Tag Archives: writing goals

How to Be the CEO of Your Life

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Photos by Megan Tsang Hand

May 24, 2019, was my last day as a high school English teacher. Last week I gave myself a bit of a vacation as my husband and I spent time visiting his family and friends in Virginia and lounging at the beach. So I consider today, June 3, 2019, my first day of work as my own boss.

Related Reading: So…I quit my job!

I’ve dreamt of being an entrepreneur since before I was old enough to correctly pronounce the word. But juggling my writing business with my teaching career for all these years has taught me that whether you are self-employed or not you do have the power to be the CEO of your life. And if I don’t hold on to those lessons that I’ve learned I won’t truly live the life of an unbossed woman even as a full-time freelancer and entrepreneur as I could easily run myself ragged trying to meet deadlines and care for clients. So let’s discuss how we can all truly live like a boss.

Know thyself.

First and foremost, I’ve learned that to be the CEO of your own life you have to know yourself. Alyssa Mastromonaco agrees with me. Alyssa has worked for Bernie Sanders, John Kerry, and President Barack Obama and in the June issue of InStyle magazine, she offers advice on how to be your own chief of staff. She says, for starters, you must ask yourself some essential questions:

When do you function best? Are you cool as a cucumber or prone to bouts of anxiety? What are your priorities? Are you goal-oriented? How do you keep track of impending tasks? How do you fuel yourself? Do you need to eat healthy? Sleep a lot? Work out?

I know I function best early in the morning. That’s why I’ve spent the past several years getting up at 4 a.m. That’s how I managed to freelance for several publications, blog, and run See Jane Write while also teaching full time.  That’s why I will continue to be an early riser even now that I’m self-employed.

Maybe you work best in the morning, too. If so, you’re going to have to put your big girl panties on and set that alarm for an hour earlier so you can work on your writing before you head to your day job. If you work better late at night, turn off the TV and get to work.

If you’re as cool as a cucumber I salute you. I envy you a bit, too. I have wrestled with overwhelming bouts of anxiety since I was a child, anxiety that can send me into full-blown panic attacks, anxiety that could easily keep me from getting things done. But I see my therapist regularly and I plan, plan, plan. I know that having a plan for my day, my week, and even my month calms me.

I fuel myself with prayer, exercise, and quality time with my husband and my closest friends. So when I skip my morning quiet time or my daily workouts or go weeks without a date night or girl time I start feeling like my whole world is crashing around me. Therefore, I must make these things a priority.

Alyssa Mastromonaco’s book So Here’s the Thing is out now and is definitely on my TBR list.

Be a goal digger.

If you want to be an unbossed woman, if you want to be the CEO of your life you also need goals and a plan for achieving them.

To set my goals for June I first reviewed my goals for the year. What things do I need to do this month to move closer to achieving my 2019 goals? And what goal will be my top priority?

My #1 goal for the year was to quit my day job, which I’ve done. But to make sure I don’t regret this decision I need to keep growing my business. So my top priority for this month is to increase my monthly recurring revenue by $1,000.

Another goal for the year is to write for 10 of my favorite publications. So this month I will send pitches to two of my favorite media outlets.

I want to reach 10,000 followers on Instagram this year, so I’d like to increase my IG following by 1,000 this month.

Because I want to go to Dubai at the end of the year, I need to renew my passport this month.

And to help with my goal of losing 40 pounds I plan to walk/run 100 miles this month as I do every June.

Other plans for the month include three speaking engagements and booking a venue for my husband’s 40th birthday party. I also want to read Elaine Welteroth’s forthcoming book More Than Enough and see her speak in Atlanta.

So, let’s review…

June 2019 Goals & Plans

GOALS

#1 Priority: Increase my monthly recurring revenue by $1,000

Send pitches to two of my favorite media outlets

Increase my Instagram following by 1,000

PLANS

Renew my passport

Book venue for Edd’s 40th birthday party

Speak at the Southern Christian Writer’s Conference, The Women’s Network June meeting and the American Advertising Federation Montgomery June meeting

Read More Than Enough by Elaine Welteroth

See Elaine Welteroth speak in Atlanta

What are your goals and plans for June? What changes will you make this month to be the CEO of your life?

Source: seejanewritebham.com

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Limiting the Number of Characters

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by Elizabeth S. Craig, @elizabethscraig 

This is the second post in a short series about making our lives easier as writers. One thing that I’ve tried to be more conscious of as the years have gone by is limiting the number of characters I introduce in a story or series.

With a cozy mystery series, for example, the field of characters is already going to be pretty crowded. You have a sleuth and a sidekick and around five suspects. And then you have recurring characters: friends and family of the sleuth and  some sort of police presence.

The more characters we add, the harder it is for readers to keep up.  And we run the risk of not having the space to make the characters more than one-dimensional.

One bit of advice is not to name every single character in your book.  The waitress at the diner can just be the waitress.  If we name her, we may be making her role in the story seem more important than it is…and leave readers trying to remember another name.

Another tip is to evaluate the number of characters you’re introducing. For my new series, I took a look to see if it was possible to combine roles.  In one instance I could, which just meant that a character needed to help out with a cat rescue at the beginning of the book.

More reading about combining character roles can be found here:

Clare Langley-Hawthorne’s “A Cast of Thousands”

If you do have a large cast of characters even after combining roles, there are ways to help readers keep track of them. It’s a good idea to make characters distinguishable from each other by using quirks, diction, and recurring details about their physical appearance as reminders.

You can also tag supporting characters who haven’t been on stage for a while (Jane’s hairdresser, Sheri, opened the door). Or: Sheri walked in. “Long day at the beauty parlor, y’all. Three customers didn’t show up!”

More information on working with large casts of characters can be found here:

September C. Fawkes’ “Working With a Large Cast of Characters”

As a reader, do you ever have trouble keeping up with a lot of characters?  As a writer, how do you try to help readers keep up (I’ve seen some books with a ‘cast of characters’ list at the front)?

Source: elizabethspanncraig.com

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Seven Common Problems Writers Have With Characters

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Most writers love creating characters and writing about them – but it can be a struggle to get characters right.

If you’re normally quite plot-focused, you might find yourself creating characters who are lifeless “pegs” that fit into the right-shaped spaces in your plot.

If you’re much more character-focused, you might struggle with the size of your cast (more isn’t always better!) … or you might find it really difficult to let your characters suffer and struggle.

In today’s post, we’re going to look at seven common problems that writers struggle with … and some ways to get past them.

Problem #1: Creating Characters Who Are Three-Dimensional

If you’ve been writing fiction for a while, you’ve probably come across the advice to avoid writing “flat” or “two-dimensional” characters. These are characters who don’t really seem to come alive. They might seem a bit boring, thin, or shallow to the reader: there’s no real depth to them.

This can be a tricky issue to spot in your own writing – but if you’ve been told that your characters seem “flat” or unengaging, or if you suspect that characterisation isn’t your strong point, you might want to:

  • Spend some time really thinking about your characters. Who are they, deep down? What’s happened in their past that’s shaped them? How have the events of your novel impacted them?
  • Let your characters have moments when they act in ways the reader doesn’t expect. Maybe your sweet, nice protagonist gets pushed too far and shouts at someone; maybe your grumpy mentor figure shows their kindly side.
  • Show your character changing throughout your story. Perhaps your protagonist really is shallow and boring at the start of your novel – but the things that happen to them, and their reactions, lead them to grow as a person.

Not all characters need to be well-rounded, of course. Characters who only appear briefly and aren’t important to the plot shouldn’t be too fleshed-out (or your reader will start to think that the taxi driver or waitress or bank manager are more important to the plot than they actually are). In some genres, too, flat characters make sense: comic characters might be known for one or two funny or exaggerated characteristics, and don’t necessarily need to be rounded out.

Further Reading: Three-Dimensional Characters: 3 Ways to Create One, Writes With Tools

Problem #2: Juggling a Cast of Multiple Characters

Some stories have a tight, focused cast of characters – but others are sprawling epics. (Game of Thrones, anyone?)

If you’ve got lots of characters – particularly lots of main or viewpoint characters – then it can get tricky for your reader to keep track of everyone. It can also create problems with the reader’s engagement: perhaps they really enjoy reading about two of your characters, but they’re not very interested in the other six that you keep bringing in.

To thin down your cast a little, it’s worth asking yourself whether you really need so many characters. Do you have to bring in two brothers for your protagonist, or would one be enough? Does that grumpy woman who lives down the hall have any real impact on the plot?

Walk-on parts don’t count here. No-one’s going to be bothered by you having a taxi driver to get your characters from A to B, or a bartender to serve them, or a cashier at the bank to tell them they’re overdrawn. Avoid naming these characters, and readers will assume they won’t recur (and thus won’t need keeping track of).

If you do need to stick with lots of characters, it helps to:

  • Introduce them in small batches. Don’t open your novel with a huge party scene where you introduce all ten of your key characters – the reader’s going to end up confused and overwhelmed.
  • Group them together in some way. It can be easier for readers to remember and keep track of characters if they’re partnered up or in small groups (e.g. perhaps a married couple, a family unit, colleagues, and so on).
  • Give a bit more information when characters reappear than you normally would – e.g. you might need to remind us that Jason is Sarah’s colleague, for instance, or have characters referring back to the incident that was taking place in the last scene in which we saw them.

Further reading: The 10 Rules of Writing Large Casts of Characters, K.M. Weiland, Helping Writers Become Authors

Problem #3: Letting Characters Solve Their Own Problems

This is can be more of a plot issue than a character one, in terms of your writing. If your plot involves your characters being rescued by coincidence, an outside force, or someone who isn’t in your main cast, then your readers will feel frustrated or even cheated.

This is particularly true at the ending of your story. We want characters to earn their happy ending: we don’t want the hero to succeed simply because the (normally competent) villain makes a blindingly stupid mistake.

If your characters are constantly being rescued by other people, or if their successes rely on a change of coincidences, look for ways to let them solve their problems through their own strength or wit.

This problem might be related to the next one, too, if you hate to let your characters struggle.

Further reading: How to correctly use a “Deus-Ex-Machina” and not die trying, Duilio Giordano Faillaci, Medium

Problem #4: Making Bad Things Happen to Your Characters

Without your characters facing problems … there’s not much of a story. Your main characters, particularly your protagonist, need to go through some difficult, sad, or downright painful events.

Depending on your genre, this could mean a lot of different things. The heroine in a romance might not suffer any physical injuries – but she might well be upset or hurt by a love interest, or might be distressed by a broken-off engagement.

In many genres, there’ll be all sorts of bad things that happen to your characters. They might be hunted by a serial killer (crime), they might be haunted by something strange and inexplicable that’s happening to them (mystery), or they might be running for their life or trying to save the world (adventure).

As a writer, it can be difficult to allow anything bad to happen to your characters. Remember, though, that if your characters effortlessly sail through the story without any sort of upset or harm, readers aren’t going to find it particularly engaging.

Let your characters get hurt, let them be miserable, and especially let them face up to the consequences of their actions.

Further reading: Making Bad Things Happen to Good Characters, Ali Luke, Aliventures

Problem #5: Giving Characters Realistic Flaws

I hinted at this in the last section: your characters, even the good ones, should have flaws that cause them to do things that complicate the story for them. This can often be a core part of your character’s growth.

If you have an irritable protagonist with a hair-trigger temper, perhaps they snap at their best friend one too many times … and their friend stops speaking to them.

If you have a character who’s a daring adrenalin-seeker, perhaps something goes wrong with their motorcycle stunt – and they get hurt. (Or worse, someone else does.)

Flaws also make your characters more realistic, and they help us empathise with them. Characters who are too perfect are usually two-dimensional (see #1) and they can be annoying or just hard to engage with.

Further reading: How to Craft Brilliant Flawed Characters (a #StorySocial recap), Kreisten Kieffer, Well-Storied

Problem #6: Allowing Characters to Strive for a Goal

Your characters, particularly your protagonist, should have a goal that they’re trying to achieve. This might be something fairly small – and, if something bad has happened right at the start of the novel, it might simply involve returning to the status quo.

Often, your character’s initial goal isn’t the one they’ll end up striving toward during the rest of your novel. Perhaps they’re chasing a promotion at work, or trying to pass an exam, or preparing for a trip abroad. Their goal might be ditched or superseded by the events of the plot (e.g. the exam suddenly seems much less important when the person they love most falls mysteriously ill, and doctors are at a loss to help).

Make sure your character has something that they want to achieve (or to avoid – e.g. getting fired) right from the start of your story. This helps us to root for them – and encourages us to keep reading to see whether they get the thing they want.

Further reading: Most Common Writing Mistakes: Characters Who Lack Solid Story Goals, K.M. Weiland, Helping Writers Become Authors

Problem #7: Reining Characters In

Finally, this is a problem that some writers can have – particularly those who don’t tend to create an outline. (Not that I’m knocking that: my first drafts are very exploratory and I pretty much never have a full-blown outline in place.)

Some writers feel that their characters “take over” or “come alive” and send scenes spiralling off in unexpected directions. While that can be a fun way to write – and potentially a great way to come up with new ideas or plot twists – it can also end up with your scenes devolving into a bit of a meandering mess.

If you feel that your characters take over in this way, it’s worth drawing a clear distinction between bits of writing you’re doing that are intended to be exploratory, and bits that are part of the plot. Maybe you have a rough draft of a scene where your protagonist goes off in a direction you really didn’t plan – that doesn’t mean you have to stick with it!

If it becomes clear that your original plan wouldn’t be in keeping with your character’s personality, then you might need to look for ways to nudge them back onto the “right” path. This could mean throwing extra complications into the mix – either to prod them toward further action (if your characters mostly like to sit around, drink tea, and have a nice chat) or to rein them in (if your characters tend to do outlandish things that are hard to come back from).

Further reading: When Characters Go Their Own Way, Juliet Marillier, Writer Unboxed

Getting characters right can be really hard – but also very much worthwhile. I’m sure you can think of characters who’ve stuck with you for years after you read about them – characters who you loved like friends.

Source: aliventures.com

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Short Stories as Mini-Trilogies: Can it Work?

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By Sarah Dahl, @sarahdahl13

Part of the Focus on Short Fiction Series

JH: Just because they’re short, doesn’t mean they can’t tell a long story. Today in our series “Focus on Short Fiction” Sarah Dahl returns to talk about writing trilogies – in the short form.

Technically, short stories have less time and space for everything: fewer characters, less world building, simpler arcs and subplots. Most times, there are no subplots, of course, and world building has to be spot-on: You need to create a sense of the people and place with just a few strokes of your pen. The drama is usually focused on one plotline and has one climax, very late in the story. Mastering this craft is mastering setup, timing and arcs, characters and resolution within as little space as possible. Writing short means writing without all the fluff and concluding absolutely on point.

But what if you have more to say about a character and his journey than fits into one short story? Can you write short stories that are connected, that carry on? Or let’s say: a mini-series, a trilogy that people can actually enjoy as such?

Giving more room – Do the story justice

To create a connected mini-trilogy or series you need to adhere to the rules of writing short for each individual story: be precise, on point, and conclude satisfactorily each time.

Do you feel a topic or characters you created for one short story only deserve to live on? Could you write a meaningful sequel – or ideally round it all up as a trilogy?

Here’s what happened to me: I only wrote my trilogy about Viking warriors Aldaith and Nyssa as a fun exercise without intention to even publish their first story. And I didn’t ever imagine that story to evolve into a trilogy.

I wrote their first encounter – “The Current – A Battle of Seduction” – after a brainstorming session with my writing buddy, to kill some block and boredom. No pressure of publication, just to keep writing something. I fancied the idea of a steamy game between two bloody, exhausted, adrenaline-pumped warriors: a bold shieldmaiden cornering and seducing a self-assured warrior. I wanted to rediscover the fun in writing sassy characters. And created an irresistible pair.

Two things happened: The exercise became a wonderfully sexy, fast-paced read with an outstanding female character. Nyssa is strong and fierce; she slays men on the battlefield and “in bed” (or in this case: a stream). Likewise, many readers fell for the confident yet vulnerable warrior Aldaith. They loved the dynamic between the pair. Without planning it, I had created an extraordinary couple whose story had only just begun.

Just like my eager readers, I felt there would be more depths to discover with these two, and that the roughly 8,000 words didn’t do them justice. So what I originally imagined to be a mere exercise and stand-alone suddenly needed at least a sequel.

More than just sequels – Planning a trilogy

The second thing that happened was: I edited and published the story I never planned to publish, and with publication the question of “form” became more important. To write just one sequel to “The Current” felt incomplete and random. A rounded-up trilogy with a starting story, middle development story, and ending story would be more enticing. Like throwing spotlights on the characters’ main turning points. Readers who fell for my couple would be able to follow their story further and to a satisfactory conclusion.

It took several inspirational walks in the forest to discover Nyssa and Aldaith’s complete story. In their second story (which I planned to be of a similar length, for balance and focus) I wanted to show proper development, on a much tighter scale. Their story in “The Current” started as a playful game of seduction to release post-battle tension. A hot game with an unexpected ending. Now what next?

Of course they wouldn’t be able to forget. They would fall for each other. They would yearn to be with the other in more ways than just for fun and fighting.

So I wondered: what would be a turning point for them, from fling to true lovers?

For story 2, I had to find the most emotional turning point, to zoom in on the point in their journey that propelled their relationship to something much more, life-changingly more.

What happened then was the story “Bonds”.

Zooming in on milestones and turning points

Nyssa and Aldaith are literally swept away by passion and adrenaline in “The Current”. Their sensual game is an outlet and attempt to reconnect with reality and feel more human again.

Then in “Bonds” I show how that passion changes its form, from loose fling to committed lovers. They discover the depth of their love and how that is a double-edged sword: They find their unbreakable bond – but also are now “bound” to each other in ways that could hinder their warrior lifestyle. For the first time, they know fear. The revelation hits them at the worst time possible: when relentlessly, and seductively, training for an upcoming battle.

Three parts of a trilogy – Make it three acts

So without planning it in advance (but you can do that of course, and I recommend it! ;-)) I laid out my first two stories like this: “The Current” introduces the protagonists, their world and views, and drops them in the middle of some steamy action. Similar to how you would start a novel, but more to the point and faster paced.

“Bonds” now forms what would be the middle section of a book, where the characters grow, make progress, but due to their fears reach a point of no return that complicates things and forces them to choose.

Naturally, story 3 would have to contain a major setback and the final push of my characters to a fulfilling climax and resolution of their journey. What went from fling to lovers needed to become “love of their life”.

Many inspirational walks later I connected dots from the previous two stories, and out came: “Battles”. In this concluding story the warriors face battles on many levels: They stand in the shield wall, but a devastating turning point lets them question everything they knew in life. They battle fear, pain, and unwelcome decisions. In the end, their lives are summarized with the help of modern voices: I inserted intersections of contemporary archaeologists discovering their graves, and with that the secret of what came after the last, life-changing decision the two made.

“The Current – A Battle of Seduction”:

Marked from the latest battle, Viking warrior Aldaith wants to recover by a stream. But instead of finding solitude, he stumbles on the fearless shield maiden Nyssa. The fierce beauty invites Aldaith into the water to engage in a very different kind of battle – one for which his training leaves him unprepared.

“Bonds – Under the Armour”:

Viking warrior Aldaith and his shield maiden Nyssa engage in a heated skirmish to prepare for an imminent battle. But the looming slaughter makes their sensual duel get out of hand in more ways than one …

“Battles – Sacrifices for Love”:

Shoulder to shoulder, in life, love, and the battlefield – that is what Viking warrior Aldaith and his shield maiden Nyssa promised each other. On their way to the battleground he dreams of their very own sensual rewards after the upcoming campaign. But what begins as just another shield wall turns out to be the ultimate test of their bond. This battle might be their last …

Telling more than fits one short story

So in the span of just three shortish stories unfolds what normally would take up a whole book, just without ANY fluff and subplots. Just introduction, middle part, ending. Of course this structure is much simpler and to the point. What normally happens over hundreds of pages has to be shown with the help of spotlights on the major turning points only. But it works, because I loosely applied three acts and an arc that spanned the three stories. Three stories instead of one gives some space for character development and depth that would not fit into one short story or even fit the FORM of shorter stories as such. And still, they can be read individually too, because there are satisfying endings to each.

To plot or to pants – use arcs

All this is a lot to pull off and get right, and to be honest, I didn’t plot it all. I took step by step and crafted the stories in line with the rough idea of having good character arcs: one in each story so that it could stand alone, and one for the trilogy of all three stories. End every short story with a revelation that furthers the entire plotline and leads to the next story. This may sound harder than it was for me, because I didn’t think so much about it (I’m a pantser anyway) but just followed my instinct about what would be most interesting to zoom in on with these two.

The themes for each story now read like this: opening up to someone (making yourself vulnerable) / Falling deep for each other (discovering the fear that comes with love) / Making major sacrifices for each other (overcoming that fear together). Or simply: from fling to lovers to love of their lives.

Over to you: do you write short works, or “shorts”? Would you like to develop one further, into more? Have you thought about writing a mini-series or trilogy with shorts? Would you like to read such a mini-trilogy?

Source: blog.janicehardy.com

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Storytelling Exercise: Three Acts

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Today’s storytelling exercise is an excerpt from my book, Story Drills, which is filled with fiction-writing exercises that impart basic techniques of storytelling. Today’s exercise is from chapter forty-five. It’s called “Three Acts.” Enjoy!

The three-act structure is one of the simplest and most effective ways to outline or analyze a story and its structure. The three acts are as follows:

  1. Setup
  2. Conflict
  3. Resolution

In the first act, the plot and characters are established, and we learn what the central conflict is. It’s roughly 25 percent of the story, but this is a guideline, not a rule.

The second act is the longest of the three acts, usually about 50 percent of the narrative. In the second act, the story builds up to a climax in which the conflict hits a boiling point.

Finally, the third act resolves the conflict. The third act is usually about 25 percent of the story.

Study:

Choose five stories you’ve read, and break them into three-act structures by identifying the setup, conflict, and resolution for each one. Summarize each act in just a few sentences.

Practice:

Create five story premises, and quickly draft three-act outlines for each one. Use a single sentence to describe each of the three acts. A couple of examples are provided below.

Natural Disaster:

Act I: A natural disaster is impending.

Act II: The natural disaster claims the lives of half of Earth’s population. The other half struggles to survive.

Act III: Earth’s survivors rebuild.

Romance:

Act I: A teenager from a prestigious family falls in love with someone from the wrong side of the tracks.

Act II: The couple tries to hide their relationship, but eventually they are outed.

Act III: The teenager is forced to choose between love and access to the family’s wealth and support.

Questions:

Why do you suppose the three-act structure is universally applicable to almost all forms of storytelling? Would it be possible to write a story with no setup, or with the setup at the end or in the middle? What happens if the three acts are rearranged? Can any of the acts be left out of a story?

By Melissa Donovan

Source: writingforward.com

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25 Story Starters for Writing Fiction

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Are you a storyteller? Do you want to be a storyteller?

If you’re interested in writing flash fiction, short stories, or novels, then you’re going to need lots of ideas, especially if you want to write professionally.

Some of us have too many ideas; others don’t have enough ideas. Maybe we have a solid idea for a story, but something’s missing. We need to spice it up by adding subplots or characters. Maybe the setting or story world isn’t rich enough. Perhaps your story lacks theme.

Story starters are a great way to get ideas for writing stories, but they can also be used to generate ideas for improving stories that are already in the works.

Story Starters

Today, I’d like to share twenty-five story starters. You can use these story starters to inspire a new story or to breathe new life into a story you’re already working on. Use them to write whatever you want — flash fiction, short stories, or a novel.

  1. We all know about conspiracy theorists. They believe the moon landing was a farce. Come up with a new conspiracy that theorists rally around. The public thinks they’re crazy, but are they?
  2. The world is run by politicians, but sometimes, ordinary people get caught up in political drama and intrigue. What happens when a bike messenger, a restaurant server, and a daycare teacher get unwillingly drawn into the affairs of state?
  3. Technology has developed at a splitting speed over the past century. Before we know it, every house will be equipped with a robot and a virtual reality system. But what happens when a couple of kids venture into the wrong area of the virtual reality and get stuck there?
  4. Witnesses to crimes can find themselves in grave danger, which is why there are protection programs for such persons. But what if the witness decided to join forces with the prime suspect? What does the witness get in exchange for false testimony that acquits a terrible criminal?
  5. Take a look at the world we live in. In some places, life is pretty good. But in other places, life is difficult for most people, especially where there’s a lot of inequality, poverty, and oppression. What if an oppressive culture used war or the media to spread itself around the globe? What would that look like, and would we ever overcome it?
  6. After a family moves into a new house, one of the kids looks for a hiding place to stash some secret belongings and discovers a panel at the back of a closet. Assuming it leads to the attic, the kid removes the panel only to find a window that looks into a world populated with magic and monsters.
  7. Two politicians are in a heated race to win a critical election (governor, president, etc.) and through negative campaigning have become arch enemies. But their kids go to the same college and have fallen in love. What happens when the relationship is revealed in the media?
  8. All the evidence in a brutal, premeditated murder points to one primary suspect, including footage from security cameras. The problem is that there’s no motive, and the alleged killer insists on his or her innocence. Who committed this heinous crime?
  9. While working on a more fuel-efficient space shuttle that will transport tourists to and from the moon, one engineer stumbles into a way to make faster-than-light (FTL) engines a reality.
  10. A stranger comes to a small town that hasn’t seen a new resident since the town’s youngest child was born sixteen years ago. The stranger rarely leaves his or her formerly abandoned home except to buy groceries and strange supplies from the local home improvement store, and the townspeople think something’s not right.
  11. Step back in time hundreds — or perhaps thousands — of years. The leader of a small tribe is butting heads with the tribe’s healer. Meanwhile, a powerful neighboring tribe is infiltrating their territory.
  12. Inspired by Jurassic Park, a biological engineer is committed to recreating dinosaurs. While researching ancient dinosaurs, the scientist stumbles into evidence that fire-breathing dragons once soared over the land and decides to recreate those instead.
  13. While representing an accused killer, the attorney falls in love with the client, partially because he or she believes the accused is innocent.
  14. Teenagers love to rebel and experiment. But what happens when one teenager’s antics end up on video and go viral? Bullying and humiliation ensue.
  15. After working hard for decades, the main character has finally managed to retire and purchase a condo on a small, tropical island, where he or she intends to write a novel. But strange things start happening — things go missing, there are creepy noises, and our character feels like he or she is constantly being watched.
  16. For centuries, humans have wondered if we are alone in the universe. The answer finally comes when aliens arrive. But it’s a time when tensions are high between the nations of Earth. Will humanity unite, or will some nations form an alliance with the aliens?
  17. A young couple believes their fairy tale has finally come true and they will live happily ever after. They are recently married, have good jobs, just bought a home, and there’s a baby on the way. But the fairy tale seems to unravel as secrets and lies begin to surface.
  18. When a foreign operative embedded in the CIA disappears with loads of government secrets, all hell breaks loose. But is this operative truly a foreign spy, or is it a citizen intent on blowing the cover off of government corruption?
  19. A mid-sized tourist plane crashes on a remote deserted island, killing all but a handful of survivors. Rescue is on the way until a devastating storm arises, barring access to the island. Now these urbanites must learn to live off the land and with each other.
  20. After serving a ten-year sentence for a heinous crime she didn’t commit, a former college student gets a new identity and becomes a private investigator intent on exonerating herself.
  21. A group of teenagers spends a summer day on a scavenger hunt in the woods just outside of town. When they reconvene to name the winner of the hunt, one of them doesn’t show up and cannot be found.
  22. When a kid finds out both parents are out of work and the family might have to move in with the grandparents, he or she decides to solve the problem by starting the modern version of a lemonade stand — an online enterprise.
  23. One couple’s nasty divorce leaves their two young children in the custody of their grandparents. Will the couple put aside their differences to get their children back?
  24. Dreams come true when a foster child is finally adopted. But the child’s new family is filled with secrets, and he or she begins to suspect that it wasn’t a chance adoption after all.
  25. The main character receives a strange inheritance from an unknown deceased relative: a key ring with no keys on it. Unusual events occur whenever the key ring is present.

Have you ever used story starters or writing prompts? Where do you find inspiration for writing fiction? Share your thoughts and experiences by leaving a comment, and keep writing.

By Melissa Donovan

Source: writingforward.com

Visit us at First Edition Design Publishing

Storytelling Exercise: Tone and Mood

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Today I’d like to share an excerpt from Story Drills: Fiction Writing Exercises, which helps beginning to intermediate storytellers develop fiction writing skills. This exercise is from chapter sixty, and it’s called “Tone and Mood.” Enjoy!

Tone and Mood

Tone and mood give a story a sense of atmosphere—how a story feels—its emotional sensibility.

Atmosphere is often established through a story’s setting: An old abandoned Victorian mansion beneath a full moon on a windy night can elicit a dark and creepy atmosphere. However, tone and mood can also come from the characters. A clumsy, awkward character can evoke a humorous tone for a story. And events can shape a story’s tone and mood; consider the difference in tone between a story about a star athlete making it to the big leagues versus a story about the effects of war on a combat veteran.

Tone and mood may also be driven by a story’s genre. For example, the identifying feature of horror is that it’s scary. Romance is romantic. Any genre can be infused with comedy, although there is little humor in a tragedy. An adventure story can be lighthearted or terrifying; a science-fiction story can be thrilling or cerebral; a mystery can be grim or gritty, or both.

One author might use a consistent tone throughout all of their works. Another might use different tones for different projects. And some authors use multiple tones in a single story: A suspenseful scene can follow a funny scene, or a tense scene can follow a sad scene. The tone can even change within a scene: A light or casual moment can turn grave in an instant. A changing tone affects the rhythm of a story, giving it emotional and atmospheric cadence.

Sometimes tone and mood develop naturally from the story’s characters, plot, and setting. Other times, tone and mood might be unclear, and it’s up to us, as authors, to establish a story’s emotional atmosphere.

Study:

Create a simple outline of about five chapters from a novel you’ve read, and then write a couple of sentences describing the tone throughout these chapters. Then scan through the text, and mark any changes in tone. When you’re done, review the story’s structure through the lens of tone. What is the overall tone? Can you detect a pattern? How do the tone and mood change as the story builds up to its climax, or do they remain static?

Practice:

Choose two descriptive words for how your story will feel—its tone and mood. Here are a few examples: lighthearted and adventurous, dark and humorous, or mysterious and contemplative. Create a quick sketch for a story, including at least three characters, a setting, and a one-paragraph summary of the plot. Be sure to include details about how the tone and mood will be established. For example, a dark and humorous story might be set in a mortuary with a fumbling, silly protagonist.

Questions:

What effect does tone have on readers? Can tone and mood be used to strengthen a story’s characters, plot, or theme? What are some ways authors can communicate a story’s tone and mood throughout the narrative? How is tone related to genre, or are they related? What happens when the tone and genre are contrasted (humor within a horror story)? Do you prefer stories with a consistent tone and mood throughout, or do you prefer a story that takes you on an emotional ride, moving through a range of tones and moods?

 

By Melissa Donovan

Source: writingforward.com

Visit us at First Edition Design Publishing

How to Develop Your Best Novel Writing Ideas

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Writing a novel is no small task. In fact, it’s a momentous task. Some writers spend years eking out a first draft, followed by years of revisions. And that’s before they even think about the grueling publishing process.

In other words, you’re going to spend a lot of time with your novel. So you better love it. No, wait — loving it is not enough. You have to be in love with it. You have to be obsessed with it. Committed to it.

It’s normal to lose interest when you’re on your tenth revision, but if you’re losing interest in your plot or characters while writing your first or second draft, the problem might not be you or your novel. The problem might be that you tried to commit to something you didn’t love. That’s never a good idea.

For many writers, the trick to sticking with a novel is actually quite simple: find an idea that grips you.

Get in Touch with Your Passions

Before you chase every crazy idea into the ground, stop and take a breath. Think about what moves you: books you couldn’t put down, movies you’ve watched dozens of times, TV shows you couldn’t stop talking about, and songs you played so many times, you’re sure they have bonded with your DNA.

By identifying your passions, you can figure out what makes you tick, and that’s a great start to your quest for novel writing ideas that you can really sink your teeth into.

All your past and present obsessions hold the clues to your future commitment to your own novel. Pay close attention to your preferences for genre, theme, setting, style, character archetypes and above all — emotional sensibility. Make lists of what you love about your favorite stories, and soon you’ll see the shape of your own novel start to emerge.

Generate and Gather Plenty of Novel Writing Ideas

Once you’ve made some general decisions about the novel you’re going to write, it’s time to start generating specific ideas.

Of course, the best novel writing ideas come out of nowhere. You’re on your hands and knees scrubbing the floor and suddenly that big magic bulb over your head lights up. Or maybe you have so many ideas, you don’t know where to start. It’s even possible that you’re aching to write a novel but are fresh out of ideas. Your mind feels like a gaping void.

Actually, story ideas are everywhere. The trick is to collect a variety of ideas, and let them stew while you decide which one is worth your effort. Here are some quick tips for generating ideas:

  • Hit the bookstore or library and jot down some of your favorite plot synopses. Then rework the details to transform these old plots into fresh ideas for new stories. Try combining different elements from your favorite stories. And use movie synopses too!
  • Load up on fiction writing prompts and develop each prompt into a short (one page) summary for a story.
  • Harvest some creative writing ideas from the news.
  • Grab a subplot from your favorite movie or TV show — a story line that wasn’t fully explored — and make it the central story problem.

Create a stash file for your ideas. It can be a folder on your computer or a box you fill with 3×5 index cards. You can also write all these ideas in a notebook. Just make sure you keep them together so you can easily go through them.

Let Your Novel Writing Ideas Marinate

Some ideas are so enticing, you can’t wait to get started. If you’re writing a poem or a piece of flash fiction, then have at it. If things don’t work out, you’ll lose a few hours or maybe a few weeks. But imagine investing months or years in a novel only to realize your heart’s not in it. Try to avoid doing that by letting ideas sit for a while before you dive into them.

The best ideas rise to the top. These are not necessarily the bestselling ideas or the most original ideas. They’re the ideas that are best for you. Those are the ones that will haunt you, keep you up at night, and provoke perpetual daydreams.

These are the ones worth experimenting with.

Experiment to See Which Novel Writing Ideas Can Fly

There’s a reason people test drive cars and lie around on the beds in mattress shops. When you make a big investment, you want to feel right about it. You can’t know how a car will drive until you actually drive it. And you can’t know how a bed will feel until you relax on it for a while. And you definitely can’t know what your relationship with your novel will be like until you experiment with it.

In truth, the experimental phase is when you start writing the novel — just like the test drive is when you start driving the car. But you haven’t committed yet. You’re still open to the idea that this is not for you. This might seem like I’m nitpicking over semantics, but you’ll find that discarding partially written novels wears on you after a while. If you play around with your story with the understanding that you’re experimenting, and if things don’t work out, you can always walk away without feeling guilty or like you gave up. Go back to your idea stash, and start tooling around with the next one.

How do you experiment with novel writing? I’m so glad you asked. There’s a lot you can do. Start by brainstorming. Sketch a few characters. Poke around and see what kind of research this novel might require. Draft a few scenes. Write an outline. If you keep going through these motions and can’t shake your excitement, then you are finally . . .

Writing Your Novel

At this point, you’ve already started writing your novel. But suddenly, you’re not just writing a novel. You’re deeply, passionately, obsessively writing your novel. If a couple of weeks go by and you haven’t had time to write, you miss your characters. When you get stuck on a scene, you simply work on some other part of the story because you’re so obsessed. You have to fight the urge to tell everyone about how the story is coming along. Your trusted buddy, whom you bounce ideas off of, is starting to think you’re taking it all too seriously. “Maybe you should watch some television a couple nights a week,” he says, looking concerned.

This is a story that’s captured your full attention. And that’s a good sign that it will capture the attention of readers. You are ready to commit.

Many (or most) of your novel writing ideas might end up in the trash or in a bottom drawer. But every one of them will be worth it when all of that idea generating, planning, and experimenting finally pays off. Every idea that doesn’t work will pave the path to the idea that will set you on fire.

So no matter what, no matter how many ideas come and go, no matter how many drafts you discard, never give up. Just keep writing!

By Melissa Donovan

Source: writingforward.com

Visit us at First Edition Design Publishing

Curiosity and Creativity for Writers

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Today’s post is an excerpt from my book, Ready, Set, Write: A Guide to Creative Writing, which takes you on a tour through the world of creative writing while offering writing ideas and inspiration. This is from chapter thirty-one, “Curiosity and Creativity.” Let’s find out how fostering curiosity can increase your creativity. Enjoy!

Curiosity and Creativity

Even though inspiration abounds all around us, we writers sometimes get stumped. We search for essay topics, plot ideas, and interesting language for our poems. Unfortunately, our searches don’t always yield desirable results.

But by fostering curiosity, we can ensure a constant stream of creativity. Some of the best writing ideas come from asking simple questions: Who? What? Where? When? Why? How?

Most writers are curious by nature. We look at the world around us and wonder at it. Who are these people? What are we all doing here? Where are we heading? Why do we do the things we do? How will we move forward?

Remember how curious you were as a child? Everything you encountered spawned a series of questions because you were trying to learn and understand the world around you. Bring that childlike curiosity back, and you’ll always have a full supply of inspiration.

It doesn’t matter what form your writing takes or what genre you’re writing in. By fostering curiosity, you can create a fountain of ideas.

Below are some questions you can use to get inspired. Mix them up, change them around, and come up with your own list of questions:

Who

  • Who is this about?
  • Who can help?
  • Who is standing in the way?
  • Who am I?

What

  • What is the goal?
  • What are the stakes?
  • What is the underlying message?
  • What if…?

Where

  • Where did it all begin?
  • Where have we been?
  • Where should we go?
  • Where does it end?

When

  • When did it start?
  • When did things change?
  • When will things improve?
  • When will it be too late?

Why

  • Why did they do it?
  • Why does it matter?
  • Why take a risk?
  • Why are we here?

How

  • How did this happen?
  • How does this make people feel?
  • How does this sound?
  • How will this get resolved?

If you can keep your curiosity on fire and continue coming up with new questions, you’ll find that you can write your way into answers and constantly discover new writing ideas along the way.

As you work through your writing projects, you can also use questions to help you overcome hurdles that are preventing you from crossing the finish line. Not sure how to move a plot forward? Start asking questions. Don’t know how to begin your next poem? Ask questions. Want to write a piece that is informative and entertaining? Ask away.

Throughout time, many great thinkers have used questions to prompt creative and critical thinking. Sometimes, one question will lead to the next, and you’ll end up with more ideas than you thought possible. As long as you keep your curiosity well oiled and let those questions flow, you’ll never be at a loss for inspiration.

Activity

Open one of your writing projects, and make a list of at least twenty questions that get to the heart of your project. Be sure to include a mix of who, what, where, when, why, and how.

As an alternative, try using any of the questions from this chapter as writing prompts. Simply place a question at the top of a page, and then start writing in response to the question.

Do you have any favorite techniques for developing new writing ideas? Are there any questions you ask to get through a project or to come up with new project ideas? What are you curious about? Share your thoughts and ideas by leaving a comment.

By Melissa Donovan

Source: writingforward.com

Visit us at First Edition Design Publishing

From Ready, Set, Write: Getting Ready to Write

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Today, I’m excited to share an excerpt from my recently published book, Ready, Set, Write: A Guide to Creative Writing. This is from the book’s introduction. Enjoy!

A Writer’s Journey Begins

When I was a little girl, my mom used to sit, curled up on the couch, with a thick paperback novel in her hands and a big bag of M&Ms in her lap. I’m still trying to quit my candy habit! But books are forever.

My mom taught me to read by the time I turned four. The rhyming stories of Dr. Seuss were among my early favorites. Soon I was devouring Charlotte’s Web and Little House in the Big Woods. Later it was the Narnia books and A Wrinkle in Time. I constantly checked out Where the Sidewalk Ends from my school library. Whenever I asked for new books, my mom would take me to the used paperback store and let me pick out a few. Whenever the Scholastic newsletter came, she let me order a few books from the catalog. And whenever I asked to go to the big public library, she drove me there.

When I was about thirteen years old, something changed. After years of reading other people’s words, I started putting my own words on the page.

They were poems or songs, inspired by the music that I loved and informed by the books I had read. I composed these pieces in my spiral-bound notebook, which was intended for schoolwork. I remember marveling at the words I’d written. I had created something—and I had done it with nothing more than a pen and paper and some words. I was elated. I wanted to write more.

Around the same time, one of my teachers required our class to keep journals. We wrote in our journals for a few minutes every day, and when the semester ended, I continued writing in mine throughout the summer and for years afterward.

I filled many notebooks throughout my teens and early twenties. I wrote about my thoughts and feelings. I explored ideas. I wrote poems and personal essays. I composed song lyrics. Later, I started to tinker with storytelling.

I sometimes hear people talk about what it means to be a “real writer.” Occasionally, someone will say that a “real writer” loves to write, needs to write, or gets paid to write.

I disagree.

I’m a real writer because I write. Sure, sometimes I love it, but not always. Other times, I need to do it, but not always. Sometimes I get paid to write, but that didn’t happen until many years after I’d started writing. There are times when writing is frustrating, exhausting, or just plain difficult. I’ve experienced writer’s block. I’ve struggled with doubt and dismay about my work. I’ve taken long, unplanned breaks from writing.

But I always come back.

Writing is part of who I am. It’s what I do.

If you’re reading this, you’re probably a writer, too. At the very least, you’re an aspiring writer. That doesn’t mean you intend to get your name on a best-seller list (although you might). It doesn’t mean you plan to get paid for your writing (although you might). It doesn’t mean you will submit your work and get it published (although you might).

It just means you want to write.

And so you should.

About Ready, Set, Write: A Guide to Creative Writing

As the title implies, this book is a guide to creative writing. It isn’t a book that delves into grammar, spelling, or punctuation. It doesn’t tell you how to become a professional, published author. It does one thing and one thing only: shows you what you can write and how you can write it.

You’ll start by creating a space in which to write. Then you’ll explore various forms of writing that you can experiment with in your new writing space. You’ll answer some questions about writing. You’ll try some writing activities. You’ll learn techniques to help you stay motivated and inspired. Finally, you’ll put together your own writer’s tool kit.

You’ll find questions and activities to prompt a writing session at the end of each chapter. So get your notebook ready.

Get Ready to Write

The more you explore and experiment, the more fun you’ll have and the better your writing will become. Try different forms and genres. Use a variety of tools and techniques. Take risks, and don’t expect everything to come easily, but know that your efforts will be rewarded.

By Melissa Donovan

Source: writingforward.com

Visit us at First Edition Design Publishing