Kristen Lamb's Blog, page 92

Good Fences–Setting Boundaries in a World with No Borders

Image courtesy of Norah Wilson WANA Commons

I feel my approach to social media is a lot different than other experts. I strive for a holistic approach. On Mondays I blog about craft to help you guys produce the best “product” possible and, often, on Fridays, I talk about the writer human and give tips for how to develop the character of the professional author. Then, of course, Wednesdays are social media. Yet, these three facets often blend together, and, to me, that is a powerful reflection of the world we now live in.

One of the reasons that traditional marketing doesn’t work well in the Digital Age is that the concept of boundaries has changed. Last week we talked about Personal Space Invaders and how we all resent them, but this week we are going to talk a bit more about that notion of “personal space.” We now live in a world that no longer has the same boundaries. We are steadily becoming the Global Village that Marshall McLuhan envisioned over fifty years ago in his revolutionary work, The Gutenberg Galaxy.

Tribes then Print and then Tribes + Print

If we study the entire history of human communication, we find that Pre-Literate Tribal Human and the Digital Age Human have a lot in common, and the Human of the Typographical Era is fading away.  In the Typographical Age (reliant on the written word), humans were highly reliant on official gatekeepers of information. Information flowed one direction, from top-down. So, in much of the 20th century, we relied on the TV-Industrial complex for all of our news, our opinions, and for recommendations about what goods and services to buy (until the Internet changed all of that).

To understand the big picture, we need to go back in time a bit…

The Gutenberg Revolution

With the invention of Gutenberg’s press, literacy exploded and so did human reliance on written information. The written word fractured the tribal communication system of serfdom and transformed society. We no longer had to be in the village square to get the skinny on what was what. Humans began to rely more and more on the printed word now that literacy was no longer a privilege reserved only for the elite. As a consequence, we drifted apart. The tribe had split, and it seemed it had split for good.

But, in the Typographical Age, as I mentioned, there were gatekeepers. Yes, humans, for the first time in history were facing information glut, but we still had those people in power who could tell us what to pay attention to.

Then came social media and the village square is back with renewed fervor.

As Society Changes, So Does Communication

In a tribal system, we don’t rely on newspapers and fliers, we rely on each other. There are people who always have good advice, great recommendations and who know what is what. In a world that is deluged with information, it is just easier for us to ask our peeps (the other villagers) what they think.

For instance, I ignore most of the news. Why? Well if this were the 1800s then the only news I would get would be what was directly relevant to me. I might hear that Santa Ana was no longer honoring the treaty of 1824 and that conflict was imminent. I might hear that wounded Confederate soldiers were in town and needed care. I would hear if a railroad was going through, but almost every shred of information would have been directly relevant to me or to those I knew and loved. Information could only travel as fast as human, horse, train or boat.

These days information comes instantly from every corner of the globe continually. I have to pull away to maintain my sanity. I cannot equally care about the race for the presidency, school shootings in Colorado, a missing girl found dead in Mississippi, villagers slaughtered in Dafur, or the Russians manufacturing thermonuclear Beanie Babies.

My…head…will…explode.

Too much information will crater me emotionally and psychologically. I don’t withdraw because I don’t care. I withdraw because I have to to stay sane. Humans were not wired to cared equally about everything in the world all at the same time.

This is one of the reasons that experts who recommend we blast out link after link after link are only tossing gasoline on a fire. People are already on system overload and, if we add to their overload problem, they won’t have warm, fluffy feelings for us.

Age of Instant

When the telegraph was invented, the Typographical Age was living on borrowed time. Information could travel almost instantly from anywhere that had a telegraph. Suddenly people in Georgia could get national news right from D.C., or San Francisco. For the first time, humans could get international news while it was still relevant.

This was right about the time we saw the birth of advertisement and the TV-Industrial complex. This system of gatekeepers worked well because it was communicating to a society still bound by Typography (the written word) and not relationships (the tribe).

At the latter part of the 20th century, one device struck a mortal blow to the TV-Industrial complex—the personal computer. The Internet had already been around for a while (the military had been using it), but the Internet alone didn’t have the power to topple the current system. No, so long as we could only communicate via letters or expensive long-distance phone calls, the TV-Industrial Complex ruled unchallenged.

Once the personal computer became affordable and user-friendly, it’s natural partner was the Internet. At this point, the TV-Industrial complex’s days were numbered because, for the first time since before the Gutenberg revolution, people were able to “talk” to one another easily and for free. We started relying on each other again instead of books, pamphlets papers and official gatekeepers of the TV-Industrial complex.

Brave New World

We can see the first aftershocks of this change. The Western world rippled and stretched with a 10.0 magnitude aftershock that toppled Tower Records. The executives were no longer in control of the musicians, thus they no longer could control the music. Shortly after this, another 8.0 ripple took out Kodak. Kodak no longer could control how people shared images. Now? We are in the 6.0 that is shaking traditional publishing.

Yes, each aftershock is smaller because the groundwork for change is already there. We need less “shaking” for the same amount of change.

These “media quakes,” much like natural earthquakes, are taking out the rigid, old structures. Anything that doesn’t bend and move with the ripples of change is going to fall over. There is also another result of all this shaking and destruction.  Old topography is no longer regonizable. We can’t find the streets (paths) that were once so familiar to get us where we wanted to go.

Instead of write a book, query, rejection, repeat 735 times, rewrite 736 times, agent, more rejection, book deal, we have a hundred different pig-trails to take us to our end goal. Yet, the key is we are now far more reliant on each other. We lean on our tribe for emotional support, information, and feedback.

Why did I take you through this brief history of media?

I wanted to give you an idea of how much this world has changed. We can’t use tools that worked in a 1980 world because that world no longer exists. Also, one of the necessary “fallout effects” of all this shaking and global connecting is that boundaries no longer seem to make sense any more. They are no longer clear and this can create problems.

In a 1980 world our boundaries made sense and they had been there for over a hundred years. We didn’t interact with agents all over the country real time. We didn’t talk to other writers all over the world. We weren’t expected to be plugged into a “hive” to “build a platform.” So what’s happened is that we are getting new psychological stress. Humans need boundaries. It stresses us not to know where we stand in relation to others.

When are we being responsible marketers and when are we crossing a line and becoming a personal space invader? How do we set boundaries with ourselves? How do we set boundaries with friends and loved ones who can’t see that writing is working not goofing off?

How do we set boundaries with personal space invaders who want to use our Facebook page to advertise their books? How do we lovingly confront when people get out of line? The upside of social media is we have more access to friends and loved ones. The downside is that toxic people have unprecedented access to us as well, and that can be a nightmare if we are ill-equipped to deal with these types of individuals.

Writers Don’t Exist in a Vacuum

I know that as The Social Media Jedi, I have often served as the Social Media Dear Abby. It is tough to know where we stand and what to confront in the Digital Age. In a world without borders, how do we set boundaries?

I try to be very transparent with you guys and I will admit that I struggled with anger for a long time. I finally realized what the problem was. Yes, I am generally a happy-go-lucky-gal who laughs and smiles all the time, but I wasn’t setting boundaries. When people crossed a line, I told myself and them it was okay when it wasn’t. I wasn’t confronting in love early, so by the time I did confront, I was seeing red. What should have been a “gentle but stern talking to” quickly devolved into a thermonuclear strike followed by salted earth and a curse of seven plagues.

Many of you might fall into the same trap. You are nice, nice, nice, gentle, nice, nice, not-so-gentle, then BOOOOOOM!!!! *screams*

A Solution

Anyway, I finally realized what was going on and found some helpful tools to handle this growing problem. In the Digital Age, we need to master loving confrontation and the art of setting boundaries. I know we all grew up in a world with clear borders and expectations, but that world is buried under a pile of digital rubble and we need to take up the torch.

I go out of my way to help writers in every area of life, so I’m offering a new class I am calling Good Fences–The Writer’s Guide to Setting Boundaries. I have priced this at only $15 because I hope this class will bless you with better relationships, productivity, and peace of mind.

So what are your difficulties? Where do you struggle with setting boundaries? Does your spouse or family refuse to respect your writing time? Do you have a hard time getting off social media? Do you have tips for keeping boundaries with yourself and others? Do you ignore the news and only pay attention to what you hear from friends and family? Or can you keep up with all of it>

I love hearing from you!

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

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

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

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

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 . And both are recommended by the hottest agents and biggest authors in the biz. My methods teach you how to make building your author platform FUN. Build a platform and still have time left to write great books.

Structure Part 6–Getting Primal & Staying Simple

Image courtesy of Jami Gold WANA Commons

Sorry for the delay in posting. Busier than a one-legged man at a butt-kickin’ contest today. Some cool announcements, though. I am teaching a fun class called ACHOO! The Writer’s Guide to Going Viral and it’s only $25. Also have a really cool Facebook class coming up taught by FB expert Lisa Hall-Wilson, which I actually will be attending because I know that there is probably a lot about Facebook even I don’t know. Need to keep my Social Media Jedi status and all. So I hope you’ll join me. And if, after all this plot stuff we’ve been talking about, you STILL feel like your head is about to explode? I recommend Jami Gold’s Plotting for Pantsers class.

Anyway, back to structure, since that’s why y’all are here. Or it’s a condition of your parole *shrugs*

Okay, so if you have read all the blogs in this series, you should understand what makes a scene vs. a sequel, understand the three-act dramatic structure. You also understand that the antagonist—or Big Boss Troublemaker—is the engine of your story. Without the BBT, your protagonist’s world would remain unchanged. The BBT’s agenda drives the story. It is the engine. No engine, no forward motion. By this point, you should be able to decipher a good idea from a not-so-good idea and then, once decided, state what your book is about in ONE sentence. You can have up to three, but let’s shoot for one.

Welcome to part SIX of my series on novel structure–whoo-hoo! Today we are going to discuss gimmick versus fundamentals of a good story.

First, gimmick. Here is the thing. There are only so many plots. DO NOT try to get creative with plot. Everything has been done. Seriously. Remember Part One of this series? There are only so many elements on the Periodic Table, yet everything in the universe is made up of some combination of these elements. Think of core plots like the elements on the Periodic Table.

Many new writers make writing a novel way too hard in that they try to reinvent the wheel. The wheel works. Leave the wheel alone. You do not have to revinvent plot as we understand it to tell a darn good story.

I find a lot of new writers get really excited about gimmick. Gimmick is dangerous, and gimmicks can bite back. Don’t believe me? Okay…M. Night Shyamalan. He got us with The Sixth Sense, but after that? It was over. Why? Because the “magic” only worked with a naïve audience. After The Sixth Sense we were like CSI Vegas with every Shyamalan story. Short of using a swab kit and blacklight, we paid attention to every last little detail trying to figure out the twist ending.

This also limited Shyamalan in that he was doomed if he did and doomed if he didn’t. If he told a story with a twist ending, then the audience (no longer naïve) was looking for the clues, so no ending could possibly measure up to The Sixth Sense. But, if Shyamalan tried to do a movie with no twist and do something different, then the audience was ticked because there was no twist.

Shyamalan, in my opinion, is a victim of his own brilliance, and I can see how The Sixth Sense really put him in a bind…because it worked so well. Most of the time gimmicks suck, but even when they are really good…they still suck. So avoid gimmick and just focus on becoming a darn good storyteller.

Anyway, back to my original point.  There are only so many plots, so don’t try to be cute and clever and unique because it is unlikely you will discover a “new element.” Go ahead and try. I guarantee you that one of two things will happen.

One is that you will think you have this new plot no one has ever seen. All excited, you will posit this new-and-shiny-never-before-imagined-idea to your fellow writing friends, and one of them (I promise) will go, “Oh, yeah. That’s like the movie Blah.” And then you are required to drink heavily and cry and wonder why you were doomed to be born a writer. The other end-scenario is that you get so weird that you barely understand your own story, and the poor the reader will need a Dungeon Master Guide and a sherpa to navigate your plot.

So, remember. Pizza has rules. Plot has rules. Can’t get too weird. If you still want to invent the plot never seen before? Have fun storming the castle *waves and smiles*.

Moving on…

Plots, at the very core, are usually simple. Why? The plot is the foundation. Now what you construct on top of that foundation can be super-complex. Note I wrote complex NOT complicated.  Even the most complex stories can be boiled down to very simple goals. J.R.R. Tolkein’s Lord of the Rings, George R.R. Martin’s Song of Ice and Fire, James Clavell’s Shogun, and MacMurtry’s epic Lonesome Dove all have very simple forces driving very complex and dynamic stories.  Good versus evil. Struggle for power, for survival, for love. Very simple. As Blake Snyder says in his book Save the Cat: Is it primal? Would a caveman understand the core of your story?

Good storytellers connect with the audience on a basic level. So when you whittle down that idea or novel into a one-sentence log-line, step back and be honest. Does your story hinge on primal drives like survival, hunger, sex, protection of loved ones, or fear of death? Does it have physical and or emotional stakes? Your story might seem complex, but at the core it should be very basic and connect at a visceral level.

People in China LOVED Titanic.Why? Because it is a love story. Love is basic. It is primal.

In the upcoming weeks we are going to discuss various methods of plotting, but before you start any novel, there are some fundamental questions we can use as a litmus test for our idea. Ask yourself:

Do I have a sympathetic protagonist? 

Notice I said sympathetic…not likable. Be careful here. If we are expecting readers to spend 10 hours (average time to read a novel) with our protagonist, it helps if they are rooting for him to win. If you have a rough protagonist, then you need to at least offer the reader a glimmer of hope that he can be redeemed. If he can’t be redeemed, then you must offer the reader something about your protagonist that puts the reader on his side.

For instance, Quentin Tarantino knew he had a potential problem in Pulp Fiction. His protagonists (Travolta & Jackson) happen to be a two hit men and human beings of the lowest sort. Tarantino was brilliant in how he handled introducing Vincent Vega and Jules Winnfield. First, he makes them funny. They stop for a burger before the hit and get into this funny dialogue about the Big Mac vs. The Royale.

So we find them funny and we relate. But then Tarantino takes it another step and makes the bad guy badder than these two hit men so that the audience will side with the lesser of two evils. When viewed “in relation” these guys are clear heroes. They are still deplorable, but they are sympathetic.

Do I have a genuine GOAL for my protagonist?

A lot of first-time novelists get fascinated writing novels about journals, letters and buried secrets. I have a theory about this. It is called, “We-Are-Squeaky-New-and-Don’t-Know-Jack-About-How-to-Plot Syndrome.” Guess how I know this? Yes, I was visited by the Bright Idea Fairy too. Shoot her. Now. Double-tap. It’s for the best.

Novels that involve a journal or finding about a secret past usually involve the newbie author’s favorite tactic…the flashback. Since we have no big goal at the end, forward momentum is scary, so we roll back…and this makes the reader feel as if she is trapped in the car with a teenager learning to drive a stick-shift.

Journals and letters, in my opinion, are so attractive because they provide the unskilled author a contrived mechanism for stringing together unrelated vignettes. That is not a plot. Sorry. I was bummed too. That is okay, though. Everyone starts somewhere. I’m here to help .

Yes, you can use journals in your story, but seriously? How many best-selling novels have you seen that involve someone reading a journal? Things written in journals are in the past, which means they have already happened and the world didn’t end so who cares? It becomes a Watch out for that glacier! No rising stakes and no pressing danger. Watch out for the glacier! It’s moving at an inch a year, but watch out!

Conflict drives stories. My best advice? Journals are for self-actualization. Leave self-actualization for therapy. Want a gut-wrenching plot? Stick to the lower levels of Maslow’s hierarchy .

Stories can have a journal/letters, but they MUST ALSO have a main conflict and the journal/letters are merely a tool that drives the present conflict…which is your plot. The journal isn’t the plot. Neither are the letters.

Sisterhood of the Traveling Pants had conflict happening real-time. Yes, the novel contained each girl’s experience with the pants, but each girl’s story was a separate plot joined in one large plot and happening real-time. Each girl was facing a different challenge and had to mature in a different way, but the group of girls (the group is actually the protagonist) had to learn to mature while finding a way to hold on to childhood friendship.

Same with The Divine Secrets of the Ya-Ya-Sisterhood. The Ya-Ya Journal was critical for the daughter and mother (present-day) to repair the rift in their relationship. So there was a present-day problem that the journal solved, and basically you have a Fried Green Tomatoes. Two parallel plot lines and the present-day plot relies on past-time events to drive forward momentum in the present.

Nicholas Sparks’ The Notebook was the same thing. Two parallel love stories, but both had a plot arc. The love story told in the notebook drives the present-day love story in the nursing home.

Same with secrets. The secret must have something to do with the present-day story or it is just a contrivance. The secret can be a part of the story, but generally doesn’t work as the entire story. Linda Castillo executes this brilliantly in her novel Sworn to Silence. Chief of Police, Kate Burkholder, grew up Amish, but made a choice to live in the world with the English. She is the Chief of Police in a small Ohio community of both Amish and English, and she acts as a cultural bridge. When a serial killer begins butchering women, Kate leads the investigation, but a secret from her past holds clues to catching the present-day killer. Kate’s secret drives the forward momentum of the present-day plot, and adds mind-bending tension.

Is my story primal?

Beneath the empires and spaceships and unicorns, is your main plot driven by a basic human desire/need? Here is a list of some best-selling novels to illustrate my point.

Michael Crichton’s Prey—Survival. Save/protect loved ones.

Michael Crichton’s Jurassic Park—Don’t get eaten. Protect loved ones.

Lee Child’s Killing Floor—Vengeance. Protect loved ones.

Suzanne Collins Hunger Games—Don’t die. Survive. Protect loved ones.

Cormac McCarthy The Road—Survive. Protect loved ones.

Linda Castillo Sworn to Silence—Fear of death. Survive. Protect loved ones.

Jennifer Chiaverini The Aloha Quilt—Love. Sex. Protect loved ones. Survival.

Bob Mayer & Jennifer Crusie’s Wild Ride—Sex. Protect loved ones. Survival.

Dennis Lehane’s Shutter Island—Survival. Vengeance. Protect loved ones.

Stephenie MeyerTwilight—Sex. Protect loved ones. Don’t get eaten.

Dennis Lehane’s Mystic River—Vengeance.

Okay, so as you can see, I read a lot of genres. But most great books can be boiled down to a very simple driving force. New writers very frequently rush into the writing with no idea of the story they are trying to tell. I know. I’ve been there. And since deep-down we know we do not have a core goal that is simple and primal, we try to compensate by making things more and more complicated.

That’s why so many writers have a panic attack about the agent pitch session. We are forced to boil down our plot to the primal core…and we can’t because there isn’t one. So we ramble and blather and try to fit 400 pages of world-building complications into our pitch while trying not to throw up in our shoes (Been there. Done that. Got the T-Shirt).

Being complicated is like trying to use Bond-O putty to fix your plot. Won’t work. Strip that baby down and look at the bare bones. Simple. Primal. This is why gimmicks are a sticky wicket. Gimmicks make stories complicated instead of complex. Stay away.

Remember that there are no new plots. So why not take a story you really love, look at the plot, then make it your own? The award-winning novel A Thousand Acres is King Lear on an Iowa farm. In my pov, Twilight is Jane Eyre with vampires (and I am not alone in this assessment). Instead of trying to totally revinvent story and plot as we understand it, why not take a book you love so much the pages are falling out of it, and see if you can use the premise in a new and exciting way?

Utilizing another author’s plot is not plagiarism. It’s smart. Remember…the number of plots is finite. I think this is where a lot of writers get stuck. Heck, I did! We believe we have to come up with a story never told before or risk being accused of plagiarism. Not so.

Plagiarism is when someone takes the execution of another author’s plot and tries to hide that by only changing surface elements. So if I wrote a book called Evening about girl who moves from Texas to Northern California to fall in love with a vampire who merely glimmers in sunlight…. See the point? Actually, a great way to come up with story ideas is to go to the IMDB and look at log-lines, then ask yourself how could you tell that story differently? (Cool tactic I learned from the awesome Bob Mayer ).

A timid romance author must travel to South America and join forces with a handsome opportunist to rescue her sister who’s been kidnapped by treasure-hunting thieves. (Romancing the Stone).

A shy librarian must travel to South Texas and join forces with a handsome biker to rescue her brother who has been kidnapped by desperate drug-dealers. (Kristen’s Made-Up Story).

See how you can take a story that has already been done and make it something amazing and new?

So what are some problems you guys are facing when it comes to plot? Do you have any resources to share? Have I scared the socks off you or offered you new inspiration? Share. I love hearing from you guys. Lets me know I haven’t given you a massive coronary and killed you off, . I appreciate your loyalty to this series.

I love hearing from you!

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

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

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

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

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 . And both are recommended by the hottest agents and biggest authors in the biz. My methods teach you how to make building your author platform FUN. Build a platform and still have time left to write great books.

ADD, Word Count & Why Dead Bodies are Good for the Living

In this paradigm, social media is—OOH! SQUIRREL!!!!

Today, I want to talk about something that is vital to success. REST. In Western society, we have this warped sense that we need to be productive 24/7. In fact, one of the biggest challenges I face as the Social Media Jedi is that writers believe that, if they are having fun on social media, then they must be doing it incorrectly. They mistakenly believe that all that time chatting about life, hobbies and family is somehow not as good as “marketing” their book and blitzing out non-stop promotion, yet nothing could be farther from the truth.

Contrary to what one might think, that “fun time” on social media will actually create the most resilient parts of our platform—relationships. When people connect with us emotionally, they bond and they become part of our “tribe.” These more primal instincts are what will create long-lasting love, loyalty and passion for our brand.

But writers believe if it is fun, then it mustn’t be work.

As a craft teacher, I run into the same issue in a slightly different form. I can tell in two pages if a writer reads a lot of fiction. It is simply shocking how many people want to write a book, but then they believe that reading fiction (or watching movies) is a waste of time. Everything becomes about pounding out more word count and the quality of the stories suffers.

I run into many writers who are so fried and burned out working on their novel that they can’t remember the last time they had a creative thought. Yet, when I suggest resting, reading a book or watching a movie, I might as well have handed them a crack pipe.

What? READ? Who has TIME?

I must confess that I suffer from the same problem. I work and work and work until I am ready to drop when the best thing I could do for my creativity and productivity is to STOP. I believe a lot of this goes back to my childhood, and is also a product of Western thought and culture.

History and Some Armchair Shrink Time

If you study the Industrial Revolution, you will see that the formation of public schools went hand in hand with industrialization. Schools were charged with creating a literate population, sure. But one of the main reasons so many philanthropists like Vanderbilt, Carnegie and Rockefeller supported schools was that schools were there to train the workforce of the future.

Schools teach us to sit still hours at a time, take instructions, and not to question authority. We learn early on that creativity is punished and conformity is rewarded. I was constantly in trouble in school because I never could work linearly. Sitting still? Fuggetaboutit.

They were constantly claiming that I had a hard time focu—OOH SQUIRREL!!!

Where was I?

Oh, yes…

I remember one time the teacher assigned a complicated maze. I started from the end and worked to the beginning, solving the maze without hitting any dead ends. She gave me an F. Why? The goal of the maze was to solve the maze, right? Why did she care HOW I got the answer so long as I did it myself and didn’t cheat?

But she did care. Yeah, Mrs. Foster kinda hated me. I spent most of my third grade year sitting in the hall. Fun times .

I was constantly in trouble for how I looked at life, that I didn’t do it like everyone else and so every report card was marked with: DOESN’T USE TIME WISELY.

Of course, looking back, I was a creative personality, with probably a touch of ADD. We live in a world that punishes those of us who don’t do it the way the manual states, and this can really affect our relationship with time. Creative people, when we walk barefoot in grass or watch cartoons or look at pictures on Pinterest, we ARE working. We can’t help it. We are always creating, but we live in a world that has told us that, because our “work” can’t be measured with “metrics” (I.e. word count) then it must be goofing off.

It isn’t. Learn to ignore those voices.

Back to the dead bodies. Kristen, what is with you? More zombie stuff?

No.

Those of you who follow me on Facebook or Twitter know that I regularly do Bikram yoga, which is 90 minutes and 26 postures in a room that is around 110-112 degrees. It is fabulous for detox, for the joints and the back, and the heat gives an amazing cardio workout and helps prevent injury because warm muscles are pliable muscles.

Anyway, there is a pose called savasana, or Dead Body Pose (or Corpse Pose). When I first started doing Bikram yoga, my biggest challenge wasn’t the poses or even the heat. It was sitting still (and shutting up for 90 minutes, but that is another blog). Seriously, I could not sit still.

I felt too guilty.

I ran through my grocery list. I thought about plot points. I went over research. But just being still and relaxing was making me twitch. The second half of the class was really tough, namely because every pose had a 20 second savasana after it. Pose, then dead body, pose, then dead body. You got it.

THE GUILT!

Please, let me at least take my iPhone in here. Then I can play Angry Birds and improve my eye hand coordination. SOMETHING!

All I could think of was the words of my third grade teacher, Kristen just doesn’t use her time wisely.

*twitch, twitch, twitch*

No matter how hard I tried I had a hard time resting. But then a weird thing happened. I decided to do the Bikram Yoga 60 Day challenge. 60 days of Bikram in 60 days. I happened to notice that I did great in every class but one. There was one instructor I HATED.

I didn’t hate her, just her class. She was a sweet, sweet lady, and I couldn’t understand it, but, every time I took her class, I felt like CRAP. I kept having to sit down. I didn’t have energy. I felt sick, winded, drained and this didn’t make any sense to me because every instructor says the exact same words. They have a 90 minute script that guides the class through the pose. It shouldn’t have been different. Same script, same poses, same room.

I could NOT figure out what was going on.

I drank more water. I took extra electrolytes. I thought maybe it was because she taught in the evening, so I took her in the morning to see if I could make it through. Nope. Still tanked. I thought back to childhood and wondered if it had to do with some unresolved Mommy issues I hadn’t located. Maybe my lack of energy was passive aggression on my part to sabotage her class (Hey, I’m a writer. We over-analyze everything).

No matter what I tried, nothing helped. And I wasn’t the only one who was struggling. I noticed other people in the class having to sit out or rest, because they couldn’t keep going, people who normally were fine.

WTH was going on?

Then, one day while in this instructor’s class, it hit me what was going wrong. In the second part of the class you are supposed to do a pose. This is an extreme exertion of energy. After the pose, you are to lie still in savasana, like a dead body (hence the name). Not only are you supposed to lie still like a dead body, but you are to lie there for TWENTY seconds. Yet, this instructor was rushing. She was only leaving us there for SIX seconds. We didn’t have enough time to rest and recharge, and it was drastically affecting every pose we did.

This was a powerful lesson for me. FOURTEEN seconds. What difference did FOURTEEN seconds make? It made a world of difference. Instead of having energy and doing every pose with confidence and ease, I felt like I was going to vomit and had to keep lying down. I LOST MORE TIME BY NOT TAKING TIME.

How many minutes of the workout did I lose because of those missing fourteen seconds?

How much of your productive time are you losing because you won’t take a day or two days to rest?

Dead bodies are good for us. Lie still. Do nothing. Dead bodies don’t have grocery lists and kids and deadlines and day jobs. We must have balance, Yin and Yang, light and dark, cookie and cream filling. The Force must be strong with you so chill the heck OUT!

I know many of you likely have a Mrs. Foster in your head telling you that you aren’t using time wisely. Ignore her and don’t feed her your attention and energy. Things we don’t feed eventually die, even the sour-faced elementary school teacher trapped in your head.

When we rest and recharge our work is better and clearer. Creativity is like a battery and it runs out of juice. Recharge that imagination. Play, relax, go to the park, finger paint, play Twister with your kids. Laugh. The world needs creative people to keep its humanity. If all of us are just efficient little workers then Skynet wins.

So go enjoy your weekend…after you comment. I will be grading, and those of you who don’t leave a comment are not using your time wisely. SLACKER!

So do you have a Mrs.Foster trapped in your head? Were you in trouble for not sitting still and for failing to use time wisely? So you have trouble resting? Have you overcome being a workaholic and have tips to share? Do you—OOH! SHINY!

I LOVE hearing from you!

Quick Announcement—I have a cool new class I am offering ACHOO! The Writer’s Guide to Going Viral. Also check out the new classes at WANA International. We have classes about global domination using Facebook, how to turn your book into an audio book, how to build a WordPress site of your own. Tons of cool stuff taught by WANA instructors hand-picked by ME (but please do not hold this against them ).

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

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

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

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

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 . And both are recommended by the hottest agents and biggest authors in the biz. My methods teach you how to make building your author platform FUN. Build a platform and still have time left to write great books.

Selling Our Books on Social Media–Don’t Be a Personal Space Invader

Photo courtesy of Lynn Kelley WANA Commons

For those of you who’ve been following me for a while, you know that my methods are very different, and my advice often runs contrary to what other experts are saying. Well, that’s because I’m right and they’re wrong . Joking! Okay, maybe only halfheartedly.

There are a handful of common practices encouraged by other social media experts that bother me deeply. I feel that, as we shift from the TV-Industrial complex of the past century and into the Digital Age, we are becoming more of a global village. Information no longer runs one direction, from sender to receiver. Why? Because the medium has changed. The medium always affects communication, and yet too many teachings out there are failing to account for this shift.

I Heard You the First 20 Times

Recently, another social media expert wrote a blog about the value of repetition on social media. I respectfully disagree. I feel that the paradigm has shifted and so has the medium. As the medium changed, society, culture and values shifted as well.

For instance, we never had America + Television. Once television became a part of our everyday life, America was different. It could not go back to the way it was before television. The change was like a chemical change, a cake that could not be un-baked. The culture changed. Our habits, language, expectations and definitions of “truth” all shifted.

Same with social media.

In the traditional paradigm, “air space” cost money. To put out an ad, a commercial spot on television or even an ad on radio cost money. Even printing off flyers and paying someone to stuff paper under windshield wipers cost money. This “cost barrier” was a sort of gatekeeper that naturally decreased the number of people who would be “advertising” their products.

Then came the Internet and social media.

Now it is FREE! for everyone to talk about goods and services non-stop. The sheer volume of people all pitching their services renders them invisible at best and highly annoying at worst. There is a lot about the new publishing paradigm that I love, but it also has created some serious problems. Now that everyone can be published, we are inundated with constant pitching to buy books or download free books or read reviews for books.

I do not believe in repetition for the sale. Why? Because it stands out so much and people often are offended. Posting multiple times a day about our book for sale is like us going to a cocktail party and opening a card table to take book orders. The medium has changed and so have the rules.

Yes, it is important to let people know we have a book to offer, but how we do that has changed.

In the TV-Industrial complex, people merely received information. There was no dialogue, so no social rules applied. We didn’t take offense when we saw a commercial on TV…but the TV wasn’t our “friend.”

Language Matters

In the Golden Age of TV and Advertising, we accepted that commercials were just part of having entertainment on television. We didn’t “own” any of that airspace, so we willingly acquiesced. Social media changed this dynamic, and, for the first time in human history, the Internet gave us virtual territory.

Tom Anderson was highly intuitive when he called his new social network (2003) MYSPACE. Humans are territorial. Our Facebook wall is literally OUR WALL. When strangers post ads in “our space” it is irritating and personal.

Don’t be a personal space invader.

“Careful, Jim. I think it has a book for sale.”

We cannot get the benefits of social norms unless we respect social norms. On social media, we use terms like “friend” and “Likes.” To humans, these words have meaning, whether we consciously acknowledge this or not. When I “befriend” someone on Twitter and they immediately DM me with a spammy message to buy their book? I am offended.

Why?

Because social norms regulate social media. Fail to appreciate this and there are consequences.

Social norms don’t mean we are against buying stuff from “friends,” but it does mean we are part of a social dance that we are wise to respect. For instance, how many of you have kids? How many of you have had your kids come home with boxes of candy to sell for school? Who did you go to first to offload overpriced crappy candy? Family. Then friends. Then probably some coworkers.

Why?

Because no one wants to go door-to-door selling anything, let alone $4 stale candy bars.

But see how the social norms guided who you would ask, and in what order, and even how you would ask for a sale? Many of those closer relationships are happy to buy overpriced candy, but only because they know you.

Let’s look at this scenario instead.

What if I complimented a woman in the grocery store, then got her chatting about the items in her basket and what she was cooking for dinner? At first she is hesitant but as we chat she lets down her guard and talks about her cat Muffin, and how she likes to bake cookies for the church. And just about the time she is comfortable talking to me, I ask, “Wow, if your church likes cookies, they would LOVE chocolate bars. Would you like to buy some candy?”

Yeah. I bet she couldn’t get to her wallet the door fast enough.

What To Do?

All right. Some of you might be panicking a little right now. But Kristen, how can we ever sell our book if we can’t TALK about it? I never said we couldn’t talk about our books. I said we had to adjust our approach. Sure, tweet about your book once, MAYBE twice a day. But, make sure to sandwich those tweets between a lot of authentic interaction. It should be clear to anyone looking at our interaction history that we are on social media primarily for the purpose of being social, NOT using Twitter of Facebook as free ad space.

We just need to apply the Golden Rule here.

Don’t just blast out a bunch of links all day. Are you lacking for stuff to read? I know I’m not. How many of you woke up this morning and said, “Gee, you know what I need? MORE information. I don’t have enough. In fact, I have far too much free time I need to fill.”

Most people are on social media because humans are wired to be social. We are looking for connections, not another news feed with commercial breaks. If we wanted that, we’d just watch TV.

Interruption Marketing DOESN’T Work

When was the last time a writer tweeted several times a day about her book and that prompted you to drop everything and go buy? When was the last time you clicked on a Facebook ad to buy something? If ads on social media were so great, then why did General Motors pull their campaign with Facebook?

One of the reasons I encourage writers to blog is that a blog is very useful for passive selling. Every one of you who follow this blog know about my two books even though I have never tweeted about them and never posted about them on Facebook.

How is this?

I serve first with a blog and then, at the end of my post, I mention my books or any WANA International classes that might be of interest. So I am promoting my books and classes, thousands of times a day if we look at my unique visits…but I am not doing so intrusively. Most of you are not offended that I mention my books, namely because I gave freely, and thus reciprocation on your part feels natural. You don’t feel like I am ramming book ads down your throat.

No one likes a personal space invader.

My attitude is that some of you will read, click and even buy, but those not interested can simply scan past the information. You might not buy one of my books today, but you know about them. So when the day comes that you decide you need to blog, my book will be in your mental databanks.

Since you have come to my corner of cyberspace it doesn’t feel invasive when I mention my books and classes, because I mention them in MY space, not YOURS.

Selling this way has an additional benefit. It makes it easier and less icky for others to support us.

For instance, when I helped NYTBSA James Rollins with his book launch in the summer, I encouraged him to blog about his work with war dogs (since his new character was a war dog). People, intrigued by the topic, would click the link, read the blog, interact…and see that there was a new book for sale. The book was there, the information was there, but the approach was different. It wasn’t intrusive like a commercial, a pop-up ad, or a repetitive sales tweet.

Jim gave first.

As I mentioned, this passive approach made promoting Jim far less icky for those of use supporting him. Hey, let’s all talk about dogs and swap pet stories! is way easier for the support team to get excited about. We much prefer this to, “Download Such-and-Such’s book. Now only $4.99!” We don’t want to tweet that about our own book, let alone someone else’s (yes, even Jim).

Serving first and promoting in a socially appropriate way is much more effective in an environment governed by social norms. It allows us to achieve our goals while respecting the virtual space of others.

What are your social media pet peeves? Do you see red when people post ads on your walls? Or does it not bother you? Do you buy books from people who promote a lot on Twitter? Or do you not see the tweets? Do they irritate you or make you unfollow? What are some of the areas where you see the most personal space invasion?

A quick announcement: WANA International is offering a class for creating your novel’s log-line. This is perfect for those of you panicked about pitching your book to agents. Solid log-lines are VERY helpful to keep you on track for NaNoWriMo. Down with plot bunnies! WANA also has classes about how to turn your books into audio, how to build your own web site. Lots of good stuff, so, if you have a moment, check out the new class listing.

I LOVE hearing from you!

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

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

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

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

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 . And both are recommended by the hottest agents and biggest authors in the biz. My methods teach you how to make building your author platform FUN. Build a platform and still have time left to write great books.

Structure Part 5–Keeping Focused & Nailing the Pitch–Understand Your “Seed Idea”

Photo courtesy of JM Powers WANA Commons

Welcome to the 5th installation on the topic of structure. As an editor for years, I consider myself somewhat of an expert in spotting and fixing structural problems. Sadly, over the course of doing this many years, I have run into far too many novels that had plot problems that ran so deeply there was no saving the manuscript. Like a building with massive structural flaws, the best course of action was simply implosion. Rebuild. Start from scratch.

I used to try to teach from the perspective of an editor, but I found that my thinking was flawed. Why? Because editors are like building inspectors. We have skills best used on a finished product. We are trained to look for problems. Is that a good skill? Sure. But do building inspectors design buildings? No. Architects do. Architects employ creativity and vision to create a final structure. Hopefully, they will have the necessary skills to create and design a structure that will meet code standards.

Creativity and vision are not enough. Architects need to learn mathematics and physics. They need to understand that a picture window might be real pretty, but if they put that sucker in a load-bearing wall, they won’t pass inspection and that they even risk a fatal collapse.

Aestheticism must align with pragmatism.

This made me step back and learn to become an architect. When it comes to plotting, I hope to teach you guys how to have the creative vision of the designer, but with the practical understanding of an inspector.

In Lesson One, we discussed plot on a micro-scale. Lesson Two we panned back for an aerial shot, and discussed common plot problems that arise from a flawed structure. In Lesson Three we discussed the single most important component to plot, the opposition, and last week I gave you a tested method to make sure your core idea was solid enough to be the foundation for an entire novel.

Today, I’m going to show you how to construct your novel’s core—the log-line. I learned this tactic from NY Times Best-Selling Author Bob Mayer. If you can ever get the opportunity to take his novel writing workshop, please do. It will change your entire career.

So what’s this log-line thingy?

Basically, you should be able to tell someone (an agent) what your story is about in one sentence. That is called the “log-line.” Log-lines are used in Hollywood to pitch movies.  In fact, a book that should be in every writer’s library is Save the Cat by Blake Snyder. It’s a book on screenwriting, but every writer can benefit enormously from Snyder’s teaching.

In the world of screenwriting there is a tenet, “Give me the same, but different.” This axiom still holds true when it comes to novels. Our story cannot go so far off the deep end that readers cannot relate, but yet our story needs to be different enough that people don’t just think it’s a retread. We as writers have to negotiate this fine balance of same but different, and that is no easy task.

So let’s look at components of a great log-line:

Great log-lines are short and clear. I cannot tell you how many writers I talk to and I ask, “So what’s your book about?” and they take off rambling for the next ten minutes. Often why writers are so terrified of the pitch session is that they cannot clearly state what their book is about in three sentences or less.

Here is a little insider information. When we cannot whittle our entire story into three sentences that is a clear sign to agents and editors that our story is structurally flawed. Not always, but more often than not. Your goal should be ONE sentence. What is your story about?

A good log-line is ironic. Irony gets attention and hooks interest. Here’s an example:

The Green Mile  is about the lives of guards on death row leading up to the execution of a black man accused of rape and child murder who has the power of faith healing.

What can be more ironic than a murderer having the power of  healing? Think of the complex emotions that one sentence evokes, the moral complications that we just know are going to blossom out of the “seed idea.”

A good log-line is emotionally intriguing.

A good log-line tells the entire story. Like a movie, you can almost see the entire story play out in your head.

During a preview tour, a theme park suffers a major power breakdown that allows its cloned dinosaur exhibits to run amok.

Didn’t you just see the entire movie play out in your head with that ONE sentence? Apparently Steven Spielberg did, too and that’s why he took Michael Crichton’s novel Jurassic Park and made it into a blockbuster movie.

A good log-line will interest potential readers.

Good log-lines exude inherent conflict. Conflict is interesting. Blake Snyder talks about taking his log-line with him to Starbucks and asking strangers what they thought about his idea. This is a great exercise for your novel. Pitch to friends, family, and even total strangers and watch their reaction. Did their eyes glaze over? Did the smile seem polite or forced? If you can boil your book down into one sentence that generates excitement for the regular person, then you know you are on a solid path for your novel.

Yet, if your potential audience looks confused or bored or lost, then you know it is time to go back to the drawing board. But the good news is this; you just have to fix ONE sentence. You don’t have to go rewrite, revise a novel that is confusing, convoluted, boring, arcane, ridiculous, etc.

Think of your one sentence as your scale-model or your prototype. If the prototype doesn’t generate excitement and interest, it is unlikely the real thing will succeed. So revise the prototype until you find something that gets the future audience genuinely excited.

You Have Your Log-Line. Now What?

Your log-line is the core idea of your story. This will be the beacon of light in the darkness so you always know where the shore is versus the open sea. This sentence will keep you grounded in the original story you wanted to tell and keep you from prancing down bunny trails.

Bob Mayer taught me this tactic years ago and it WORKS. Back when I ran a novel writing critique group, every participant was required to tell what their story was about in ONE sentence before we ever started plotting. If the writer wandered too far off track, then we as his teammates knew to do one of two things. 1) Assist the writer in changing the plot to get him back on track. Remember the core idea. Or 2) Change the original idea.

The Fear Factor

Fear is probably the most common emotion shared by writers. The newer we are the more fear we will feel. A side-effect of fear is to emotionally distance from the source of our discomfort. The log-line will help you spot that emotional distancing and root it out early.

I have seen two behaviors in all my time working with writers. Either a writer will wander off down the daffodil trail because he is afraid he lacks the skills to tell the story laid out in the log-line, OR the writer will water down the log-line to begin with. Through future plotting the writer will realize hidden strength…then he can go revise the plotting or revise the log-line.

The best way to learn how to write log-lines is to go look at the IMDB. Look up your favorite movies and see how they are described. You can even look up movies that bombed and very often see the log-line was weak and the movie was doomed from the start. Look up movies similar to the story you are writing.  Look up movies similar to the story you want to tell.

Solid novel log-lines will have 1) your protagonist 2) active verb 3) active goal 4) antagonist 5) stakes.

Here is a log-line I wrote for Michael Crichton’s Prey.

An out-of-work computer programmer (protagonist) must uncover (active verb) the secrets his wife is keeping in order to destroy (active goal) the nano-robotic threat (antagonist) to human-kind’s existence (stakes).

Hopefully you can see how this log-line meets all the criteria I set out earlier.

This log-line is ironic. An out-of-work programmer will uncover the robotic threat.

It’s emotionally intriguing. The main gatekeeper to the problem is his wife. This spells logistical and emotional complication to me.

It will interest potential readers. Considering it was a best-seller, I think Crichton did well.

So here is an exercise. See if you can state your novel in one sentence. It will not only help add clarity to your writing and keep you on track, but when it comes time to pitch an agent, you will be well-prepared and ready to knock it out of the park. Practice on your favorite movies and books. Work those log-line muscles! If you want more help and need guidance with your log-line, you happen to be in luck. WANA International’s talented Marcy Kennedy will be teaching Story in a Sentence–Creating Your Log-Line.

Marcy will walk you through how to write a great log-line and then help you shape and hone your own so you will be agent ready. This is a WONDERFUL class to take for those of you who are going to do NaNoWriMo. A log-line will help you stay on track and lay the bones for that 50K words to one day be a successful novel. Marcy’s class is only $40, and the time she will save you in revisions will be priceless.

So, what are some problems you might be having? Do you find you wander too far off your original idea? What are your struggles with remaining focused?

I LOVE hearing from you!

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

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

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

Winner from September of 20 page critique is Sharon Leigh Hughson. Please send your 5000 word Word document to kristen at WANA intl don com.

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

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 . And both are recommended by the hottest agents and biggest authors in the biz. My methods teach you how to make building your author platform FUN. Build a platform and still have time left to write great books.

Structure Part 4–Testing Your Idea–Is it Strong Enough to Make an Interesting Novel?

A Tail of Two Star-Crossed Lovers

I’ve been battling a cold this week, so I am just going to go ahead an post the next lesson on structure and will announce September’s winner on Monday. Trust me, you don’t want me tallying with a NyQuil hangover. Anyway, for the past couple weeks, we have been discussing story structure. I like to run this series around NaNoWriMo to get you guys prepared. There is no sense in knocking out 50,000 words, if, at the end, we have an un-fixable mess. This series is designed to help make sure at least the bones of your story are sound.

Part I of this series introduced the novel on a micro-scale. Part II explored the big picture and offered an overview of common plot problems. Part III introduced the most critical element to any novel, the BBT (Big Boss Troublemaker). Each of these blogs builds upon the previous lesson, so if you are new, I recommend reading the earlier blogs.

I bring the best teaching in the industry right to your computer in an easy-to-digest form to make you a great storyteller. Whether we are traditionally published, indie published or self-published, we must connect with readers and tell a great story. Structure is the “delivery system” for our story, so it’s wise to make it as solid as possible.

Welcome to Part IV of my Structure Series—Testing the Idea

I assume that most of you reading this aspire to be great novelists. Novels are only one form of writing and, truth be told, they aren’t for everyone. Stringing together 60-100,000 words and keeping conflict on every page while delivering a story that makes sense on an intuitive level to the reader is no easy task. That said, all novels begin with an idea. But how do we know if our idea has what it takes to make a great novel?

Many new writers start out with nothing more than a mental snippet, a flash of a scene or a nugget of an idea, and then they take off writing in hopes that seed will germinate into a cohesive novel. Yeah…um, no. Not all ideas are strong enough to sustain 60,000 or more words. Think of your core idea as the ground where you will eventually build your structure. Novels, being very large structures, require firm ground. So how do you know if the idea you have is strong enough?

Good question. Today we will discuss the fundamental elements of great novels. If your core idea can somehow be framed over these parts, you are likely on a good path.

James Scott Bell in his book Plot & Structure (which I highly recommend you buy & read, by the way) employs what he calls the LOCK system. Jim, being the SUPER AWESOME person he is, has granted me permission to talk about some of his methods today.

When you get the first glimmer of the story you long to tell, the idea that is going to keep you going for months of researching, writing, revisions and eventually submissions, it is wise to test its integrity. The LOCK system is one method we will discuss today.

Lead Objective Conflict Knockout… or, LOCK

LEAD

First, we must have a sympathetic and compelling character. It is critical to have a protagonist that the reader will be able to relate to. Our characters must have admirable strengths and relatable weaknesses. Many new writers stray to extremes with protagonists, and offer up characters that are either too perfect or too flawed.

Perfect people are boring and unlikable and they lack any room to grow. Perfect characters are no different. New writers are often insecure and our protagonists are us…well, the perfect version of us anyway. Our heroines are tall and thin and speak ten languages and have genius IQs and rescue kittens in their free time…and no one likes them. Seriously.

Think about it for a moment. Why do so many people demonize women like Angelina Jolie or Martha Stewart? Because most of us feel very insecure around women like these. They show us where we are lacking, and so we don’t like them. Most of us cannot wrap our minds around what it is like to be too beautiful or have zillions of dollars or the free time to carve pumpkins into sculptures while making our own curtains from recycled prom dresses. These individuals fascinate us with their “perfection,” yet we secretly wait for them to trip up so we can revel in their failure–I knew it! She isn’t perfect!

That’s why STAR Magazine can sell hundreds of thousands of tabloids with the promise of showing us that Angelina Jolie has cellulite. We want to tear her down and make her human. Not the best way to start out with your protagonist. If we make her too perfect, readers will revel in her destruction.

Bad juju.

We need readers to rally to her team, to like her and want to cheer for her to the end. How do we do this? Give her flaws, and humanize her. Additionally, if our characters are fully actualized in the beginning, there will be no character arc so our story will be one-dimensional and flat.

Bridget Jones and Forrest Gump are two great examples of great, flawed characters. We can all relate to not being the prettiest or the smartest and so these characters are easy to love and root for. What if you are writing a thriller or a suspense, something that generally has a cast of uber-perfect people? Give them flaws. Perfect characters are passé. Don’t believe me? Watch the new James Bond movies, and contrast Daniel Craig with Roger Moore.

Now, to look at the other side of the spectrum. Often to avoid the cliched “too perfect” character, an author will stray too far to the other end of extremes. The brooding dark protagonist is tough to pull off. In life, we avoid these unpleasant people, so why would we want to dedicate our free time to caring about them? Oh, but the author will often defend, “But he is redeemed in the end.” Yeah, but you’re expecting readers to spend ten hours (average time to read a novel) with someone they don’t like. Tall order.

To quote mega-agent, Donald Maas (The Fire in the Fiction):

Wounded heroes and heroines are easy to overdo. Too much baggage and angst isn’t exactly a party invitation for one’s readers. What’s the best balance? And which comes first, the strength or the humility? It doesn’t matter. What’s important is that one is quickly followed by the other.

In my opinion, this was the single largest problem with the Star Wars prequels. Anakin Skywalker was a little-kid-killer, ergo never redeemable…EVER. He needed to die badly and slowly. Lucas should never have allowed his protagonist to cross that line. Heroes NEVER kill defenseless little kids. It was (my POV) an unforgivable action on the part of the “hero” that cratered the epic.

Objective

Your protagonist MUST have a clear objective. There are many times I go to conferences and I see all these excited writers who are all dying to talk to an agent. When I ask, “So what’s your book about?” I often get something akin to, “Well, there is this girl and she has powers, but she didn’t know she had powers, because, see. Hold on. Okay, her mother was a fairy queen and she fell in love with a werewolf, but werewolves in my book are different. Anyway she has a boyfriend in high school, but he is actually the leader of a group of wizards from another dimension and he is pitted against his inner demons because he lost his father in a battle against shape-shifters….”

Huh? *looks to wine bar in the corner of the room*

Your protagonist must have ONE BIG ACTIVE GOAL. Yes, even literary pieces.

Don’t believe me? Okay. Here’s a good example. The movie Fried Green Tomatoes very easily could have been just a collection of some old lady’s stories that helps our present-day protagonist (Evelyn Couch) bide the time while she waits for her husband to finish the visit with his mother, but that is far from the case.

Evelyn is having trouble in her marriage, and no one seems to take her seriously. While in a nursing home visiting relatives, she meets Ninny Threadgoode, an outgoing old woman, who tells her the story of Idgie Threadgoode, a young woman in 1920′s Alabama. Through Idgie’s inspiring life, Evelyn learns to be more assertive and builds a lasting friendship of her own with Ninny (per IMDB).

Learning to be assertive is an active goal. Building is an active verb. Gaining the self-confidence to make your own friends shows a change has occurred, a metamorphosis.

Oh, but Kristen, that’s a movie. Novels are different.

Um…not really. I use movies as examples of storytelling because it saves time. But, here is an example in the world of literary fiction to make you feel better that I am steering you down the correct path.

The Joy Luck Club by Amy Tan could have been just a collection of tales about three generations of Chinese women, but they weren’t. There was an active goal to all of these stories. The mothers left China in hopes they could change the future for their daughters, and yet the old cycles, despite all their good intentions, repeat themselves and echo the same pain in the lives of their daughters. Actually the protagonist in the book is the collective—The Joy Luck Club.

The stories propel the living members of the Joy Luck Club toward the active goal of finding courage to change the patterns of the past. The mothers seek forgiveness and the daughters struggle for freedom, but each is actively searching and eventually finds something tangible.

We will discuss this in more detail later, but keep in mind that running away from something or avoiding something is a passive goal. Not good material for novels. Novels require active goals…even you literary folk .

Conflict

Once you get an idea of what your protagonist’s end goal is, you need to crush his dream of ever reaching it (well, until the end, of course). Remember, on Monday we talked about the Big Boss Troublemaker. Generally (in genre novels especially), it is the BBT is who’s agenda will drive the protagonist’s actions until almost the end. Your protagonist will be reacting for most of the novel. It is generally after the darkest moment that the protagonist rallies courage, allies, hidden strength and suddenly will be proactive.

Riddick, for most of the story, is reacting to the Lord Marshal’s agenda. Riddick’s goal is to defeat the BBT, but there are all kinds of disasters and setbacks along the way. Logical disasters are birthed from good plotting. One of the reasons I am a huge fan of doing some plotting ahead of time is that it will be far easier for you to come up with set-backs and disasters that make sense.

There is a scene from the Mel Brooks film Blazing Saddles that I just LOVE. The prime villain, Hedley Lamarr, is interviewing scoundrels to go attack a town he wants to destroy so that he can build the railroad through it. There are all kinds of bad guys standing in line to give their CV.

Hedley Lamar: Qualifications?

Applicant: Rape, murder, arson, and rape.

Hedley Lamarr: You said rape twice.

Applicant: I like rape.

This sequence gets quoted quite a lot in my workshop. Why? Because there are many new writers who, upon noticing doldrums in their novel, will insert a rape scene.

I am not making this up.

And if I hadn’t seen it so many times in my career, I wouldn’t have brought it up. We can chuckle, but this is fairly common to the new writer, just as it is common for children to write the letter “c” backwards. It is a heavy-handed attempt by a new writer who hasn’t yet developed plotting skills to raise the stakes and tension. Robberies and rapes are justifiable conflict, if they genuinely relate to the story. Otherwise, it’s contrived and awkward.

Knockout

So your novel has thrust a likable, relatable protagonist into a collision course with the Big Boss Troublemaker. The Big Boss Battle must deliver all you (the writer) have been promising. Endings tie up all loose ends and sub-plots and, if we have done our job, will leave the reader a feeling of resonance.

Your protagonist MUST face down the BBT. No fighting through proxies. Luke had to face Darth. By employing the Jedi skills learned over the course of the story, he was able to triumph. Same in literary works. Evelyn Couch had to stand up to her husband and her monster-in-law. She couldn’t send in Ninny Threadgoode to do it for her. In the movie’s climactic scene, Evelyn employs the “Jedi skills” she learned from stories about Idgy. Her Jedi skills are confidence and self-respect, and she uses them to defeat her oppressors by refusing to take any more of their sh—enanigans.

This is why all this “my protagonist is the BBT/antagonist” WON’T WORK. In Fried Green Tomatoes, Evelyn is her own worst enemy. She is spineless and weak. But, the real enemy resides in those who desire to control and bully Evelyn. In each act of the movie, we see Evelyn learning confidence so that by the end, the BIG battle, she can tell her abusive mother-in-law to stuff it. She isn’t having an argument with herself. She is standing up to a very real antagonist…even though this is a character/literary story. Characters having inner angst for 80,000 words is therapy, not fiction. Humans do better with the tangible. Existentialism is great, but for a mainstream successful novel? Not the best approach.

So when you get that nugget of an idea and think, Hmm. THAT is my novel. Try using the LOCK system. Ask yourself:

Can I cast a LEAD who is relatable and likable?

Is this OBJECTIVE something that will keep readers interested for 60-100,000 words?

Can I create a BBT and opposition force capable of generating plenty of CONFLICT to keep my lead from her objective?

Does this story problem lend itself to a KNOCKOUT ending?

This is just a taste of the good stuff that James Scott Bell has to offer in Plot & Structure so I recommend buying a copy for your writing library. In the upcoming lessons, I will be using this book for reference, among others to help you guys become master story-tellers.

What are the biggest problems you guys have when it comes to developing your ideas? What are some setbacks you have faced? Do you guys have any recommendations for resources? Or, feel free to commiserate and laugh about all the good ideas that went oh so wrong.

Those of you who loved James Scott Bell’s LOCK system can check out his site for more fabulous learning material, workshops and seminars. I’ve been blessed enough to watch Jim teach in person, and if you can believe it, HE IS EVEN BETTER IN PERSON. It will be the best money you ever spend…aside from my blogging class, of course .

QUICK ANNOUNCEMENT!!!—Starting a Successful Blog

Time is running out to sign up! Class starts MONDAY. A lot of blogs fail simply because writers take off with no instruction, and, because of this, they are left to learn by painful trial and error. If you believe you would like to blog, but you’re uncertain, I’m doing something new. To accommodate those who are still on the fence, I’m now running a Basic level for my upcoming blogging class that starts next week (and it is only $50 for TWO MONTHS).

In the Basic class, you get to be part of the WANA1012 team and receive all the forum lessons (none of the live webinars are included). This is a really great place to learn if blogging is right for you (Blogging Training Wheels).

If you’re ready to skip the training wheels and get started blogging, then get your spot NOW. My classes have a history of selling out. I offer a Blogging Bronze, Silver, Gold, and even Diamond, for those who are ready to go all the way.

This is a TWO MONTH class—one month for lessons and one for launch—that you can do in your own time, at your own speed and from home. And since you will be part of a WANA team, you won’t have to do this blogging thing alone, so your odds of success are MUCH higher. For those who want to do NaNoWriMo, we can extend the two months if we have to. That’s one of the benefits of being the owner of the interface .

So whether you start your own blog or just get out there and read a few, getting in the mix and forging relationships is more critical than ever. Have I missed anything? For you bloggers out there, what makes you feel warm and fuzzy? What can writers do to get your attention that isn’t illegal in all Southern states?

Anyway….

I LOVE hearing from you!

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

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

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

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

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 . And both are recommended by the hottest agents and biggest authors in the biz. My methods teach you how to make building your author platform FUN. Build a platform and still have time left to write great books.

How to Win Some Blogger Love–Scoring the Book Review, Guest Post or Interview

Image via J. Kaczorowski WANA Commons

The world is changing faster than any of us can keep up, and publishing is certainly not immune. Yet, one constant remains. There are only two ways to sell lots of books—good book and word of mouth. Period. Book trailer, bookmarks, giveaways, and flare are fun, but are certainly not major drivers of book sales. If you want to know why, take a few minutes to check out one of my earlier posts that explains why books are not tubes of toothpaste and writers are not tacos.

One of the best ways to generate word of mouth for our books is to enlist the help of bloggers who have large followings. Ah, but be careful. There is a TON of bad advice floating around out there about how to approach bloggers to review a book, give you an interview or allow you to guest post.

I know when I was speaking over the summer, a PR expert spouted off (with great authority) her “helpful tips” to get writers hunted down and tarred and feathered . Um, I meant, tips to make bloggers want to talk about you and your books.

Um…so does this mean you WON’T be reviewing my epic fantasy?

Normally, I ignore anything I don’t happen to agree with, but this bad advice is just far too pervasive and it can land a lot of well meaning authors in deep *cough* yeah, that stuff. Many marketing people believe (quite mistakenly) that what works in the world of business works in publishing, and that just ain’t so.

So, let’s just take a look at some of the ways to make bloggers craft a voodoo doll of our likeness:

Bad Tip #1—Send Out Mass E-Mails

Yes, said marketing expert actually recommended that writers make a master list of all the big bloggers and send them an e-mail request for an interview, book review or guest spot.

No. For the love of all that is chocolate….NO.

One surefire way to make any blogger hate you is to send us a nice form letter that is clearly part of a mass e-mail list. I can’t tell you guys how special I feel when I see:

Dear Madam,

Wow! Whoa! Okay, I often argue that storytelling (writing) is really the oldest profession in the world, but Madam? Seriously? No wonder I suddenly feel the need for a feather boa and a chaise lounge. I just thought it was my normal weirdness.

Let’s just apply a smidge of common sense. The last time you went to your mail and some cable company sent you a form letter, did you get chills? Did you get ooey gooey feelings of super-specialness? No. Okay, so here’s a clue. No matter how “thoughtful” the form letter…it isn’t.

When this expert recommended mass e-mailing all the top bloggers, I just kinda wanted to punch her.

And don’t think bloggers will fall for….

Bad Tip #2—”Personalized” Form Letters

Yeah, I am not mentioning any names, but this advice really gives me an eye twitch. “You can send a form letter if you just make sure to personalize the first paragraph with tidbits about the other person.” I just love it when people fake interest in me, don’t you?

I love Dale Carnegie, and I read How to Win Friends and Influence Enemies People about once a year. But, here’s the thing. Dale was trying to teach people how to actually CARE about other people FIRST. His tactics were not meant to be some phoney-boloney schtick to get people to lower their guard so they could be more easily manipulated.

We are not idiots, and we spot a form letter when we see one.

At least once a month, I get something akin to:

Dear Ms. Lamb,

Wow. I see that you like training sea monkeys for world domination. But have you ever thought, “Gee, New York just doesn’t publish anything good anymore”? Critics are hailing The Chiropractor’s Assistant—A Tale of Love, Betrayal, and Orthotics as the best thing since Snookie’s unauthorized biography. I know your blog is top-notch and that’s why I am offering you a rare chance to interview me before I’m too famous to be reachable…

Yeah…I’m right on that. Right after I organize my liquor cabinet.

I know it is tempting to take short-cuts. I’ve listened to the fancy Power Point presentations at writing conferences, too. But, what might work in Corporate America can make us a digital leper in the writing world.

Bad Tip #3—Faking Fandom

This should fall under the “No, Duh” category. Don’t tell a blogger that you are a fan of the blog unless, well…you are.

Okay, now that I have talked about all the BAD advice, how do you really get a blogger to review your book?

Smart Tip #1—We Should Never Ask for What We Are Unwilling to Give

When a writer is asking a blogger to review a book, that is a HUGE time and energy commitment on the part of the blogger. It takes an average of 10-12 hours to read a book. Then the blogger needs to think, make notes and write a post. You could easily be asking for 20 hours the blogger might not even have.

Interviews are also tough. We need to read writing samples, research your background and even come up with witty and thought-provoking questions. I, personally, have to get my creepy panel van detailed and buy fresh candy. Interviews are A LOT of work.

So, before you e-mail a blogger asking for something, take a gut check. How much have you given?

Trust me when I tell you that we pay attention to people who take time to leave comments regularly. If a blogger gets a request from a REAL fan who has been leaving comments for months? Often it is a no-brainer. Bloggers are people and if you sow kindness and generosity, most bloggers will respond favorably.

Smart Tip #2—Make Sure the Blogger Actually Does Book Reviews or Interviews or Allows Guest Posts

I don’t do book reviews, so to ask me is kind of a waste of time. Trust me, you wouldn’t want to ask me anyway. Years ago, back when she was squeaky new, Piper Bayard hired me to edit her first 100 pages…and then promptly named me The Death Star. Yeah, so asking me to review your book is kinda like asking Ice Pick Vinnie to babysit your kids.

You need some wet work? Some little darlings that need to disappear? I am the right gal. Reviews? Eh, not so much.

But, there are bloggers out there who do review books. Seek them out. Follow their blogs and leave comments. Then, when your book is to a point it needs a review, you will have an established relationship and getting a review will be far easier.

I rarely do interviews. In fact, in three years I have done…TWO. So again, I am not a great choice when it comes to soliciting an interview. My blog is primarily a teaching blog and a formal environment for my general goofing off. Interviews are not my specialty.

If you have a blogger you like, just take some time to see if they even are open to reviews or interviews. This is just common sense. If you need to buy new shoes, don’t go to a florist. Check the blogger’s About Me section and many bloggers will say if they do reviews, interviews, allow guest posts, etc.

Smart Tip #3—Ask the Blogger What You Can Give TO Them

Present yourself as a solution to a problem. Many bloggers are short on TIME. Hey, we’re writers, too. If you want to do a guest post, have some written ahead of time and allow us a choice. If you desire an interview, have a nice bio handy and prepared. You might even have a list of questions to help us out. We might not use your questions, but they can at least help us get us focused and give us a place to start.

This is all just common sense. Serve people first. Be kind and authentic. I know it seems like it takes more time than e-mailing 50 bloggers and hoping a couple will bite. But, if you work to forge relationships FIRST, I promise that your time will be far better spent.

A really great way to meet bloggers is to learn to blog. There are few tools more powerful for creating an author platform. For those interested:

Starting a Successful Blog

Time is running out to sign up! A lot of blogs fail simply because writers take off with no instruction, and, because of this, they are left to learn by painful trial and error. If you believe you would like to blog, but you’re uncertain, I’m doing something new. To accommodate those who are still on the fence, I’m now running a Basic level for my upcoming blogging class that starts next week (and it is only $50 for TWO MONTHS).

In the Basic class, you get to be part of the WANA1012 team and receive all the forum lessons (none of the live webinars are included). This is a really great place to learn if blogging is right for you (Blogging Training Wheels).

If you’re ready to skip the training wheels and get started blogging, then get your spot NOW. My classes have a history of selling out. I offer a Blogging Bronze, Silver, Gold, and even Diamond, for those who are ready to go all the way.

This is a TWO MONTH class—one month for lessons and one for launch—that you can do in your own time, at your own speed and from home. And since you will be part of a WANA team, you won’t have to do this blogging thing alone, so your odds of success are MUCH higher. For those who want to do NaNoWriMo, we can extend the two months if we have to. That’s one of the benefits of being the owner of the interface .

So whether you start your own blog or just get out there and read a few, getting in the mix and forging relationships is more critical than ever. Have I missed anything? For you bloggers out there, what makes you feel warm and fuzzy? What can writers do to get your attention that isn’t illegal in all Southern states?

I LOVE hearing from you.

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

I will pick a winner once a month and it will be a critique of the first 20 pages of your novel, or your query letter, or your synopsis (5 pages or less). Will announce September’s winner on Friday. Been out of town and need to catch up.

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

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

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 . And both are recommended by the hottest agents and biggest authors in the biz. My methods teach you how to make building your author platform FUN. Build a platform and still have time left to write great books.

Structure Part 3—Introducing the Opposition

Weird Werewolf by Lynn Kelly via WANA Commons

Welcome to Part III of my Structure Series. If you want to self-publish or indie publish, I would assume most of you want to be successfully published, regardless the format or distributor. To be considered “successfully published” we have to sell a lot of books. To sell a lot of books, we must connect with readers. That is what this series is about. Structure is how readers connect to stories. The stronger the structure, the better the story. I highly recommend that you read Part I and Part II of this series, if you haven’t already in that each lesson builds upon the previous lesson.

Let’s get started.

Conflict is the core ingredient to fiction, even literary fiction. Yes, we can break rules, but we must understand them first. Conflict in any novel can have many faces and often you will hear this referred to as the antagonist. I am not going to use that term in the traditional way because I think it can be confusing. Every scene in your book should have an antagonist, but I am getting ahead of myself. Today we are going to start with the Big Boss Troublemaker. No BBT and you have no story. Your opposition is the most important ingredient for a great story readers will love.

The Big Boss Troublemaker is whoever or whatever causes the hero’s world to turn upside down. The BBT creates the story problem that must be resolved by the end of your tale. The BBT is also who or what must be present at the Big Boss Battle. In Star Wars, the BBT was the Emperor. It is his agenda that causes the inciting incident and it is he who must be faced in the final battle or the movie ain’t over.

In the beginning of The Chronicles of Riddick, Riddick is running from bounty hunters. Due to the nature of the story, it begins right in the action. Who is the antagonist? In that scene it is the bounty hunter.

Riddick’s goal—remain free

Bounty Hunter’s goal—capture wanted criminal Riddick

Their goals are in conflict (This technique, called the Conflict Lock–is taught by NYTBSA Bob Mayer). The bounty hunter is the antagonist in the scene, but he isn’t the Big Boss Troublemaker.

Lord Marshal actually was the party responsible for bounty on Riddick’s head (via the Elementals). The Lord Marshal was also responsible for the extinction of Riddick’s home world in an effort to kill the Furyan male who was prophesied to bring his end. Who is fighting in the Big Boss Battle?

Riddick and the BBT, Lord Marshal.

The stronger your BBT, the better. In the beginning, your protagonist should be weak. If pitted against the BBT, your protag would be toast…or actually more like jelly that you smear across the toast.

The Big Boss Troublemaker doesn’t have to be a person. It can be a storm, like in The Perfect Storm or disease, like in Steel Magnolias.

Remember high school literature?

Man against man.

Man against nature.

Man against himself.

The first one is pretty simple, but the next two? This is where things get tricky when the BBT is not corporeal. Humans don’t do so great with existentialism. Thus, your story likely will lend itself more to a character battle (which will require a proxy). What is it about your protagonist that will change when pitted against nature or the worst parts of himself?

In The Perfect Storm, was the storm really the BBT? Or was it merely a catalyst that brought forth the real BBT…pride, manifested in the ship’s captain who acts as the proxy. In the end, the men lose. They believe that their skill will be able to triumph over the storm, and they are wrong, which is probably why I really didn’t care for the book or the movie, but that is just me.

In Steel Magnolias the BBT is disease/death, manifested in the proxy of the daughter Shelby. Shelby’s decision to get pregnant despite having diabetes (Inciting Incident) is what changes the mother M’Lynn forever. What must change about M’Lynn? She is a control freak who must learn to embrace life for all its ugliness. She cannot beat death, or can she?

We see M’Lynn in the beginning of the movie fluttering over her daughter’s wedding, controlling everything and tending to the flowers and the broken glasses (symbol). When Shelby dies, M’Lynn is once again trying to control everything, tending the flowers and the broken things—her husband and sons. She falls apart after the funeral.

M’Lynn has let go of control and the arc is complete. In the Big Boss Battle, the BBT is defeated. How? Shelby is dead. The BBT is defeated in that there is resurrection. Diabetes and death have been defeated. Shelby lives on in the son she left behind, a grandson that M’Lynn would never have had if she’d gotten her way in the beginning and been permitted to control Shelby’s life. (Note that this entire movie is bookended by Easter).

In the movie Footloose the BBT is religious fundamentalism, which is represented by the town preacher and father of the protag’s love interest. Kevin Bacon wants to dance, BBT wants no dancing. The town preacher is responsible for the story problem. How can a dancing city boy hold a dance in a town ruled by religious fundamentalism?

Your BBT is the entire reason for your story. No Emperor and there is no Star Wars. No Lord Marshal and Riddick would be off doing what Riddick likes to do when he isn’t killing things. If everyone agreed the storm was too big to mess with, then there would have been no Perfect Storm. If Shelby didn’t have diabetes, then there would be no challenge and, thus no story. In Footloose, if the town had been Catholic there wouldn’t be an issue.

So, once you have your Big Boss Troublemaker, you will have emissaries of the BBT. Depending on the type of story, usually the BBT will have a chain of command. Some will be actual characters. The Emperor had Darth and Darth had Storm Troopers that he could send out to cause massive inconvenience to others. They all trace back to the original BBT, though. The BBT is the core of the story and must be defeated by the end of the story. Everything leads to destroying the BBT.

So we have Big Boss Troublemaker.

We have the BBT’s emissaries.

Ah, but EVERY scene has an antagonist. What is the antagonist? The antagonist is whoever is standing in the way of your protagonist achieving her goal. Allies, more often than not, will serve as scene antagonists generating the necessary conflict required to drive the story forward.

In Romancing the Stone who is the Big Boss Troublemaker? The BBT is the crooked inspector. Who are the emissaries of the inspector? The two thieving brothers who have kidnapped romance author Joan Wilder’s sister (the crooked inspector is using them as unwitting pawns to get the map and get the jewel). What is the goal? The jewel. What is the final battle? When the inspector and one of the thieves are fed to the alligators in an act of poetic justice, and the younger brother is taken to jail.

Who is the antagonist? That changes, but Jack (the love interest) often serves the antagonist’s role. Joan wants to just give the map to the thieves in exchange for her sister. Jack wants to use the map to find the jewel.

Some Pretty Hard and Fast BBT Rules—Break these Rules at Your Own Risk

Rule #1–BBT (or a proxy of the BBT)  MUST be introduced in Act I. No leading us on for 50 pages before we get an introduction. BBT is responsible for Inciting Incident.

Rule #2–The love interest CANNOT be the BBT. He or she can wear the antagonist’s hat, but he or she CANNOT be the BBT. Why? Because the BBT must be defeated in the Big Boss Battle, and utter defeat isn’t exactly grounds for a lasting relationship. Also, in romance, even though guy and girl might not get along in the beginning, they do come together as a team for the final showdown against the BBT.

Pizza has rules and so does romance. I am sure there are exceptions, but it defies the code of great love stories and often leads to a very unsatisfactory ending.  Audiences have tastes that we are wise to appreciate. If we want to write romance, then there is a fairly strict code that guy and gal end up together in the end. It’s the whole point of reading romance, so we can believe love conquers all. If our romance mimics life too much, then there is no escape and that defeats the entire purpose of reading romance.

Yes there are exceptions. I am here to help you guys grasp the overall rules. Once we understand the rules, then we can break them.

Rule #3–BBT MUST be defeated in your book. Period.

There has to be a Big Boss Battle in your story or the story problem is not fully resolved. A lot of new writers are “writing a series.” And, oh, but Such-and-Such dies in book 12 of my series. No. Sorry. Try again.

In a series, the protagonist in every book MUST DEFEAT the BBT responsible for the story problem. We must treat that book as a stand-alone. If we were hit by an ice cream truck and never wrote another, the problem of our last book would be resolved.

We will talk more about this on another blog, because series are a whole other ballgame. I will give you a nugget to hold you over, though. Think back to what we talked about earlier. BBTs have emissaries sent to do their evil deeds. Treat each emissary as your BBT in each book (only you don’t have to tell the reader unless you want to). Each BBT is a necessary step to complete in the overall defeat of the series’ MAIN BBT.

(Book I) BBT–> (Book II) BIGGER BBT–> (Book III) HOLY MOLY! AN EVEN BIGGER BBT!!!!

Lord of the Rings

Defeat Uruk-Hai–> Defeat Saurauman–> Defeat Sauron

Okay, well that’s enough for today. Need to stop before your brains all explode and then you have to clean up your keyboard. Structure is tough, and hopefully this series is breaking it down in to bite-size, manageable pieces.

I want to hear your comments. Who are your favorite BBTs of all time? Do you still have questions or other topics you would like me to explore? Do you have any books or techniques you would like to share?

Exercise I–Watch your favorite movies. Who was the BBT? Who were the emissaries? How was the BBT’s agenda introduced?

Exercise II–Recall your favorite books. Again. Who was the BBT? Who were the emissaries of the BBT? How was the BBT’s agenda introduced?

Exercise III–For the literary folk. Who was the protagonist? What internal flaw was the protag forced to confront? How was it manifested (BBT)? Was the character flaw defeated? How was the BBT defeated?

In Steel Magnolias the character flaw (need to control) is defeated when Shelby dies. M’Lynn lets go of control. Diabetes/Death (the BBT), however, is defeated with life. Shelby will live on through her son.

Yeah, it’s a brain-bender but great exercise for our story-telling muscles.

I do want to hear from you guys! What are your thoughts? Questions? Concerns? I LOVE hearing from you.

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

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

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

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

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 . And both are recommended by the hottest agents and biggest authors in the biz. My methods teach you how to make building your author platform FUN. Build a platform and still have time left to write great books.

Structure Part 2–Plot Problems–Falcor the Luck Dragon & the Purple Tornado

The Neverending Story circa 1984

Okay, since I get to drive to San Antonio today, I figured we’d just plow ahead and take on Lesson Two in my structure series. I strongly recommend checking out Monday’s lesson if you haven’t yet. Each of these blogs will build upon the previous lesson. By the end of this series, I hope you to give you guys all the tools you need to be “structure experts.”

Yes, even the pantsers.

If you are planning to do the National Novel Writing Month Challenge (50,000 words in the month of November) then these lessons will help you tremendously. If you are going to put in that much effort, wouldn’t it be great to have something worthwhile at the end of the month?

Structure is one of those topics that I feel gets overlooked far too much. There are a lot of workshops designed to teach aspiring writers how to finish a novel in four weeks or three or two or whatever. And that is great…if a writer possesses a solid understanding of structure. If not? At the end of 4 weeks, you could very likely have a 60K word mess that no editor can fix.

Finishing a novel is one of the best experiences in the world, but wanna know the worst? Pouring your heart and soul into a novel, finishing it, and then finding out it is not publishable or even salvageable. I make a lot of jokes about my first novel being used in Guantanamo Bay to break terrorists.

I’ll tell you where the bomb is just not another chapter of that booook!

Some of you might be in the midst of having to face some hard truths about your “baby.” If you have been shopping that same book for months or years, and an agent has yet to be interested, likely structure is the problem. If you went ahead and self-published, but sales are lackluster? Again, problem might be structure. Many of you might have a computer full of unfinished novels. Yes, again, structure is likely the problem.

Good news is that most structure problems can be fixed, although many times that requires leveling everything to the foundation and using the raw materials to begin anew…the correct way and killing a lot of little darlings along the way.

Monday I broke the bad news. Novels have rules. Sorry. They do. I didn’t make this stuff up. When we don’t follow the rules, bad things happen. Just ask Dr. Frankenstein.

Authors who break the rules do so with a fundamental understanding of rules and reader expectations. Remember the pizza analogy? We can get creative with pizza so long as we do so with an appreciation for consumer expectations. A fried quail leg on filo dough with raspberry glaze is not recognizable as a pizza. We can call it pizza until we are blue and a consumer will just think we’re a nut.

Same with a novel. Readers have expectations. Deviate too far and we will have produced a commodity so far off the standard consumer expectations that the product will not sell…which is why agents won’t rep it. Our novel can be brilliant, but not sell. Agents are interested more in making money than breaking literary rules. Rumor has it that agents do have to make a living.

I can tell if a writer understands structure in ten pages. So can an agent. We are diagnosticians and when we spot certain novel “diseases” we know there is a big internal problem. We’ll discuss two major symptoms of a flawed plot today, but first we are going to pan the camera back this time. Last time, we zoomed in and looked at the most fundamental building blocks of a novel. Today, we are going to get an aerial shot—the Three Act Structure.

Aristotelian structure has worked for a couple thousand years for very good reasons. To paraphrase James Scott Bell in Plot & Structure (cuz he says it the best, but do yourself a favor and get his book, STAT!):

There is something fundamentally sound about the three act structure, and it is very much in harmony with how we live our lives. Three is a pattern. Childhood is short and introduces us to life (Act I). Most of our living comes in the middle span of years (Act II), and then we are old and we die and that sums up our existence (Act III). We wake in the morning (Act I) then have the day living life (Act II) and then night ties things up (Act III). When we are confronted with a problem we react (Act I) then spend the greatest amount of time searching for insight and looking for an answer (Act II) and then finally the solution (Act III).

Three act structure has endured thousands of years because it works. Beginning, middle and end. We can ignore the three act structure, but we do so at our own risk that our work will fail to connect with readers.

Beginnings present the story world, establish tone, compel the reader to come on the adventure, and introduce the opposition.

Middles deepen the character relationships, keep the reader emotionally invested in the characters, and sets up the events that will lead to the final showdown at the end.

Ends tie up the main plot and any other story threads and provide a sense of meaning.

(If you don’t yet own Jim’s book, buy it today. It is a must-have for every writer’s library.)

Ideally, our story’s tension will steadily rise from the beginning to end, getting more intense like a roller coaster. Think of the best roller coasters. They start off with a huge hill (Inciting Incident that introduces the ride) then a small dip to catch your breath, and then we are committed. If the biggest hill is at the beginning of the ride, the rest of the ride is a total letdown.

A well-designed roller coaster gives escalating thrills—bigger and bigger hills and loops—with fewer troughs to catch our breath and all leading up to the Big Boss loop, then the glide home to the other side of where we began. We all want to get to the Big Boss loop, but we do so with a mix of terror, dread and glee. Same with a good story.

Great roller coasters are designed. So are great novels. Everything is done with purpose.

Two major problems will occur when we fail to follow this design. In almost four years of running countless plots through my workshop, I have given them names—Falcor the Luck Dragon and The Purple Tornado.

Meet the Luck Dragon

Remember the movie The Neverending Story? Beautiful movie and amazing special effects…but (in my opinion) a HORRIBLE story. I loved the movie, too. I have a soul. But I feel this movie is remembered and loved more for great effects and puppets, not the storytelling.

The beginning starts with The Nothing eating away a world we haven’t been in long enough to care and gobbling up critters the viewing audience hasn’t even been introduced to. Total melodrama. And the solution? A boy hero who the viewer doesn’t know from a hole in the ground and who, truthfully, isn’t nearly as likable as his horse that sinks into the Bog of Despair. Yes, I cried.

So High Council instructs unlikable boy hero to go and talk to the Northern Oracle. Northern Oracle is a giant turtle that is suffering depression and is apparently off his meds. Northern Oracle tells boy hero the answer to their problems rest with the Southern Oracle…but it is ten thousand miles away.

Boy trudges off depressed and defeated and music rises to cue the audience that we are supposed to care. Unlikable boy hero falls into the swamp…oh but Falcor the Luck Dragon swoops down from the sky and flies him ten thousand miles to the Southern Oracle. How lucky for the boy hero. Better yet. How convenient for the screenwriters that Falcor was there to bail them out of a massive plot problem.

No, your protagonist cannot find a journal or letters or some contrived coincidence to bail her out of a corner and get her back on track. That is what I call a Luck Dragon. Don’t think you can sneak a Falcor by an agent or editor either. There is no camouflaging this guy. Have you seen the movie? He’s HUGE, and he will stand out like, like…like a Luck Dragon bailing you out of a plot problem. But take heart. Looking at structure ahead of time will make all actions logical and Falcor the Luck Dragon can stay up in the clouds where he belongs.

Watch out for that Purple Tornado!

Next plot problem? The Purple Tornado. What is a purple tornado? So glad you asked. I once worked with a writer who had a YA fantasy. By page 30 there was this MASSIVE supernatural event with a purple tornado. This writer clung to the purple tornado scene until I thought I was going to break his knuckles prying it away from him.

Why was I prying the purple tornado from his hands? Because he couldn’t top the purple tornado!!! He had his Big Boss Battle, his grand finale, his giant loop too close to the beginning. The rest of the book would have either been a letdown or totally contrived.

Plan where that loop will be situated and put it in the spot that will evoke the greatest emotional reaction…at the end.

I see too many new writers trying to “hook” the reader with some grand event like a building exploding. Well, okay, but what are you going to do for the grand finale, blow up a city? The planet? It’s too much too soon and before anyone even cares.

Structure.

I hope you guys get a lot out of this series. I know it took me years to learn some of this stuff and part of the reason I sat down and wrote this series was to help shorten the learning curve. I would imagine most of you reading this would like to be successfully published while you are still young enough to enjoy it. Join me on Monday for more on structure and plotting.

What are some problems you guys have faced in plotting? What are the biggest struggles? Do you have any suggestions for books on the subject or methods you use that you could share? Have you been guilty of a Falcor or a Purple Tornado? Share your thoughts.

I LOVE hearing from you guys!

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.

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

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

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

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 . And both are recommended by the hottest agents and biggest authors in the biz. My methods teach you how to make building your author platform FUN. Build a platform and still have time left to write great books.

Would Hemingway Blog?

Emphatically, YES!!! I know many writers are hesitant to the idea of blogging. It feels like just another social media chore, but nothing can be farther from the truth. In fact, blogging is probably the ONLY form of social media that 1) draws from a writer’s strengths and 2) doesn’t try to fundamentally change our personality.

Yes, as a social media expert Jedi, I will tell you that it’s a good idea to tweet and learn to use Facebook, but I’m also going to tell you something you already know. Most of that kind of social media is NOT natural for a lot of writers. Is it good for you? Yes. It shoves you out of your comfort zone and makes you work an area that will be vital to career success. But, of all the various on-line tools we can wield, the blog is by far one of the best.

Oh, but Kristen. There are already way too many blogs out there.

Yep, and guess what? There are way too many books out there, too, and that hasn’t stopped you guys from writing one, has it? Blogs are a lot like books. In fact, that is one of the reasons they are such an excellent choice for writers. Blogs connect using…words. Same as books. They connect through information or emotion…same as books. If people learn to love your blogging voice, it is no great leap to love your novels.

Ah, but just like books…

Most people who start a book never keep pressing until it is finished. Similarly, most people who start a blog will abandon it for some new shiny two months in. Most people who start writing a novel believe it is easy, and that they don’t need any professional instruction or guidance. Guess what? Same with blogs.

Too many people who start a blog just throw up content without learning what to blog, how to blog, and what makes a blog grow and become successful. This means the competition is not nearly as daunting as some might believe.

So why would Hemingway blog? Well, actually, he did. I am going to paraphrase a story relayed by mega-author and Hemingway expert, David Morrell.

Hemingway was a Blogger Journalist

As a young reporter for the Kansas City Star, Hemingway learned the value of lean, uncluttered sentences. In fact, the newspaper’s style sheet underscored the, “Use of vigorous English…Be positive…Avoid the use of adjectives.” Though Hemingway followed these principles as a reporter, he apparently forgot them when he decided to write fiction. When he moved to Paris and showed Getrude Stein his work, she slayed him for his purple prose. She told him to toss everything and try again.

A few months later, Hemingway met a reporter in Switzerland who expressed interest in his work. Hemingway was so excited he wrote to his wife and asked her bring all of his manuscripts to him straight away. Being a good wife, she packed everything he’d written in a suitcase and hopped on a train…and the suitcase was stolen, taking every shred of Hemingway’s writing.

Hemingway rushed home and turned his apartment upside down, but to no avail. It was all gone. Hemingway almost gave up, but then he thought back to Gertrude Stein’s advice to chuck everything and begin anew. Hemingway rolled up his sleeves and went back to work, yet this time he harnessed his reporting skills and went about his writing in a far more organized fashion, with the verbal discipline he’d learned from the Kansas City Star.

Hemingway learned that less is more, that economy of description can produce clearer effects than descriptions with detail piled upon detail. But, economy doesn’t only mean reducing a description to its essentials. It also means going for so clean a line that adjectives and adverbs become a sign of bad writing. ~David Morrell The Successful Novelist p.117

I have been running my writing contest for over two years now, and I see the same problems over and over with new writers. The prose is bogged down with all kinds of fluff. The sentences aren’t clear and the prose is weak.

Just like Hemingway used his experience as a reporter to strengthen his fiction (which made him one of the greatest writers in literary history), we, too, can use blogging to refine our prose and strengthen our writing skills. There are many great authors who used their journalistic muscles to write great works of fiction. Hemingway, Orwell, Dickens and Twain to name a few.

Blogging is a modern equivalent of journalism, and I believe Hemingway definitely would have blogged had he been a man of a different era. Can you imagine Hemingway tweeting images of giant swordfish he’d caught deep sea fishing? Or posting a video on You Tube of him running with the bulls? Maybe some images on Flikr from his latest safari?

Where was I? Oh, yes!

Blogging Takes Us from Neophyte to Expert MUCH Quicker

Malcolm Gladwell asserted that it takes 10,000 hours of practice to become an expert. Add blogging to your repertoire, and guess how quickly you can rack up that 10,000 hours? Blogging will teach you to write faster, leaner and with far more power in much less TIME.

Bloggers Learn to Ship

When you have a blog due, you learn to kill Little Darlings with ruthless efficiency. Bloggers (like journalists) learn not to grow overly fond with sections of prose. We are copy editing MACHINES. We are great at meeting deadlines because we don’t need 42 different opinions to convince us to part with some prose.

HACK! HACK! SLICE!

Bloggers Grow a Thick Skin

Writers who also blog are showing the world they take their profession seriously. We put our work out there, good, bad or WTH?. We open ourselves to criticism, and we learn to take it like a champ and come back swinging.

I’ve met a lot of writers who get defensive, angry or abusive when told their work isn’t a glittery kitten hug. This business is tough, and blogging will whip a writer into fighting form in no time.

Blogging Trains Us for Other Paid Work

Since blogging is so close to journalism, it is easier for us to get paid work writing articles, blogs or even copy work. Bloggers have a BLOG that shows the world that they are serious. Potential employers see a writer who can make deadlines, who can work even when they don’t feel like it. Bloggers, like journalists, don’t sit around and wait for the inspiration fairy. They roll up their sleeves and do what real writers do.

They write.

Additionally, many writers supplement their book income with other work (like articles), and blogging is a great way to get your foot in the door.

Getting Started

So for those who don’t want to blog, that is fine. But for those who do?

Blogging is one of the best ways to build an author platform (mainly because it has us operating in our strength—writing). A blog is far less volatile than other forms of social media. Who knows if we will have Twitter in five years? Twitter may go, but a blog will remain and can continue to grow for YEARS. We don’t have to be a Chatty Cathy social butterfly to be a kick@$$ blogger, and this is really great for those shy introverts out there. In fact, in my experience, you guys make some of the BEST bloggers.

Starting a Successful Blog

A lot of blogs fail simply because writers take off with no instruction, and, because of this, they are left to learn by painful trial and error. If you believe you would like to blog, but you’re uncertain, I’m doing something new. To accommodate those who are still on the fence, I’m now running a Basic level for my upcoming blogging class.

In the Basic class, you get to be part of the WANA1012 team and receive all the forum lessons (none of the live webinars are included). This is a really great place to learn if blogging is right for you (Blogging Training Wheels).

If you’re ready to skip the training wheels and get started blogging, then get your spot NOW. My classes have a history of selling out. I offer a Blogging Bronze, Silver, Gold, and even Diamond, for those who are ready to go all the way.

This is a TWO MONTH class—one month for lessons and one for launch—that you can do in your own time, at your own speed and from home. And since you will be part of a WANA team, you won’t have to do this blogging thing alone, so your odds of success are MUCH higher. For those who want to do NaNoWriMo, we can extend the two months if we have to. That’s one of the benefits of being the owner of the interface .

Anyway, what are your thoughts? Those of you who blog, have you seen an improvement in your writing? What questions do you guys have? Thoughts? What other famous writers from history would be cool to see tweeting or posting blogs? Poe? Steinbeck? Shakespeare? What do you think would be their favorite social site and how would they use it? Picasso and Pinterest?

I LOVE hearing from you guys!

Oh, and if you love this blog, I would love your support. I am in the running to become a community blogger for my hometown, so I’d appreciate your votes. Just click the link and scroll down until you see my name and vote. THANK YOU! When the zombie apocalypse arrives, I promise to share ammo and Twinkies with those of you who vote for me .

Back to the regular contest….

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.

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

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

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

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 . And both are recommended by the hottest agents and biggest authors in the biz. My methods teach you how to make building your author platform FUN. Build a platform and still have time left to write great books.