the need for these ‘bad’ attributes fades away.

There’s a time to trade the plow for the sword and vice versa.

Should Malorie make it to safety with those in her care and FAIL to put away her father and Douglas’s attitudes and approaches? She’ll be alive, but won’t have a life.

Crafting ‘Bad People’¬†

Sometimes, as we just discussed, a character might be ‘bad’ to force change in our MC. What makes Douglas such a fantastic example is that, as awful as he can be? He makes sense. We (readers) can see that he makes very good points.

If they take in too many people, they will starve or increase odds of dying because they’ll have to venture out to resupply more frequently, etc.

When it comes to your story, how can we use ‘bad people’ to strengthen the MC?

What is your MC’s greatest fear? Her greatest shame? What does your MC believe is true, which is, in fact, a lie? A lie that is holding that character back from actualization?

For this, we’ll look to the Netflix series¬†Stranger Things.

¬†If you haven’t seen the series, I strongly recommend it because it’s one of the best examples of superlative storytelling and complex characters I’ve ever seen. I will work diligently not to spoil anything.

In¬†Stranger Things the focus isn’t solely on the lead MC. The party is the protagonist (much like¬†Joy Luck Club, Sisterhood of the Traveling Pants, Lord of the Rings,¬†etc.) and if the party fails, then so will the ‘MC’ Eleven, a.k.a. ‘El.’

What gives SO much depth and texture to this series is the complexity, the interlocking of all the supporting players. In the first season, one of the most interesting characters isn’t even (yet) part of the group of heroes.

Steve Harrington is the ‘popular kid’ trope from every 80s ‘Coming of Age’ movie. He has the great hair, the designer clothes, and drives a Mercedes. He’s a top jock from an upper middle class family surrounded by the standard superficial cronies we’ve seen in countless movies.

Steve is the CLASSIC rich @$$hole.

He’s self-centered, shallow and, ironically…he became one of my favorite characters.

It’s the story problem in Season One that makes him realize he’s shallow and that he’s surrounded himself with counterfeit friends (who are also miserable people). He has to choose between the keeping old him (popular Steve) or let go of that life and pursue Nancy.

Nancy isn’t vapid arm candy like all the other girls he’s dated. When facing the enemy, Steve finally realizes he wants more. The struggle offers clarity about who he’s willing to fight for, and he also learns what true friendship really is.

The transformation in Steve Harrington is nothing short of miraculous.

In Season Two, there was a different challenge.

Steve had changed…but not enough. He HAD to grow even more if the group had any hope of surviving Round Two with the enemy.

Steve’s greatest fear is being a nobody and his shame is that deep down, he really believes he has nothing of substance to offer. In Season One, the story problem forced him to see how he used his popularity, money and status as armor.

But what happens when all THAT is stripped away, too? When he can’t rely on being Mr. Cool to keep Nancy? How does he respond to being treated the way he treated others in Season One?

What does Steve DO when HE is the object of ridicule?

Steve can’t ‘level up’ unless he willingly lets go of the ‘old self.’ But, like most of us, Steve isn’t aware of the ‘old self’ and even if he is, it’s comfortable so he’s unlikely to give it up easily.

It will have to be STRIPPED away.

No better way to do this than to bring in a replacement. When the explosive Billy Hargrove screams into the school parking lot in his new Camaro—easily stepping in as the high school’s new Alpha male—Steve undergoes a personal extinction.

Billy Hargrove ‘Stranger Things’ Season Two.

Not only does he see who he used to be—and have to make peace with that shame—but he also sees what he is not. He’s no longer the strongest, the best, the baddest. This forces him to make hard choices.

‘Bad People’ Force the HARD Choices

Will Steve dedicate himself to fighting to regain the old, or will he evolve to something better? When he’s kicked in the confidence, can he find a better source of courage than great hair and status?

Without the almost sociopathic Billy Hargrove’s influence, it is fairly obvious Steve wouldn’t have a hard enough push required for meaningful change. Steve cannot hope to survive the story problem—the REAL PROBLEM—if he continues to care about that which doesn’t matter.

Billy is a VILE human being (though not without his own baggage and dimension I’m sure we’ll see in Season 3). He’s over the top in everything—his car, hair, clothes, sexuality, and especially his temper (RAGE).

But, Billy HAD to be virtually irredeemable for Steve to even see the message let alone ‘get’ it. Billy strips away Steve’s armor and this means Steve has to become stronger in who he is. If his insides are iron, he won’t need the external protection that can be so easily taken away.

In the End

‘Bad people’ make for amazing stories, and this goes for the MC too. If our characters don’t have flaws, weakness, blind spots, and shame, then they’re not ‘real.’ Readers connect with weakness, not strength.

We know pride, envy, fear, estrangement, insecurity, vulnerability, and anger. We’ve all been poseurs, pretenders, and done and said things we wish we hadn’t.

In your story, just make sure these ‘negative’ attributes serve a purpose.

Nothing lives in a great story rent-free.

‘Bad people’ don’t have to arc if they’re not the MC (or part of the protagonist party). Billy is a character that they ‘could’ kill off in Episode One of Season Three. It would be okay because he did his job in Season Two—he forced Steve’s character arc.

I hope they don’t do this because he’s too good of a character to waste. Also, there’s no better story than a redemption story. But, truth be told, it won’t harm the overall story if Billy isn’t in this narrative for the long haul.

It didn’t hurt in the movie¬†Bird Box. Douglas didn’t evolve because he wasn’t supposed to. His¬†purpose was solely to change Malorie.

On the other hand if your ‘bad person’ IS your MC or a major player (part of the group protagonist), then there will have to be something sympathetic/redeemable among all the grit.

We spend most of Season Two loathing Billy Hargrove, but there’s ONE scene that maybe could change some minds about why he’s the way he is and possibly who he could become (good or bad) in the future.

BUT, we’ll have to wait and see.

Suffice to say, all people are ‘bad people.’ Unless we’re a psychopath, we are all very well aware of where we fall short. Most of us struggle with habits, weaknesses and have a laundry list of what we’d like to change, remove or improve.

As authors, when we roughen up our characters, these flaws generate resonance. Personality collisions create the tension that drives the story and forces change in all the players.

Shiny and perfect is all right, but people pay fortunes for items with wear, that are ‘distressed.’ The dings, nicks, and stains show they’ve been through some stuff, have some stories to tell.

Their’ damage’ and ‘wear’ makes them all the more interesting…and valuable. So be bold and go do some damage! Bad people make better stories. If you need some more instruction on HOW to do this…

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Kristen Lamb, writing tips, antagonist, villains, generating conflict in fiction, conflict, dramatic tension, how to sell more books, writing great fiction, how to write great stories, novel structure

Conflict is the core ingredient required for story. It is the magical elixir with the raw power to transform a story we think we’ve heard a million times before into something wholly unique and mesmerizing. FYI, there are no new stories, only new ways of telling the same stories. Just getting that out of the way.

A Thousand Acres¬†is basically¬†King Lear¬†on an Iowa farm, and Avatar is Pocahontas in Space. I could give a zillion more examples but won’t.

In fairness, this makes our job simpler. We really don’t want to create a story no one has ever heard before. Not only because it’s pretty much impossible to do in the first place, but it’s also highly risky even if we managed to pull it off. Why?

Because the story ‘never before told’ cannot possibly resonate emotionally. Humans have no emotional touchpoint for something they’ve never experienced…ever.

Resonance is Critical

Kristen Lamb, writing tips, antagonist, villains, generating conflict in fiction, conflict, dramatic tension, how to sell more books, writing great fiction, how to write great stories, novel structure

Love gone wrong? Betrayal? Messed up family? Righting wrongs of the past? Clearing one’s name from being falsely accused? Rebuilding after a loss? Finally earning approval, love, or acceptance? Impacts of abuse or addiction?

This stuff we get.

Most humans have real-life experience with these ‘common’ stories. Thus, when we stick to these core human narratives, that’s when we create that deep visceral resonance that ripples through generations of readers. It’s because people can relate.

Suffering is also interesting. What? Humans are morbid. Not MY fault, but definitely good for business if you’re a writer.

Now, the degree of ‘suffering’ obviously is determined by genre (or how bad the writing is).

A cupcake cozy mystery won’t probe at wounds the way a dark literary thriller like¬†Gone Girl¬†might. This doesn’t change that there’s ONE singular ingredient for all stories that must be present or it isn’t a story.

My goal in this series is to explore all the elements of structure, because the purpose of structure is to generate TENSION. Story is a machine. All parts serve a purpose and must work together lest we get screeching, smoke, meltdown, then breakdown.

Before we explore other elements of building a story, let’s discuss conflict.

Conflict

Kristen Lamb, writing tips, antagonist, villains, generating conflict in fiction, conflict, dramatic tension, how to sell more books, writing great fiction, how to write great stories, structure, novel structure

If we don’t have conflict, we DO NOT have a story. PERIOD.

A story captures us (readers) with a problem, then we turn pages because there are more problems! And we cannot possibly put down a book until we know everything is okay, right?

Few readers—emphasis on FEW—turn pages to see if the writer will use even prettier descriptions, employ even wittier references to obscure literature, or come up with even more clever names for starships/kingdoms/mythical beasts.

Readers aren’t picking up a novel to see if the author knows how to use a thesaurus or test the writer’s vocabulary skills. S.A.T. and G.R.E. prep manuals do that.

Want to read one of those in your spare time? Be my guest.

Granted, everything listed above (prose, description, world-building, excellent vocabulary) can all be wonderful elements to story, but none are powerful enough ALONE to BE STORY. Only one ingredient is inherently potent enough by itself to be considered story.

That ingredient is conflict. Conflict is story.

Here I am referring to BOTH external conflict and internal conflict, though mainly external. One CANNOT exist without the other. External conflict ignites and fans the flames of internal conflict.

Internal conflict alone is the literary equivalent of a diary to our inner child. Only therapists want to read self-exploratory navel-gazing…namely because they’re paid very well to do so.

What’s going to make readers care about internal conflicts are external problems ūüėČ .

Confusion with Conflict

Kristen Lamb, writing tips, antagonist, villains, generating conflict in fiction, conflict, dramatic tension, how to sell more books, writing great fiction, how to write great stories, novel structure

Conflict—who generates it and how—can be very confusing. I am here, hopefully, to help you make sense of it all. Today we’ll use broad strokes to help y’all see what I’m wanting you to grasp, then I’ll blog in greater detail on each aspect.

Every novel MUST have a core antagonist. I call this particular antagonist the Big Boss Troublemaker (BBT) to keep it straight in MY head. I do this because a lot of well-meaning craft books (that assumed I was WAY smarter than I was) confused the crap out of me for years by using ‘antagonist’ as a blanket term.

Also, I chose this because¬†Troublemaker is not inherently bad, evil, or nefarious. It’s merely trouble, which is subjective. This distinction (that the BBT is not, by nature, evil) will be important later, especially for certain genres.

EVERY STORY MUST HAVE A BBT. The BBT is responsible for creating the core story problem in need of resolution. When the core problem is resolved, THIS is how we (writer and readers) know the story is over.

***If the Hobbits don’t toss the evil ring in Mt. Doom and destroy Sauron (BBT)? NOPE not over.

Problem is, the BBT—while responsible for creating the core problem—likely isn’t present on every single page.¬†Herein lies the pickle. If the goal is to put conflict on every page, in every line, how can we possibly do that?

Easy. Much of our story’s conflict isn’t necessarily¬†directly a result of the BBT.

In any story, conflict will have many, many faces. Often you’ll hear this referred to as the antagonist. ‘Antagonist’ is a broad term, which includes any character whose goal stands in the way of what the main character desires.

Every character can at one time wear the antagonist hat (which gets shuffled around). Allies and love interests wear it most frequently, believe it or not. I’ll give you examples how, later.

The antagonist in play is almost always a person (corporeal being), which we will get to in finer detail as to why in another post. Suffice to say, humans don’t do so well with existentialism. When our MC is pitted against anything other than another person with an opposing agenda, we risk tanking the conflict.

Bad Situations are NOT Conflict

Kristen Lamb, writing tips, antagonist, villains, generating conflict in fiction, conflict, dramatic tension, how to sell more books, writing great fiction, how to write great stories, novel structure

Let me repeat. What makes readers turn pages is unresolved conflict. Conflict can only happen when opposing agendas meet.

Kristen’s riffed example:

Fifi, the teenage witch hunter must meet demonically possessed baton twirler at exactly midnight for the critical clue to who/what’s behind the drama nerds going missing.

***See, if the football team was going missing the authorities would care. But Fifi, being a long-time drama nerd and (unfortunately) a brand new witch-hunter knows she must step in to find her friends or no one else will.

This definitely IS a good story problem. Missing friends. Not to mention school administrators would loooove another reason to cut the drama program. It’s a juicy start, but not yet conflict.

For that? Add in *drum roll* MOM.

Mom, who previously worked night shift at the hospital switched THAT morning to day shift, because of her daughter’s strange behaviors and odd injuries. She wants to be there for her daughter, despite the cut in pay.

This means Fifi’s mom will be home, which gives boundless ways for any writer to sadistically torture readers. Mom being home (and NOT working at the hospital) gives a myriad of organic setbacks to generate high tension as Fifi desperately tries to sneak out to meet possessed baton twirler.

The clock ticks ever closer to midnight as Mom overcompensates to assuage her guilt for being previously absentee.

Pumpkin! I hear you’re awake. Hard time sleeping? Hold on! I’ll bring you up some hot milk like I used to.

Is mom BAD for switching to day shift? Is she a villain for not wanting her barely-legal-to-drive teen to leave the house at 11:30 P.M. on a school night (or ANY night)?

No their goals simply conflict.

Conflict is NOT Inherently BAD

Kristen Lamb, writing tips, antagonist, villains, generating conflict in fiction, conflict, dramatic tension, how to sell more books, writing great fiction, how to write great stories, novel structure

Fifi’s goal is to meet possessed baton twirler to find missing drama nerds and stop the evil force (a noble goal). Mom’s goal is to be a good mom (again, a noble goal).

It is still, however, CONFLICT.

Notice how the external conflict (problems) only exacerbate internal conflict. Fifi is trying to shield her mother from vastly dangerous supernatural forces. Mom is intent on protecting her daughter and making up for being a ‘bad’ mother by being a vigilant mother.

Yet…

As tensions mount, secrets, baggage, and benevolent lies pile up like old rags soaked in ‘oil’ (guilt, remorse, anger) waiting to inevitably go BOOM.

This is why other characters with conflicting agendas are GOLD.

If all that is keeping Fifi from meeting the possessed baton twirler is bad weather, a lost set of keys, twisted ankle, a broken down car, these are bad situations not conflict. Bad situations are useful only for the momentary setback, but they lack the same power to inflame the internal conflict.

Can we use bad situations? HECK YEAH…just not at the expense of authentic dramatic tension, which can only be created by antagonists.

Why the Confusion?

Kristen Lamb, writing tips, antagonist, villains, generating conflict in fiction, conflict, dramatic tension, how to sell more books, writing great fiction, how to write great stories, novel structure

One reason many emerging writers get confused (I sure did) is that the term ‘antagonist’ is often used interchangeably with ‘villain’ which is bad (or at lease incomplete) teaching. Not all stories have villains but ALL stories must possess a BBT and antagonists throughout. As y’all see with my Fifi example, Mom is an antagonist, but hardly a villain.

Antagonists are like ice cream, and ‘villains’ are like double-fudge ice cream. While all double-fudge ice cream IS ice cream, not all ice cream is double-fudge ūüėČ .

Do We NEED a Villain?

Kristen Lamb, writing tips, antagonist, villains, generating conflict in fiction, conflict, dramatic tension, how to sell more books, writing great fiction, how to write great stories, novel structure

Yes and no. If your character is up against something existential, that existential thing should be pretty BAD (death, disease, poverty, alcoholism, racism, abuse, etc.). Problem is, these ‘concepts’ need to be represented via a proxy which may or may NOT be a villain.

I know, a brain-bender but work with me. Breathe.

I like to use the example of¬†Steel Magnolias which does have a villain—DISEASE/DEATH. Ah, but the ‘Villain’ BBT is represented via proxy by the daughter Shelby.

Shelby has life-threatening diabetes. She tries to adopt but fails and longs to be a mother. Her decision to get pregnant knowing it very well could cost her life creates the core story problem (making SHELBY the BBT).

M’Lynn is the dutiful mother who’s there to take care of everything and everyone. Her goal is to outlive her daughter, to protect her. To give her very life if need be to save her daughter.

In this situation, however? She can’t. She has no control (which is her problem. btw).

Shelby’s desire to be a mother conflicts with M’Lynn’s desire for her daughter to outlive her and to live a long and happy life.

BUT this decision is critical for M’Lynn for grow, to evolve from being a control freak, and embrace all of life—even the ugly parts—to get to the truly good parts (I.e. the grandson Jackson).

Many Faces of NOPE

Kristen Lamb, writing tips, antagonist, villains, generating conflict in fiction, conflict, dramatic tension, how to sell more books, writing great fiction, how to write great stories, novel structure

All stories must have a BBT that creates the core story in need of being resolved. Once we have defined this core story problem, casting becomes simpler. Ideally, we want to cast an MC who’d rather crawl across razor-wire than confront the story problem. But what is on the OTHER side outweighs the fear (most of the time).

Then we can layer in love interests, allies, threshold guardians, minions and all the BBT has to throw at the MC on every single page. Yes, it CAN be done and I will blog more on how. For more about that now? Buy a copy of¬†HOOKED¬†by Les Edgerton. He’s my mentor and one of the toughest yet finest writing teachers ever.

Anyway, this colorful cast of antagonists (friend and foe) and all their baggage is what will keep readers riveted to their seats wanting to know HOW IT ALL ENDS! By crafting organic opposition onto every page (every line), this is how we steadily wind tension tighter and tighter until it’s almost ready to snap nerves.

Readers will be begging for release. Hey, it isn’t called the climax for nothing *rolls eyes* . Alas, now that y’all grasp what I mean by conflict, we can now proceed to the next layer of learning next post.

For anyone who longs to accelerate their plot skills, I recommend my On Demand Plot Boss: Writing Novels Readers Want to BUY.¬†Two hours of intensive plot training from MOI…delivered right to your computer to watch as much as you like ūüėÄ .

Or to make stabbing motions at my head with a pen. Die! Die! Kristen we loves you but hates you!

I also am offering my Bullies and Baddies: Understanding the Antagonist¬†on March 15th (7-9 EST) recording included with purchase if you can’t make it. This class is for in-depth training on how to balance all types of antagonists for maximum impact.

What Are Your Thoughts?

Has the term antagonist confused you too? Heck, it sure confused me. Same with conflict. I need more conflict? Okay, I can put in a car chase. Kinda weird for a chick-lit, but alrighty! I do love hearing from you. Where you struggle, because we ALL do. What you want to know more about? Where you get stuck, etc.

I look forward to helping you guys become stronger at your craft. What are some of your biggest problems, hurdles or misunderstandings about plot? Where do you most commonly get stuck?

I love hearing from you!

And am not above bribery!

What do you WIN? For the month of FEBRUARY, 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).

By the way, yes I also offer classes. I want y’all to write amazing books because that means more word of mouth sales. Alas, we still should learn the business of our business so I hope y’all will check out the classes below.

Business of the Writing Business: Ready to ROAR!

Instructor: Kristen Lamb

Price: $55.00 USD

Where: W.A.N.A. Digital Classroom

When: Thursday, February 15, 2018, 7:00-9:00 p.m. EST

Being a professional author entails much more than simply writing books. Many emerging authors believe all we need is a completed novel and an agent/readers will come.

There’s a lot more that goes into the writing business…but not nearly as much as some might want us to believe. There’s a fine balance between being educated about business and killing ourselves with so much we do everything but WRITE MORE BOOKS.

This class is to prepare you for the reality of Digital Age Publishing and help you build a foundation that can withstand major upheavals. Beyond the ‘final draft’ what then? What should we be doing while writing the novel?

We are in the Wilderness of Publishing and predators abound. Knowledge is power. We don’t get what we work for, we get what we negotiate. This is to prepare you for success, to help you understand a gamble from a grift a deal from a dud. We will discuss:

  • The Product
  • Agents/Editors
  • Types of Publishing
  • Platform and Brand
  • Marketing and Promotion
  • Making Money
  • Where Writers REALLY Need to Focus

A recording of this class is also included with purchase.

Self-Publishing for Professionals: Amateur Hour is OVER

Instructor: Cait Reynolds

Price: $99.00 USD

Where: W.A.N.A. Digital Classroom

When: Friday, February 16, 2018, 7:00-10:00 p.m. EST

Let’s get down to brass tacks. Are you going to go KDP Select or wide distribution with Smashwords as a distributor? Are you going to use the KDP/CreateSpace ISBN’s or purchase your own package? What BISAC codes have you chosen? What keywords are you going to use to get into your target categories? Who’s your competition, and how are you positioned against them?

Okay, hold on. Breathe. Slow down. I didn’t mean to induce a panic attack. I’m actually here to help.

Beyond just uploading a book to Amazon, there are a lot of tricks of the trade that can help us build our brand, keep our books on the algorithmic radar, and find the readers who will go the distance with us. If getting our books up on Amazon and CreateSpace is ‘Self-Publishing 101,’ then this class is the ‘Self-Publishing senior seminar’ that will help you turn your books into a business and your writing into a long-term career.

Topics include:

  • Competitive research (because publishing is about as friendly as the Red Wedding in Game of Thrones)
  • Distribution decisions (because there’s actually a choice!)
  • Copyright, ISBN’s, intellectual property, and what it actually all means for writers
  • Algorithm magic: keywords, BISAC codes, and meta descriptions made easy
  • Finding the reader (beyond trusting Amazon to deliver them)
  • Demystifying the USA Today and NYT bestselling author titles
  • How to run yourself like a business even when you hate business and can’t math (I can’t math either, so it’s cool)

Yes, this is going to be a 3-hour class because there is SO much to cover…but, like L’Or√©al says, you’re worth it! Also, a¬†recording of this class is also included with purchase.

The class includes a workbook that will guide you through everything we talk about from how to do competitive research to tracking ISBNs and distribution, and much, much more!

Time is MONEY, and your time is valuable so this will help you make every moment count…so you can go back to writing GREAT BOOKS.

DOUBLE-TROUBLE BUSINESS BUNDLE

BOTH classes for $129 (Save $25). This bundle is¬†FIVE hours of professional training, plus the recordings, plus Cait’s¬†workbook to guide you through everything from how to do competitive research to tracking ISBNs and distribution and more.

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