Larry Brooks's Blog, page 10

Learn One of the Most Important Aspects of Storytelling Craft… from Movie Trailers

As some of you know, I contribute (every other Monday) to the well-known writing blog The Kill Zone.  In doing so, I find myself having to differentiate what I write there, versus here.

It breaks down like this: because I’ve written nearly 1000 posts here at Storyfix (and in my three writing books) that focus on the craft of storytelling, I’ve pretty much circled the wagons when it comes to coverage of the key elements and essences involved. I’ll continue to do just that, but we’re now dealing with subtleties, problem solving, process and creative thinking, all of it in context to those same core elements of craft… which consists of 12 major categories, and about 120 interacting subsets that inform them.

Over at Kill Zone, I find myself introducing and defining those core elements for a different audience (though I’ve happily discovered, there is a significant overlap). Not that they don’t get a fair share of craft over there already, they do (James Scott Bell being one of the other regulars, along with a powerhouse roster of published novelists who really know their stuff). But my approach to craft seems to be slightly new and different – and sometimes confusing – for long-time Kill Zone readers, which is, I believe, a good thing.

Hearing the same elements of craft discussed by credible sources in different ways really helps writers wrap their head around it all. Sometimes what has lingered as a fuzzy notion clarifies when presented in a different flavor of context. So far my offerings have been received warmly and enthusiastically at The Kill Zone.

I mention this because I about to send you over to The Kill Zone to read my latest post, which is another version of the same title I’ve used for this post: The Two Minute Writing Workshop Already At Your Fingertips.

If you’re struggling with – or would like a new take on – the nature, function and placement of the critical First Plot Point story milestone (which is, in my opinion, the most important moment in a story), you may really find quite illuminating.  There are four trailers from recent films embedded within the post, each of which presents the story’s First Plot Point in a way that, for some, is easier to identify and understand than it can be within the novels we read… and write.

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On another note, I’m about to change things up here on Storyfix. Big time.

I’m in the development stages of creating and offering video-based training modules, some of which will end up right here, as regular posts on Storyfix.  The approach will involve a split screen showing me talking directly to you, with the other section showing bullets, text and graphics as called for. (I will continue to post narrative articles like the ones you’ve come to expect here, as well.)

The idea is to come as close to a classroom experience as possible, which all the guys in white coats who research how adults learn will tell you is orders of magnitude more effective than reading, or even listening, to a presentation.

The posts will, of course, continue to be totally free and available at any time.  

I am going to develop longer modules, however, that I will offer for sale (reasonably, I promise) here as an extension of the Storyfix bookstore – it will have its own page – containing a library of training resources that cover the entire spectrum of what you need to understand about writing a novel that works.

I’d like your initial feedback on this new idea. How does this idea strike you… and would you be interested in deeper, video-based training on the intricasies of implementing the finer points – the advanced stuff – of writing a novel that works.

Also, please offer any specific topics you’d like me to cover in this new format, as well as your notion of a fair price point for a 30- to-60 minute  video/graphics-based training experience. (There will be multiple-module comprehensive training titles, as well, at a higher price point… still less, though, than what you’d pay to learn the same stuff at a workshop or conference.)

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One final note, if you will humor me…

 My new book, Chasing Bliss (my non-fiction, non-writing-oriented side project on how to survive and nourish our primary relationships, using intimacy and transparency as the primary means of engagement) now has 11 reviews on Amazon.com, all of them 5-star.  And if I may, all of them pretty much raving about the book in a way that took them by surprise.

Visit the book’s website, as well: www.chasingblissbook.com (check out the animated wave effect in the header) for an “author interview” that is itself pretty intimate and transparent.

Thanks for your input on all these fronts!

Larry

The post Learn One of the Most Important Aspects of Storytelling Craft… from Movie Trailers appeared first on Storyfix.com.

Engineered for Success

A guest post from Bryan Wiggins


How Larry Brooks Helped Lead Me to My Path to Publication


 I don’t remember what classroom I sat in, or which teacher was my guide, but one day as I scratched away in my composition notebook at my tiny wooden desk in Green Tree Elementary School, I picked up the trick I’ve been using ever since to present my thoughts upon the page: the outline. That organizational tool’s ability to plot a premise, build its argument, and cap it off with a conclusion, powered me through school from my first book report to my final term paper.


When my daughters began their own editorial explorations, I shared the outline as the trail of conceptual breadcrumbs they could lay down to help them find their way. That began my writing relationship with both of them—one that continues to this day—although the red pen is just as often found in their hands as in mine.


Ten years ago, when the challenge of writing a novel lured me from the poetry I’d puttered with for so long, I turned to my trusty prose pal and used an outline to sketch my first plot. Soon, I was off and running, creating scene after glorious scene, and, ultimately, a wonderful mess. I tried free-writing my way out of it, eventually penning a therapeutic essay I titled 80,000 Mistakes. In it I fussed and fumed about the 80,000 words I’d tapped into my Mac in the early morning hours, trying to build a story arc that finally collapsed under its own weight. But I ended my sorry screed with a promise to myself: I simply would not quit till I’d figured out the novel’s form.


I filled my Kindle with every book that looked like it could help me crack the craft—more than two dozen of the titles that every hopeful Hemingway knows, mixed with others that only a form freak like me would read. The light began to shine with books like John Truby’s, The Anatomy of Story; it taught me how to lay that all important foundation—the premise—in a way that would carry me, if not to publication, at least to a tale that might add some meaning to my life. Jack Bickham’sScene & Structure was another bright spot, one that revealed why the stories I struggled with had been so episodic. From it, I learned the cause and effect relationships that create the chain-drive of a story, linking the series of scenes and sequels that keep readers’ fingers flipping far past bedtime.


But the tome that brought it home was Larry Brooks’ Story Engineering. It was the bridge I’d been searching for—one strong enough to support the weight of 100,000 words or more, to carry the world I’d built in my head to shine within my readers’ hearts.


I used my skills as a graphic artist to make a map of Larry’s formula, memorialized as the four-page “novel blueprint” you’ll find linked at the end of this post. I pasted the damn thing onto a foam core wall and posted it behind my laptop to refer to every single morning as I poked through my first novel, trying to put into practice again and again the principles I finally learned well enough to write from by heart.


I caught fire from my new learning, giving a couple of talks through the Maine Writers and Publishers Alliance to pass on what I discovered in a Keynote presentation, complete with screenshots showing how I’d woven Story Engineering into my Scrivener template to keep me oriented as I dove in and out of scenes. I even convinced Boston’s Grub Street writers’ center for a guest spot in the big leagues, presenting at their national Muse and the Marketplace writers conference. There, in a room full of other hungry story structure seekers, I was rewarded with the questions and comments that let me know I was playing a small but vital role in passing on the torch that Larry first lit for me.


The Winter Queen was the first novel I built from Story Engineering. It rests right where it belongs —deep within the depths of my hard drive—as the fertile failure that taught me so much. My second, however, was (will be?) published onSeptember 27 by Harper Legend, a brand new imprint of “visionary digital fiction” from HarperCollins. I’m currently deep into the creation of its sequel, using the same Story Engineering concepts and constructions that have carried me so far.


Recently, I’ve been sharing what I’ve learned with members of the Pine Cone Writers’ Den, the ten-member writing group that meets monthly in my home. I sent one writer the novel blueprint a few weeks ago, and was delighted to hear it helped her break through to her book’s final phase of development. I invited another member over one Saturday morning, stretching a copy of the blueprint across my kitchen table as we discussed her memoir’s big story beats. We traded the red pen to plot just where those pivotal posts might fit within Story Engineering’s structural plan. I sent her home with that map and the hope that it serves to help stitch her string of moving spiritual passages into the published piece that finds the audience she deserves.


It’s too early to tell just how far those principles may take her, or the rest of us. There’s no question, however, that the most important book I ever read about the way to build a story will always play a part in mine.

Click below to view the Novel Blueprint document, which Larry uses regularly in his writing and workshops.

Wiggins_Brooks Novel Blueprint

The post Engineered for Success appeared first on Storyfix.com.

Conquering the “Wisdom Gap”

Knowledge is understanding that a tomato is a fruit, not a vegetable.
Wisdom is knowing not to put a tomato in a fruit salad.

 

Maybe you’ve been at this a while.

You’ve read all the books and blogs, you know…

… the difference between a concept and a premise…

… you know that good stories unfold over four contextually-driven parts of roughly equal length…

… you understand the purpose and placement of a functional first plot point…

… you know that story doesn’t really trump structure (because you also know that story is structure)…

… and you realize that process, provided it is fully informed, doesn’t matter, because the criteria for effectiveness doesn’t care what your process is.

Among a whole truckload of other storytelling stuff that you know.

Or maybe all of that is Greek to you.

In which case, you are on a path.

It’s up to you to determine if you remain motionless and clueless (perhaps uncaring, which is more dangerous than unaware) on the path… because hey, this is writing, and writing is fun, so just leave me alone and let me scribble away as I please.

Thing is, this path is an ascending slippery slope, which means if you stand still for too long, you’ll slide backwards and eventually fall flat on your tookus, wondering what went wrong.

Or you can decide to go higher, to build your awareness and practice of craft to the point not only do  you get it, but you suddenly see it in play in the stories you read and watch on a screen.

Either way, there’s something else you need to know, sooner or later.

You might wonder why your story isn’t selling, when some of the stuff you read isn’t any better. In your opinion, at least.

The more you know about craft, the less frequently you’ll experience this. Because you’ll be able to sense the answer. You’ll know how high the bar is, and what remains to be learned and put into play before it can be reached.

But then… something else might strike you: how do those writers—the ones with the killer ideas you wish you had, and the consistently bestselling writers who nail it time after time—do that?

Are they simply smarter and more creative that you? Maybe… maybe not.

What do they know that you don’t?

The answer may be… nothing. You may indeed know what they know.

The truth is it may have nothing at all to do with knowing. The best writers in the world will tell you that nobody really knows anything (a direct quote from William Goldman)… even when in reality it’s obvious they know a lot about storytelling.

So what is it? What is that final thing we need to know… to understand?

It is this: getting into that elite elevated place, where the Kings and Baldaccis and Noras and Gabaldons and several dozen other elite writers dwell, isn’t wholly defined by knowledge at all.

Rather, it is defined by storytelling wisdom.

Which is a fusion of knowledge, informed instinct and experience… resulting in wisdom.

Those elite writers have a more evolved, higher sense of story.

In other words, while your writing knowledge may match up, your writing wisdom—the ability to sense the best possible creative notion and solution in a given story moment, not to mention land on the best possible story premise in the first place—may still be in an earlier stage of development.

Hey, there were there once, too.  Rare is the writer who was born with an evolved story sense.

Writing wisdom is the ability to land on, and then implement, a stellar execution of a story element (beginning with a promising premise) in the moment of creation… either within a story planning phase, or an organic story development process.

The ability to come up with an OMG story idea, the one you wish you had thought of.

The ability to deliver a scene that jolts you right out of your socks, or sends your heart into spasms of bliss or shatters with utter terror… and do it better than the rest of us can do it.

Writing a story is a constant process of creative decision making.

We apply knowledge to know what kind of scene is required in a given moment. We apply whatever state of wisdom—story sensibility—to land on something that is optimally effective in an artful, emotionally resonant way within the context of the narrative at hand.

Our goal as writers is to elevate our story sensibility. To become wise in our vision and selection and delivery of story elements that flesh out a promising premise… which is also the product of wisdom.

Even if you know as much about basic craft and story structure and the requisite story physics as David Baldacci (for example), chances are that in the moment of creation and execution, he will come up with something better than we will.

It happens in all fields of art and intellect and athletics. When it counts, superstars draw upon a depth of sensibility developed over time—that’s Gladwell’s 10,000 hours of practice paying off—to make the right move, in the right way, with the right touch and power.

All the guys in the NBA, for example, have off-the-charts athletic gifts and a highly developed sense of the game. But when the clock is winding down and you have one shot to win the game with a one-on-one move, who do you want to have the ball?  Steph Curry, that’s who.  Lebron James, that’s who.

Hard telling if either player has the deepest well of knowledge of the game they play. But both bring wisdom to the moment that consistently elevates them above their peers.

That’s what we need to do with our stories. Elevate them above the crowd. That’s the goal.

It manifests in the details.

A quick example from my latest book, a non-fiction project about relationships.

I was writing about a promise my wife made to me, relative to fidelity. This is what I wrote, which as you’ll see required a decision in the selection of a specific name in a specific context:

If I cheated on her, for example, she assures me she would plant a two-by-four squarely in the middle of my forehead while I slept, and that it would be a committed swing the likes of which Albert Pujols would be proud.

It made perfect sense to me. I wrote it, and I moved on. But was it a wise move?

Upon completion my step-daughter would be the first beta reader. She was encouraging, but she mentioned this: “It was sorta confusing to me. I got lost a few times.”

That’s what beta-readers do. They generalize. They over-state. Because it turns out she was confused by only one thing, in one place… and that perception translated, for her, into a “the book was confusing sometimes” generalized response.

Agents and editors and producers do the same thing. One bad move, one less-then-wise choice, and your project is labeled accordingly.

Turns out she had no idea who Albert Pujols is. No clue. Never mind he was the best power hitter in baseball over the past decade. She’d never heard of him.

That knowledge put him into this analogy. On that level it made perfect sense.

But was it a wise choice? Nope. Because she didn’t recognize the name. Nor would many readers in this niche.

So I changed Albert Pujols to Barry Bonds. She’d heard of Barry Bonds, as would anyone not living on an island somewhere. Problem solved. The book was no longer confusing to her. (Apologies if you do live on an island and have never heard of Barry Bonds, one of whom I just heard from; hmmm, maybe I just unwittingly put a little tomato in this fruit salad, so I’ll live and learn, which is the point, one worth keeping Barry here for a while…)

Wisdom, like God, resides in the details, as much as it does within the bigger issues where knowledge rules.

So how do we get there?

What if we don’t have the feedback on hand to lead us toward wisdom in our storytelling decisions?

I have a theory about that.

I believe that the elevation of story sense isn’t solely reliant upon practice, nor is it exclusively the consequence of studying the craft. Rather, it is using a broad and deep exposure and comprehension of craft—knowing all there is to know, all that you can find—and then applying that knowledge to recognize and analyze genius story moments in stellar stories, written by writers who wield an elevated level of wisdom as a matter of course.

Athletes have game tapes. Performers have playback and America’s Got Talent, where evaluation is the show. We writers have… the ability to analyze and evaluate every story and film that is critically hailed and commercially viable, with a view toward understanding why.

We all do it. But writers with a high degree of story sense do it differently, and better, than the rest of us.

The more you know, the easier it will be to see why a given story premise or idea or execution is deemed powerful and resonant. The writer (and certainly, the non-writer) who doesn’t understand the underlying craft will never comprehend the genius at hand, only the outcome of it.

So it’s a two-level path to get there.

First, immerse yourself in craft, to the point where you can cite the litany of storytelling principles chapter and verse, and explain it to anyone in terms that make it accessible.

Be the student that becomes the teacher.

And then, after you’re there… start noticing what works. Study stories. And just as valuable, study what doesn’t work. Make that level of inquiry—reading anything and everything, all of it informed by your vast wealth of knowledge about the craft—your graduate course in writing wisdom.

When you are well down that path, you will inevitably be able to apply a higher qualitative aesthetic to your own work. Your choices will be wiser, the impact of them collectively consequential.

Informed by wisdom, built on a foundation of knowledge, you will no longer be tempted, however blindly, to plop a few tomatoes into the fruit salad of your story.

*****

Are you doing NaNoWriMo this year?

I have a little ebook that can help… help you not waste the month pursuing a quantitative goal, when you can actually make it a qualitative experience, as well.  Get it HERE… discounted to 99 cents through November.

The post Conquering the “Wisdom Gap” appeared first on Storyfix.com.

Art Holcomb Wants to Talk To You

A personal message… and a massive Storyfix-only discount on one of the best learning opportunities I’ve ever seen.

You know Art. He’s a regular contributor here, and one of the most respected storytelling mentors in the business. (Use the search function to the right, just put in his name and you’ll get a list of his Storyfix posts, which are all stellar. Craft, mindset… he covers it all, as well as it can be covered.)

Art has been doing teleseminars for some time now, which he prices really affordably. Especially given the delivery of one full hour of his narrated, topic-specific mentoring, often accompanied by a guide you can print out. From that base he’s developed a comprehensive 10-week training course, called “Story Skills.”  It’s an idea-to-final-draft tutorial on the marriage of process and product, all within the context of reaching for a professional level of storytelling.

Not just getting it done… but getting it done at a publishable level that competes with the best novels in the business.

Click HERE for a specific description of each week of the course.  

If you’re serious about learning the craft of storytelling, this is a rare and rich opportunity to learn from a master.

The link will take you to a web page written specifically for Storyfix readers, offering a massive discount (over 50 percent!) on the regular fee for the program.  Heck, it’s a bargain at the regular price, but for us he’s offering it xclusively at a ridiculously low price.

Don’t let this one slip away.

(http://artholcomb.blogspot.com/p/for-my-storyfix-readers.html)

*****

Want a FREE copy (Kindle) of my new book, Chasing Bliss: A Layman’s Guide to Love, Fulfillment, Damage Control, Repair and Resurrection  ?

If you’re one of the first ten to respond, you’re in.  (Sidenote: the paperback is now available, as well, though because of the cost of production isn’t part of this offer.)

Maybe that title speaks to you.  

I tackle this material the same way I approach the complex and layered challenge of telling stories — by breaking it all down into component parts, looking deep into the nature, function and application of each layer, and then rebuilding it all into a relational model in context to how the parts fit and how they can be optimized in the real world.

In other words, how to get your relationship back on track, maybe even better than ever.  How to reignite the passion and defuse the past. Literally, how to pursue a state of bliss at a level you may have written off as fantasy.

Relationships are hard, inconsistent and fragile.

We need to strive to become the best version of ourselves before we can expect the same from our partners. That’s what this book seeks to explore, while providing tools to help you understand, evolve and create a better life together.

Read the initial reader reviews HERE. I think you’ll be encouraged if you do.

Also, you can learn more — including an in-depth author interview — at www.chasingblissbook.com. 

This is a no strings offer, good until midnight on Wednesday, August 31.  Just send me an email.  Because I’m traveling this week I may not respond immediately, but know that if you beat the deadline, I’ll send you a  copy no later than next week. Hopefully  it’ll help, as well as entertain. And maybe you’ll be up for doing an Amazon review if it does, and pointing your family and friends toward it, too. 

A caution though… this is tough stuff. The truth often hurts, and Chasing Bliss doesn’t flinch from it. But truth is the only path that takes us forward, because when truth collides with courage, amazing things can happen.

(Note: this isn’t an affiliate relationship. I don’t make a penny off of Art’s products, nor he mine. We recommend each other because we believe in the messages, the means and the inherent opportunity at hand. My goal with Storyfix has always been to get as much elite information into your hands as possible, as accessibly as possible. This represents that goal.)

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In Defense of Slow, Thoughtful Writing

A guest post by Stephanie Raffelock

The other day I saw something on my Facebook feed that read, “Write Your Book Faster With Half the Effort.” In a world than demands instant gratification and a “winning” strategy, I understand the marketing behind the promise. But that doesn’t make it a good idea.

Writing faster doesn’t make your writing better and half the effort, well, it’s just half the effort. This sort of advertising pops up too often these days. Well-known authors promise me that I can crank out commercial fiction with their $99 eCourse, motivational speakers offer me “credibility” as a writer if only I will give them my money.

And few people talk about the long haul of craft, and those who do usually aren’t found advertising on Facebook.

Imagine that you are a young man, crawling into bed with a beautiful woman, and you say to her, “Tonight I am going to bring you to orgasm faster with half the effort.” Do you think she is going to say, “Oh baby, sign me up?” Chances are, unless you are a real idiot, you wouldn’t have that conversation in bed.

The faster/less effort trend with regard to writing is just as lame a conversation as the one with the beautiful woman in your bed, yet it seems to be oozing out of social media these days like it’s actually something to be desired.

Why the need for the short-cuts?

That’s what I want to know.

The answer takes us back to my first point, we are a culture that want things fast and we don’t want to sacrifice too much to get it. Why sacrifice, sweat and tears of mastering craft remain an unsung nobleness to which any artist should pay homage is beyond me.

Becoming a novelist demands that I write stories in a thoughtful construction that will provide a framework to create a world. And I want to know everything about that world and everyone in it. How can you possibly cut that work in half?

Novels are two-pronged. The first prong is structure. Our brains are hardwired for the order and sequence of story. Without structure, you don’t really have a story, you have rambling narrative, at best. The second prong is prose. Well-written, thoughtful prose that reveals the nuance and dimension of your story telling.  Neither of these two components can be rushed.

“Do the work and the results will follow,” says Robert McKee.

The work is the preparation, the building of a frame upon which your story will hang. Can you synopsize your story in less than two minutes? You have to really know the story to be able to do that and yet I meet lots of writers who, when asked what their story is about, will go off on a narrative spin that leaves me wondering how long I will have to listen to them before I can make an escape.

Here’s the thing, we all know about fast food. It has little nutritional value, which means it can’t sustain you. Keep eating like that and you will get sick. That’s also the thing about fast writing. There is little sustenance in half the time and half the effort, and not only will it not sustain your manuscript, it won’t sustain your reader. It will make them sick.

A novel is best birthed in a slow, simmering environment. Thoughtfulness should be the intent.

And here is the hard truth that a lot of rookie novelists do not want to face: learning to write a good novel is a slow process.

You learn from each manuscript and each manuscript is going to require 70-thousand to 80-thousand words. Without the striving for excellence in structure and in prose, without the willingness to put in the time and not try to rush it,  you are just another “trending now” wanna-be.

I understand a desire for quantity.

Hell, at my age I don’t exactly have decades in front of me with which to build a volume of work, and that’s putting it kindly. But it’s the quality that concerns me the most. We live in the most literate time in human history. That should be the best excuse of all to strive for excellence in craft.

Some tips on getting serious?

Sit down and write every single day whether you feel like it or not.
Keep a stack of yellow legal pads next to you and sketch out scenes, scenarios, quirks, intent and obstacles for each bit of prose that you write.
Structure is the pre-requisite—bringing the story to life with nuance and dimension is in the thoughtful details.
When you have finished a draft, re-read it with discerning eyes before you begin your first set of edits and revisions.
Sit with it for a while. Think about it.
Don’t skimp on changes that will make your manuscript better.

Most importantly, don’t delude yourself into believing there is a magical formula that makes novel writing quicker and easier. Just do the friggin’ work.

And the next time you crawl in bed with a beautiful woman, tell her this: “We have all night, sweetheart.”

‘Nuf said.

Stephanie Raffelock  graduated from Naropa University’s Creative Writing and Poetics Program. She writes a bi-monthly column for Sixtyandme.com and guest posts for sites like Storyfix.com, JenniferBlanchard.net and Huffington Post. Her debut novel is represented by Dystel & Goderich Literary Management. You can find her at Stephanieraffelock.com.

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Reviewers Wanted

If you’re a real-deal reader/reviewer and would like a free copy of my new book, Chasing Bliss: A Layman’s Guide to Love, Fulfillment, Damage Control, Repair  and Resurrection, let me know (storyfixer@gmail.com) and I’ll send you a Kindle edition, no strings.

To learn more (including an author interview), check out the new website for the book at:  Chasingblissbook.com

The post In Defense of Slow, Thoughtful Writing appeared first on Storyfix.com.

Save your marriage. Salvage your primary relationship. Get it all back. Fall in love again.

Welcome to my little side project. It’s not a novel. It’s an unflinching examination of what works, what doesn’t – and why – within our primary relationships.

It’s about how to fall in love again. And who doesn’t want that?

This is me chipping into the human conversation in a way that fiction can’t. My novels are full of relationship dysfunction and the juicy dark side of love… but this new project – entitled CHASING BLISS – is serious stuff. Even though it’ll make you laugh in places, it’ll make you wince and make you hopeful in others.

The subtitle pretty much says it all, so I won’t launch much of a content synopsis beyond that. Except to say… this is the stuff you pay your shrink thousands of dollars to land on while she listens and takes notes (that said, there are two Forewords, both by practicing MD/PsyD pros).

You’ll learn the ten reasons why “he” will cheat on you. Ten reasons by “she” will leave you. Five example scenarios that usually trip us up, and how to avoid those traps. And there is a breakdown of the love dynamic into seven relationship

You’ll learn the ten reasons why “he” will cheat on you. Ten reasons by “she” will leave you. Five example scenarios that usually trip us up, and how to avoid those traps. And then there is a breakdown of the love/cohabitation dynamic into seven relationship realms, all unavoidable, and how they can make or break you on their own, one at a time.

Living with someone you love is always challenging. Time itself, if left in charge, always erodes and diffuses the energy between you. You are battling against that as much as anything. These are the emotional physics that corrupt the psychology of love and domestic harmony. But there are ways to beat the odds and fall in love again.

These seven realms become the tool chest – the opportunity – to heal the wounds and lay the groundwork for an escalating and exciting future together. One that reignites the dream and reaffirms what you once had.

So where’s my graduate degree for this stuff? I’ve lived this. Been there, paid that counseling tab, taken the workshops, read the literature. And now I am in love with – married to – a woman who sets a high bar, one that presented me with a choice: step up, or step down and out. This book was inspired by that work, because stepping down was never an option for me.

As I’ve done in my fiction coaching work (three #1 bestselling books so far, and this website), I break it all down into component parts and endeavor to clarify what works, what doesn’t, why, and how to hit the reset button on it all.

So I hope you’ll give this a shot. Chances are the title and subject are already calling to you. I wrote this for you. Whether your relationship is broken or not, on fire or not, or even if you’re at or just out of the starting gate… this is information and thinking you’ll wish you had all along, and be thankful you’ve discovered now.

Because it’s never too late to fall in love… again.

Check out the book’s website (still under construction, but the home page is viewable) at www.chasingblissbook.com.

The book is available in trade paperback, on Kindle, Nook, Smashwords and iBooks. 

*****

Reviewers and bloggers wanted for this project.  If you have a following and are interested and willing to pay it forward (a review on Amazon or on your site, even an online interview), I’ll forward a copy of the book. Contact me at storyfixer@gmail.com.

The post Save your marriage. Salvage your primary relationship. Get it all back. Fall in love again. appeared first on Storyfix.com.

The Critical Essence of “Context” Within Your Story

Today I’m going to send you hopping over to The Kill Zone blog, where I have a dense, long, workshop-like post entitled, “How Is Your Table of Context?”

It’s a different batting stance as we swing for the fences in our stories. Hope this helps, and that you enjoy the ride.

*****

I’d like to update you on my little side project, my new book (on how to achieve success in primary relationships), Chasing Bliss.

My goal is to do for, and to, relationships what I’ve done to/for storytelling: break it down into its core elements and sequences (cause and effect), and identify and analyze the criteria for success within each. With a few war stories from my own spotty experience in this realm.

If you’re already bought the Kindle edition, this update is for you. Turn on the “Automatic Book Update” feature (it’s under the “Manage Your Content” tab, then select “Setting” in the three-part tool part near the top; this entry is a few selections down the list), and you’ll soon receive (as a replacement for the one on your device) and updated version of the book, with a few little glitches cleaned up).

Visit the under-construction (the first page is done) new website for the book, www.chasingblissbook.com.

The updated ebook book remains available on Kindle, Nook, Smashwords and iBooks.

The paperback edition is in the mysterious 3 – 5 day “arrival” cycle on Amazon, it’ll be there soon.  If you can’t wait — of course, this is what any author would hope for — it’s available for order/shipping NOW at the Createspace bookstore.

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Update from Yesterday’s Post

WordPress went hinky on me yesterday. In a couple of ways. What I posted didn’t fully show up. And I never received the morning post Feedburner distribution (maybe you did… if not, read on).

You don’t want to miss the interview with novelist Sue Coletta, entitled The Prototypical Novelist of Today – Proving It Can Be Done. Click on that title to get there if you didn’t receive this via your email.

Also, I had tagged the post with an update for those of you who purchased my new book, Chasing Bliss, as a Kindle edition. The post you’ll see from the link above has it… but if you’ve read the post and simply want to see the update, here it is.

Thanks much. Sorry for any inconvenience.

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Chasing Bliss Update: had some WordPress problems yesterday, this tag didn’t post, after three tries. Strange. I didn’t get this via normal Feedburner distribution, either, which may have happened for you, as well.

Anyhow… if you’ve purchased Chasing Bliss over the past few days… first, thank you. If you’ve started reading, you may have noticed the book has a few more typos and little glitches than one should expect. My apologies for that, I hit the button too soon. All those fixes are in process, in preparation for the paperback (which comes out in about 12 days or so), and will be implemented in the Kindle, as well. Which means you can get the updated version on your Kindle.

How to do that?  If you have Automatic Book Updates turned on (on your device), it’ll happen automatically.  If you don’t… click HERE for a walk-through on how to do that (it’s pretty simple). Hope this makes you feel whole. Moreover, I hope the book is contributing toward your experience within your relationship. Sorry for any inconvenience.

The Prototypical Novelist of Today… Proving That It CAN Be Done

 

 

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The Prototypical Novelist of Today… Proving That It CAN Be Done

An Interview with Sue Coletta, author of Marred and Wings of Mayhem
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(Quick opening note, leading to a postscript: If you are one of the Storyfix subscribers over the past few days, please make sure you read the important update at the end of today’s post. Thanks. For now… meet Sue Coletta).

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I have to be honest, Sue Coletta discovered me before I found her. She surfaced as one of the most enthusiastic endorsers and gracious reviews of Story Engineering, and then — I suppose because she wanted to see if the author walked the talk — she went on to read and review all of my novels, and in a way that novelists hope but rarely experience. We’ve gone on to be friends, but frankly, she intimidates me. Because she’s done so much more for me than I’ve done for her. Which is not how I prefer the scales to tip when it comes to friends.

She’ll freak when she reads that, but it’s true.

Sue does everything right. She writers killer books — two of them, at this point — founded on a deep understanding of the deep craft of the crime novel.  She writes “how-to” ebooks for her peers in the genre.  Her website is… perfect. Her brand presence is what they term as exploding on all the usual venues, including a recent interview on The Kill Zone and Authorinterviews.com, among others. And she is a master of the writers tool chest, from publicity to the jungle of self-publishing to

And she’s willing to engage with serious authors and share everything she knows.

Yea, we should all be like Sue Coletta. But for now, let’s just hear what she has to say. Trust me, you’ll want more… be sure to click through her links in the bio below.

This is me in bold, with Sue’s responses following:

I see your name everywhere, it seems. How have you managed to create a “brand” with real visibility, and is that something other authors can do in a similar fashion?

Absolutely. Anyone can build their brand. All it takes is discipline, passion, and determination. When I first decided to crawl out of my writer’s cave and join the community I started a blog, and it remains the best thing I’ve ever done. I blog about my passion…crime. Over time I’ve focused my efforts on providing research for other crime writers. Things like, police procedures, forensic science advancements and protocols, crime writing tips, as well as flash fiction and true crime stories. The latter two I include for those in my audience who aren’t writers.

As far as social media goes, many authors advocate picking one or two sites and being active, rather than trying to spread yourself too thin. And for the most part, I agree. Unless you share a name with another author like I do. In which case you’ll have to work twice as hard. When I first set out to build my brand, this other Sue Coletta used to dominate Google’s search results. “Used to” being the key words there. J She is now somewhere around page 10 or 11. And it’s because I remain active on Twitter, Facebook, Google Plus, Pinterest, StumbleUpon, and LinkedIn. By the end of the summer I’m hoping to veer into YouTube, as well.

In order to be everywhere and still find time to write we need to plan our time wisely and stick to the schedule no matter what. Also, we need to be careful with our brand. That means, no losing our cool in public, no responding to bad reviews, even if they’re incorrect or it seems like the reviewer never read the book. Go for a walk (or a run, if you’re really ticked me off), then come back and turn the reviewer into a character and murdered them in unspeakable ways. Works for me!

My point is, we need to conduct ourselves as professionals at all times while still being genuine. Because once you tarnish your brand, it’s very difficult to erase the damage.

Your two novels seem to be doing well.  Are you happy with where you are?  What would you do differently, if you could?

LOL That’s a loaded question. I have such huge dreams. So, am I happy with where I am? Happy, yes. Content, no. I’m not sure I’ll ever be content. It’s what drives me. That said, I am comfortable with who I am as a writer.

What would I do differently, if I could? Hmm…for one, I’d study story structure much earlier. I spent years writing one novel after another that weren’t publishable. But I can’t really say that time was wasted because stumbling, getting back up and forging ahead brought me to where I am now. So I’m thankful for those early failures, rejections, and harsh critiques. It’s how we grow; it’s how we hone our craft.

You are an advocate of self-published authors, but yet, you aren’t one (where your novels are concerned).  Do you work through an agent?  If not, how did you land with your current publisher?

I don’t have an agent, no. And that’s okay with me, for now.

My current publisher, Crossroad Press, doesn’t normally accept unagented submissions. It was kind of strange how it all came about. Originally I had signed a contract for Wings of Mayhem with Marred’s publisher (a small press), but I had this overwhelming feeling that it wasn’t the right move. For months I struggled with what to do. Finally trusting my intuition, I bought back my rights one month before Wings of Mayhem was set to release. Bold move, I know, but I had to take a chance or I’d always wonder, what if?

Once my rights reverted I sent out queries to a handful of publishers. Then one day I was chatting with this girl on Twitter. I had no idea who she was until she invited me to submit to Harper Collins (she was the acquisitions editor). Which I did, even though she warned me that Wings of Mayhem wouldn’t release for a full year after acceptance. The more I thought about it, the more I feared I’d lose my audience if I kept my readers hanging. I liked the work Crossroad was doing, so I took a chance and reached out to them, never expecting that it would amount to anything. They were very clear about no unagented submissions. Anyway, rather than send a formal query I sent a friendly email introducing myself and leaving a link to my blog and social media. That afternoon they wrote back, with a contract for a three-book deal.

The moral of this story: always trust your gut.

How would you categorize your publisher?  They’re not a “big-5” outfit — those seem to be largely inaccessible these days — so how it this experience different?

I’d categorize Crossroad as a medium-sized publisher. I say “medium” because unlike my first publisher, who is the epitome of a small press, they run the company as if they are a Big 5 outfit, by having an online store, publishing in every medium—audio, print, ebook—and helping an author’s overall career. They also pay for a lot of the marketing and are willing to do the legwork to get their authors into libraries and brick-and-mortar stores. With the average small press, after they demand more rights than they ever intend to use, and the book is available for sale, you’re on your own.

The difference in contract terms is vastly different, too. For example, with Crossroad I still own my characters, the setting, and several of my rights, including all subsidiary rights. Whereas with Marred, I don’t. They could sell the subsidiary rights and I’d never see a penny. And unfortunately, those terms aren’t unusual with small presses.

In your opinion, what should a self-published author do themselves, versus farm out (through Fiverr, for example)? How does a new author ramp-up to knowing what they need to know, both on the writing/storytelling side, and the manuscript prep and submission side?

Unless they’re a cover artist or want to take the time to learn Gimp, I’d encourage them to farm out their cover. There are so many bad covers out there. It’s a shame, really, because the cover is our number one marketing tool.

Secondly, hire an editor. Not only for a line edit but content edit, as well. We can’t see our own work. No one can. Lastly, if you’re a technophobe like someone we know (cough. Larry), it might be a good idea to farm out the formatting for at least the print version. Formatting for all the different book sites—for wider exposure authors should list their books with all book distributers, not just Amazon—will quickly drive you to drink.

As far as writing goes, study story structure, principals, and physics. It’s the most important thing you’ll ever learn. Read Story Engineering. You’ll be so glad you did. Another amazing craft book that I highly recommend is Getting Into Character: Seven Secrets Novelists Can Learn From Actors by Brandilyn Collins. It will help you grasp the finer details of writing, like your inner rhythm, emotion memory, subtext, and restraint and control.

What’s your writing process, and how did you end up there?  What have you tried that perhaps didn’t work, and what have you discovered that does?

My writing process stems from years of studying craft books, but everything changed for me when I read Story Engineering. It was like someone flipped a switched, and I finally got it. All that I had learned fell into place while I devoured that book in one sitting. It was one of the most amazing days I’ve had as a writer. I’ll never forget dancing around my living room, high on craft.

Since then, I’ve planned my novels using an Excel spreadsheet based on the principals in Story Engineering, with a few milestones thrown in from James Scott Bell, like the Mirror Moment, and Save the Cat’s Dark Night of the Soul. I also use a notebook for characterization and index cards for scenes.

Early on, I pantsed four novels, all of which aren’t publishable without rewrites. They are now trunked.

What’s the most valuable piece of writing advice you’ve ever heard… where did you hear it… and how do you apply it?

“Competencies of storytelling aren’t your call, any more than you get to invent a new way to swing a golf club or take out a spleen. However you create your work, if you want to sell it, eventually it will need to align to these principals. The sooner it happens in the process, the better.” ~ Larry Brooks, Story Engineering

That quote slapped me with a reality I will never forget. And ever since, I would never even consider writing a novel, novella, or short story of any significant length without planning my story in advance. The only form I don’t plan is flash fiction, but even then, I’m thinking of the overall structure while I’m writing.

What’s next for you, near term and beyond?

I’m hoping to release Blessed Mayhem by late September/early October and Impaled and A Deadly Yearning by January. I’m also involved with a multi-author thriller that’s set to release this fall. I have a flash fiction piece, entitled Betrayed, which is set to release any day now in 100 Voices anthology, published by Allegiant. They’ve asked for a story for the 2nd edition, too, so I’m working on that. And I’m working on a short story for the dark fiction anthology, RUN, that releases Halloween day.

What would you say to the newer writer reading this, perhaps something you wish you had been told when you were staring into the abyss?

Eventually we all find our way, in our own time. But I’ll share a few things to keep in mind.

Don’t let anyone tell you that you can’t achieve your dream, whatever that might be.

Dream big. Dream often. And never settle.

Persistence really does pay off.

Keep writing, keep studying, keep honing your craft. Your day will come. I promise. And someday, you’ll pass along the same advice.

A win for one is a win for us all.

Support your fellow writers…share their good news, pick them up when they fall, root for them, and inspire them every chance you get. The writing community is filled with so many awesome people who will do the same for you. That’s just how we roll. J

Don’t measure your success by the success of others.

If you do, not only with self-doubt rear its ugly head but you’ll lose the forward momentum needed to stay motivated. Instead, set small-scale and large-scale goals. For example, a small-scale goal might be having a flash fiction piece accepted into an anthology to begin building up your publishing credits. A large-scale goal might be a featured story in Ellery Queen, or winning a notable literary award, or seeing your name at the top of the New York Times bestsellers list. If you think these goals are unrealistic, refer back to my first tip. Most of all, take the time to celebrate your achievements, no matter how small. You’re one step closer to your dream!

BIO: Member of MWA, Sisters in Crime, and International Thriller Writers, Sue Coletta is always searching for new ways to commit murder…on the page. In her books—Wings of Mayhem, Marred, The Rendering, Crime Writer’s Research, and 60 Ways to Murder Your Characters—she offers an honest peek behind the crime scene tape. Sometimes that can be fascinating, other times it’s a frightening place. A multi-published author in numerous anthologies, Sue’s also published forensic articles in InSinC Quarterly. In addition to her popular crime resource blog, she’s the communications manager for the Serial Killer Project and Forensic Science, both groups founded by homicide detective (Ret.) and cold case expert, Joe Giacolone. And she’s the founder of #ACrimeChat on Twitter. To learn more about Sue, visit her website at: www.suecoletta.com. Or her Amazon author page: www.amazon.com/author/suecoletta 

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When Theme Smothers Premise — A Case Study

Today’s title pretty much sums what I want you to notice–and learn from–in this case study, taken from my Concept/Premise Level Analysis service.

I’d lecture here about the risk of too much thematic emphasis, but that’s already in my feedback, for your enlightenment.

Read it here: July 16 case study

Anxious to see what you think.  Feel free to chip in your feedback, this author volunteered these answers not only so you might gain something, as she did… but also, so that she might benefit from more eyes and brains on the same story.

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