Happy Solstice!! What's YOUR writing intention?

Nanowrimo Now What? Holiday Homework: It's a Wonderful Life

Happy Solstice!! What's YOUR writing intention?

<div class="MsoNormal" style="text-align: left;">by <a href="http://alexandrasokoloff.com/" target="_blank">Alexandra Sokoloff</a> <br /><br />It’s Solstice, a powerful time to set intentions. Yes, I know you have Christmas shopping to do. Quite possibly some cooking, if that’s what you’re into. We could all do some cleaning. And almost undoubtedly there's family, which this year might be more fraught than usual. </div><div class="MsoNormal" style="text-align: left;"><br /></div><div class="MsoNormal" style="text-align: left;">(Also taxes. I hate to even bring it up, but that whole travesty wasn’t MY idea - and now we have to live with it. You may want to give this a quick read: <a href="https://www.nytimes.com/interactive/2..." target="_blank"><i>Hacking the Tax Plan</i></a><span style="mso-spacerun: yes;">.</span>)</div><div class="MsoNormal" style="text-align: left;"><br /></div><div class="MsoNormal" style="text-align: left;">But still. Even with all of the above - there’s a reason we traditionally write resolutions at this time of year. Sow some seeds that will blossom for you in 2018/ Take a minute, or an hour, to BE still, and answer the questions for yourself: <span style="mso-spacerun: yes;"> </span></div><div class="MsoNormal" style="text-align: left;"><br /></div><div class="MsoNormal" style="text-align: left;">What next? What do I want for the coming year? What does it look like for me?</div><div class="MsoNormal" style="text-align: left;"><br /></div><div class="MsoNormal" style="text-align: left;">And of course, I have some questions specifically for the writers.</div><div class="MsoNormal" style="text-align: left;"><br /></div><div class="MsoNormal" style="text-align: left;">Do you want to finish that book, the one from Nanowrimo or otherwise? Publish for the first time? Publish at a whole new, spectacular level? Get that movie or TV series made?</div><div class="MsoNormal" style="text-align: left;"><br /></div><div class="MsoNormal" style="text-align: left;">This is the time for ALL those shimmering wishes.</div><div class="MsoNormal" style="text-align: left;"><br /></div><div class="MsoNormal" style="text-align: left;">And to help nudge the writers along, I’m going to start some posts on rewriting. I have WHOLE BOOKS on writing, that you can conveniently order below. But here on the blog, since we’re into that Nanowrimo Now What time of year, let’s focus on the rewriting part. </div><div class="MsoNormal" style="text-align: left;"><br /></div><div class="MsoNormal" style="text-align: left;">Here’s a general list of my best advice on rewriting to start. You don’t have to read it now! You have shopping, and cooking, and family, and probably some tax scrambling to do.</div><div class="MsoNormal" style="text-align: left;"><br /></div><div class="MsoNormal" style="text-align: left;">But it’s Solstice, so I’m planting the idea in your heads - and wishing you a bright and bountiful harvest in the New Year.</div><div class="MsoNormal" style="text-align: left;"><br /></div><div class="MsoListParagraph" style="margin-left: 21pt; text-align: left; text-indent: -0.25in;"><span style="mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: Calibri; mso-hansi-font-family: Calibri;"><span style="mso-list: Ignore;">-<span style="font: 7.0pt "Times New Roman";"> </span></span></span>Alex<br /><br /><span style="color: #420278; font-family: "arial"; mso-bidi-font-family: Times;"><a href="http://eepurl.com/bghqB5">Get free Story Structure extras and movie breakdowns</a></span> </div><div class="MsoListParagraph" style="margin-left: 21pt; text-align: left; text-indent: -0.25in;"><br /></div><div class="MsoListParagraph" style="margin-left: 21pt; text-align: left; text-indent: -0.25in;"><br /></div><div class="MsoListParagraph" style="margin-left: 21pt; text-align: left; text-indent: -0.25in;"> <b>TOP TEN THINGS I KNOW ABOUT REWRITING </b></div><div class="MsoListParagraph" style="margin-left: 21pt; text-align: left; text-indent: -0.25in;"><br /></div><div class="MsoListParagraph" style="margin-left: 21pt; text-align: left; text-indent: -0.25in;"><br /></div><div style="text-align: left;">Now that we've had some time off from the frenzy of writing that was November, we need to get back to those drafts and - yike - see what we've got.</div><div style="margin: 0px; text-align: left;"><br /></div><div style="margin: 0px; text-align: left;">Remember, the most important thing is taking enough time off from that draft. But now that you have taken the time off… how the hell do you proceed with the second draft?</div><div style="margin: 0px; text-align: left;"><br /></div><div style="margin: 0px; text-align: left;">Well, first you have to read the first draft. All the way through. Not necessarily in one sitting (if that’s even possible to begin with!). I usually do this in chunks of 50 pages or 100 pages a day – anything else makes my brain sore.</div><div style="margin: 0px; text-align: left;"><br /></div><div style="margin: 0px; text-align: left;">(And yes, if you’ve been paying attention (<a href="http://thedarksalon.blogspot.com/2009... Three Act Structure and The Eight Sequence Structure</a>), that would mean I’m either reading one sequence or two sequences a day).</div><div style="margin: 0px; text-align: left;"><br /></div><div style="margin: 0px; text-align: left;">I picked up a tip from some book or article a long time ago about reading for revisions, and I wish I could remember who said it to credit them, because it’s great advice. Grab yourself a colored pen or pencil (or all kinds of colors, glitter pens - go wild) and sit down with a stack of freshly printed pages (sorry, it’s ungreen, but I can’t do a first revision on a screen. I need a hard copy). Then read through and make brief notes where necessary, but DO NOT start rewriting, and PUT THE PEN DOWN as soon as you’ve made a note. You want to read the first time through for story, not for stupid details that will interrupt your experience of the story as a whole. You want to get the big picture – especially – you want to see if you actually have a book (or film, if that’s what you’re writing).</div><div style="margin: 0px; text-align: left;"><br /></div><div style="margin: 0px; text-align: left;">If your drafts are anything like mine, there will be large chunks of absolute shit. That’s pretty much my definition of what a first draft is. X them out on the spot if you have to, but resist the temptation to stop and rewrite. Well, if you REALLY are hot to write a scene, I guess, okay, but really, unless you are totally, fanatically inspired, it’s better just to make brief notes.</div><div style="margin: 0px; text-align: left;"><br /></div><div style="margin: 0px; text-align: left;">When you’ve finished reading there should - hopefully! - be the feeling that even though you probably still have massive amounts of work yet to do, there is a book there. (I love that feeling…)</div><div style="margin: 0px; text-align: left;"><br /></div><div style="margin: 0px; text-align: left;">Once I’ve read through the entire thing, I make notes about my impressions, and then usually I will do a re-card (see <a href="http://thedarksalon.blogspot.com/2009... Index Card Method</a>). I will have made many scribbled notes on the draft to the effect of “This scene doesn’t work here!” In some of my first drafts, whole sections don’t work at all. This is my chance to find the right places for things. And, of course, throw stuff out.</div><div style="margin: 0px; text-align: left;"><br /></div><div style="margin: 0px; text-align: left;">I will go through the entire book again – going back and forth between my pages and the cards on my story grid - and see where the story elements fall. There is no script or book I’ve ever written that didn’t benefit from a careful overview once again identifying act breaks, sequence climaxes, and key story elements like: The Call to Adventure; Stating the Theme; identifying the Central Question; Central Action and Plan; Crossing the Threshold; Meeting the Mentor; the Dark Night of the Soul - once the first draft is actually finished. A lot of your outline may have changed, and you will be able to pull your story into line much more effectively if you check your structural elements again and continually be thinking of how you can make those key scenes more significant, more magical.</div><div style="margin: 0px; text-align: left;"><br /></div><div style="margin: 0px; text-align: left;">(For a quick refresher on Story Elements, skip down to #10 at the bottom of this post, and the links at the end for more in-depth discussion.)</div><div style="margin: 0px; text-align: left;"><br /></div><div style="margin: 0px; text-align: left;">Also, be very aware of what your sequences are. If a scene isn’t working, but you know you need to have it, it’s probably in the wrong sequence, and if you look at your story overall and at what each sequence is doing, you’ll probably be able to see immediately where stray scenes need to go. That’s why re-carding and re-sequencing is such a great thing to do when you start a revision.</div><div style="margin: 0px; text-align: left;"><br /></div><div style="margin: 0px; text-align: left;">Now, the next steps can be taken in whatever order is useful to you, but here again are the Top Ten Things I Know About Editing.</div><div style="margin: 0px; text-align: left;"><br /></div><div style="margin: 0px; text-align: left;"><br /></div><div style="margin: 0px; text-align: left;">1. Cut, cut, cut.</div><div style="margin: 0px; text-align: left;"><br /></div><div style="margin: 0px; text-align: left;">When you first start writing, you are reluctant to cut anything. Believe me, I remember. But the truth is, beginning writers very, very, VERY often duplicate scenes, and characters, too. And dialogue, oh man, do inexperienced writers duplicate dialogue! The same things happen over and over again, are said over and over again. It will be less painful for you to cut if you learn to look for and start to recognize when you’re duplicating scenes, actions, characters and dialogue. Those are the obvious places to cut and combine.</div><div style="margin: 0px; text-align: left;"><br /></div><div style="margin: 0px; text-align: left;">Some very wise writer (unfortunately I have no idea who) said, “If it occurs to you to cut, do so.” This seems harsh and scary, I know. Often I’ll flag something in a manuscript as “Could cut”, and leave it in my draft for several passes until I finally bite the bullet and get rid of it. So, you know, that’s fine. Allow yourself to CONSIDER cutting something, first. No commitment! Then if you do, fine. But once you’ve considered cutting, you almost always will. It's okay if you bitch about it all the way to the trash file, too - I always do.</div><div style="margin: 0px; text-align: left;"><br /></div><div style="margin: 0px; text-align: left;">2. Find a great critique group.</div><div style="margin: 0px; text-align: left;"><br /></div><div style="margin: 0px; text-align: left;">This is easier said than done, but you NEED a group, or a series of readers, who will commit themselves to making your work the best it can be, just as you commit the same to their work. Editors don’t edit the way they used to and publishing houses expect their authors to find friends to do that kind of intensive editing. Really.</div><div style="margin: 0px; text-align: left;"><br /></div><div style="margin: 0px; text-align: left;">3. Do several passes.</div><div style="margin: 0px; text-align: left;"><br /></div><div style="margin: 0px; text-align: left;">Finish your first draft, no matter how rough it is. Then give yourself a break — a week is good, two weeks is better, three weeks is better than that — as time permits. Then read, cut, polish, put in notes. Repeat. And repeat again. Always give yourself time off between reads if you can. The closer your book is to done, the more uncomfortable the unwieldy sections will seem to you, and you will be more and more okay with getting rid of them. Read on for the specific kinds of passes I recommend doing.</div><div style="margin: 0px; text-align: left;"><br /></div><div style="margin: 0px; text-align: left;">4. Whatever your genre is, do a dedicated pass focusing on that crucial genre element.</div><div style="margin: 0px; text-align: left;"><br /></div><div style="margin: 0px; text-align: left;">For a thriller: thrills and suspense. For a mystery: clues and misdirection and suspense. For a comedy: a comedic pass. For a romance: a sex pass. Or “emotional” pass, if you must call it that. For horror… well, you get it.</div><div style="margin: 0px; text-align: left;"><br /></div><div style="margin: 0px; text-align: left;">I write suspense. So after I’ve written that first agonizing bash-through draft of a book or script, and probably a second or third draft just to make it readable, I will at some point do a dedicated pass just to amp up the suspense, and I highly recommend trying it, because it’s amazing how many great ideas you will come up with for suspense scenes (or comic scenes, or romantic scenes) if you are going through your story JUST focused on how to inject and layer in suspense, or horror, or comedy, or romance. It’s your JOB to deliver the genre you’re writing in. It’s worth a dedicated pass to make sure you’re giving your readers what they’re buying the book for.</div><div style="margin: 0px; text-align: left;"><br /></div><div style="margin: 0px; text-align: left;">5. Know your Three Act Structure.</div><div style="margin: 0px; text-align: left;"><br /></div><div style="margin: 0px; text-align: left;">If something in your story is sagging, it is amazing how quickly you can pull your narrative into line by looking at the scene or sequence you have around page 100 (or whatever page is ¼ way through the book), page 200, (or whatever page is ½ way through the book), page 300 (or whatever page is ¾ through the book) and your climax. Each of those scenes should be huge, pivotal, devastating, game-changing scenes or sequences (even if it’s just emotional devastation). Those four points are the tentpoles of your story.</div><div style="margin: 0px; text-align: left;"><br /></div><div style="margin: 0px; text-align: left;">6. Do a dedicated DESIRE LINE pass in which you ask yourself for every scene: “What does this character WANT? Who is opposing her/him in this scene? Who WINS in the scene? What will they do now?”</div><div style="margin: 0px; text-align: left;"><br /></div><div style="margin: 0px; text-align: left;">7. Do a dedicated EMOTIONAL pass, in which you ask yourself in every chapter, every scene, what do I want my readers to FEEL in this moment?</div><div style="margin: 0px; text-align: left;"><br /></div><div style="margin: 0px; text-align: left;">8. Do a dedicated SENSORY pass, in which you make sure you’re covering what you want the reader to see, hear, feel, taste, smell, and sense.</div><div style="margin: 0px; text-align: left;"><br /></div><div style="margin: 0px; text-align: left;">9. Read your book aloud. All of it. Cover to cover.</div><div style="margin: 0px; text-align: left;"><br /></div><div style="margin: 0px; text-align: left;">I wouldn’t recommend doing this with a first draft unless you feel it’s very close to the final product, but when you’re further along, the best thing I know to do to edit a book — or script — is read it aloud. The whole thing. I know, this takes several days, and you will lose your voice. Get some good cough drops. But there is no better way to find errors — spelling, grammar, continuity, and rhythmic errors. Try it, you’ll be amazed.</div><div style="margin: 0px; text-align: left;"><br /></div><div style="margin: 0px; text-align: left;">10. Finally, and this is a big one: steal from film structure to pull your story into dramatic line.</div><div style="margin: 0px; text-align: left;"><br /></div><div style="margin: 0px; text-align: left;">Some of you are already well aware that I’ve compiled a checklist of story elements that I use both when I’m brainstorming a story on index cards, and again when I’m starting to revise. I find it invaluable to go through my first draft and make sure I’m hitting all of these points, so here it is again, for those just finding this post.</div><div style="margin: 0px; text-align: left;"><br /></div><div style="margin: 0px; text-align: left;"><br /></div><div style="margin: 0px; text-align: left;">STORY ELEMENTS CHECKLIST</div><div style="margin: 0px; text-align: left;"><br /></div><div style="margin: 0px; text-align: left;">ACT ONE</div><div style="margin: 0px; text-align: left;"><br />* Opening image</div><div style="margin: 0px; text-align: left;">* Meet the hero or heroine</div><div style="margin: 0px; text-align: left;">* Hero/ine’s inner and outer desire.</div><div style="margin: 0px; text-align: left;">* Hero/ine’s problem</div><div style="margin: 0px; text-align: left;">* Hero/ine’s ghost or wound</div><div style="margin: 0px; text-align: left;">* Hero/ine’s arc</div><div style="margin: 0px; text-align: left;">* Inciting Incident/Call to Adventure</div><div style="margin: 0px; text-align: left;">* Meet the antagonist (and/or introduce a mystery, which is what you do when you’re going to keep your antagonist hidden to reveal at the end)</div><div style="margin: 0px; text-align: left;">* State the theme/what’s the story about?</div><div style="margin: 0px; text-align: left;">* Allies</div><div style="margin: 0px; text-align: left;">* Mentor (possibly. May not have one or may be revealed later in the story).</div><div style="margin: 0px; text-align: left;">* Love interest</div><div style="margin: 0px; text-align: left;">* Plant/Reveal (or: Setups and Payoffs)</div><div style="margin: 0px; text-align: left;">* Hope/Fear (and Stakes)</div><div style="margin: 0px; text-align: left;">* Time Clock (possibly. May not have one or may be revealed later in the story)</div><div style="margin: 0px; text-align: left;">* Sequence One climax</div><div style="margin: 0px; text-align: left;">* Central Question</div><div style="margin: 0px; text-align: left;">* Central Story Action</div><div style="margin: 0px; text-align: left;">* Plan (Hero/ine's)</div><div style="margin: 0px; text-align: left;">* Villain's Plan</div><div style="margin: 0px; text-align: left;">* Act One climax</div><div style="margin: 0px; text-align: left;"><br /></div><div style="margin: 0px; text-align: left;">___________________________</div><div style="margin: 0px; text-align: left;"><br /></div><div style="margin: 0px; text-align: left;">ACT TWO</div><div style="margin: 0px; text-align: left;"><br /></div><div style="margin: 0px; text-align: left;"><br /></div><div style="margin: 0px; text-align: left;">* Crossing the Threshold/ Into the Special World (may occur in Act One)</div><div style="margin: 0px; text-align: left;">* Threshold Guardian (maybe)</div><div style="margin: 0px; text-align: left;">* Hero/ine’s Plan</div><div style="margin: 0px; text-align: left;">* Antagonist’s Plan</div><div style="margin: 0px; text-align: left;">* Training Sequence</div><div style="margin: 0px; text-align: left;">* Series of Tests</div><div style="margin: 0px; text-align: left;">* Picking up new Allies</div><div style="margin: 0px; text-align: left;">* Assembling the Team</div><div style="margin: 0px; text-align: left;">* Attacks by the Antagonist (whether or not the Hero/ine recognizes these as being from the antagonist)</div><div style="margin: 0px; text-align: left;">* In a detective story, questioning witnesses, lining up and eliminating suspects, following clues.</div><div style="margin: 0px; text-align: left;"><br /></div><div style="margin: 0px; text-align: left;"><br /></div><div style="margin: 0px; text-align: left;">THE MIDPOINT</div><div style="margin: 0px; text-align: left;"><br /></div><div style="margin: 0px; text-align: left;"><br /></div><div style="margin: 0px; text-align: left;">* Completely changes the game</div><div style="margin: 0px; text-align: left;">* Locks the hero/ine into a situation or action</div><div style="margin: 0px; text-align: left;">* Can be a huge revelation</div><div style="margin: 0px; text-align: left;">* Can be a huge defeat</div><div style="margin: 0px; text-align: left;">* Can be a “now it’s personal” loss</div><div style="margin: 0px; text-align: left;">* Can be sex at 60 — the lovers finally get together, only to open up a whole new world of problems</div><div style="margin: 0px; text-align: left;"><br /></div><div style="margin: 0px; text-align: left;"><br /></div><div style="margin: 0px; text-align: left;">______________________________</div><div style="margin: 0px; text-align: left;">ACT TWO, PART TWO</div><div style="margin: 0px; text-align: left;"><br /></div><div style="margin: 0px; text-align: left;"><br /></div><div style="margin: 0px; text-align: left;">* Recalibrating — after the shock or defeat of the game-changer in the Midpoint, the hero/ine must Revamp The Plan and try a New Mode of Attack.</div><div style="margin: 0px; text-align: left;">* Escalating Actions/ Obsessive Drive</div><div style="margin: 0px; text-align: left;">* Hard Choices and Crossing The Line (immoral actions by the main character to get what s/he wants)</div><div style="margin: 0px; text-align: left;">* Loss of Key Allies (possibly because of the hero/ine’s obsessive actions, possibly through death or injury by the antagonist).<br />* Visit to the Goddess </div><div style="margin: 0px; text-align: left;">* A Ticking Clock (can happen anywhere in the story)</div><div style="margin: 0px; text-align: left;">* Reversals and Revelations/Twists. (Hmm, that clearly should have its own post, now, shouldn't it?)</div><div style="margin: 0px; text-align: left;">* The Long Dark Night of the Soul and/or Visit to Death (aka All Is Lost)</div><div style="margin: 0px; text-align: left;"><br /></div><div style="margin: 0px; text-align: left;">THE SECOND ACT CLIMAX</div><div style="margin: 0px; text-align: left;"><br /></div><div style="margin: 0px; text-align: left;">* Often can be a final revelation before the end game: the knowledge of who the opponent really is</div><div style="margin: 0px; text-align: left;">* Answers the Central Question</div><div style="margin: 0px; text-align: left;"><br /></div><div style="margin: 0px; text-align: left;"><br /></div><div style="margin: 0px; text-align: left;">_______________________________</div><div style="margin: 0px; text-align: left;"><br /></div><div style="margin: 0px; text-align: left;">ACT THREE</div><div style="margin: 0px; text-align: left;"><br /></div><div style="margin: 0px; text-align: left;">The third act is basically the Final Battle and Resolution. It can often be one continuous sequence — the chase and confrontation, or confrontation and chase. There may be a final preparation for battle, or it might be done on the fly. Either here or in the last part of the second act the hero will make a new, FINAL PLAN, based on the new information and revelations of the second act.</div><div style="margin: 0px; text-align: left;"><br /></div><div style="margin: 0px; text-align: left;">The essence of a third act is the final showdown between protagonist and antagonist. It is often divided into two sequences:</div><div style="margin: 0px; text-align: left;"><br />1. Getting there (storming the castle)</div><div style="margin: 0px; text-align: left;">2. The final battle itself</div><div style="margin: 0px; text-align: left;"><br /></div><div style="margin: 0px; text-align: left;">* Thematic Location — often a visual and literal representation of the Hero/ine’s Greatest Nightmare</div><div style="margin: 0px; text-align: left;">* The protagonist’s character change</div><div style="margin: 0px; text-align: left;">* The antagonist’s character change (if any)</div><div style="margin: 0px; text-align: left;">* Possibly allies’ character changes and/or gaining of desire<br /> * Could be one last huge reveal or twist, or series of reveals and twists, or series of final payoffs you've been saving (as in BACK TO THE FUTURE and IT'S A WONDERFUL LIFE).</div><div style="margin: 0px; text-align: left;"><br /></div><div style="margin: 0px; text-align: left;">* RESOLUTION: A glimpse into the New Way of Life that the hero/ine will be living after this whole ordeal and all s/he’s learned from it.</div><br /><div style="margin: 0px; text-align: left;"><br /></div><div style="margin: 0px; text-align: left;">- <a href="http://alexandrasokoloff.com/"&g... /><br /><br /><div style="font-family: times; margin: 0px;">=====================================================</div><div style="font-family: times; margin: 0px;"><br /></div><div class="MsoNormal" style="font-family: times;"><div style="margin: 0px;"><span style="font-style: italic;"><b> STEALING HOLLYWOOD</b></span></div><div style="margin: 0px;"><span style="font-style: italic;"><br /></span>This new workbook updates all the text in the first <i style="mso-bidi-font-style: normal;">Screenwriting Tricks for Authors</i> ebook with all the many tricks I’ve learned over my last few years of writing and teaching—and <i>doubles</i> the material of the first book, as well as adding <span style="mso-bidi-font-style: normal;">six</span><i style="mso-bidi-font-style: normal;"> </i>more full story breakdowns.</div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;"><div style="margin: 0px;"><br /></div></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;"><div style="margin: 0px;"><a href="http://4.bp.blogspot.com/-dJMygnCcTnM..." style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em; text-align: center;"><img border="0" height="200" src="https://4.bp.blogspot.com/-dJMygnCcTn..." style="cursor: move;" width="160" /></a><span style="font-family: "arial"; mso-bidi-font-family: Arial;"> </span></div></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;"><div style="margin: 0px;"><br /></div></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;"><div style="margin: 0px;"><br /></div></div><div class="MsoNormal" style="margin-left: .5in; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;"><div style="margin: 0px;"><a href="http://hyperurl.co/sqrkry">&l... 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HOLLYWOOD</i></a><i> print, all countries </i></div></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;"><div style="margin: 0px;"><br /></div></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;"><div style="margin: 0px;"><br /></div></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;"><div style="margin: 0px;"><span style="font-family: "arial"; mso-bidi-font-family: Arial;"><br /></span></div></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;"><div style="margin: 0px;"><span style="font-family: "arial"; mso-bidi-font-family: Arial;"><br /></span></div></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;"><div style="margin: 0px;"><span style="font-family: "arial"; mso-bidi-font-family: Arial;"><br /></span></div></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;"><div style="margin: 0px;"><br /></div><div style="margin: 0px;"><br /></div><div style="margin: 0px;"><i><b><br /></b></i><i><b>WRITING LOVE</b></i></div></div><div style="margin: 0px;"><span style="font-style: italic;"><br /></span><span style="font-style: italic;">Writing Love</span> is a shorter version of the workbook, using examples from love stories, romantic suspense, and romantic comedy - available in e formats for just <span style="font-weight: bold;">$2.99.</span></div><div style="margin: 0px;"><br /></div><div style="margin: 0px;"><br /></div><div style="margin: 0px;"><a href="http://1.bp.blogspot.com/-aZneOFcfA8k..." onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5644435457160854226" src="https://1.bp.blogspot.com/-aZneOFcfA8..." style="cursor: pointer; float: left; height: 200px; margin: 0px 10px 10px 0px; width: 132px;" /></a>- <a href="http://www.smashwords.com/books/view/... 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DE</a></div></div><div style="font-family: times; margin: 0px;"><br /></div><div style="font-family: times; margin: 0px;"><br /></div><div style="font-family: times; margin: 0px;"><br /></div><div style="font-family: times;"><div style="margin: 0px;"><div style="margin: 0px;"><span style="font-family: inherit;"><br /></span></div></div><div style="margin: 0px;"><div style="margin: 0px;"><br /></div></div><div><div style="margin: 0px;"><div style="margin: 0px;"><span style="font-family: inherit;">You can also sign up to get free movie breakdowns here:</span></div></div><div style="margin: 0px;"><div style="margin: 0px;"><span style="font-family: inherit;"><br /></span></div></div></div><div><div style="margin: 0px;"><div style="margin: 0px;"><span style="font-family: "arial"; mso-bidi-font-family: Times;"> </span><span style="color: #420278; font-family: "arial"; mso-bidi-font-family: Times;"><a href="http://eepurl.com/bghqB5">Get free Story Structure extras and movie breakdowns</a></span></div></div></div></div></div><div style="margin: 0px; text-align: left;"><br /></div><div class="MsoListParagraph" style="margin-left: 21pt; text-align: left; text-indent: -0.25in;"><br /></div>

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