Scenes

Bronwyn Jameson states, “Every scene should advance the story, moving the plot and the characters toward the story's resolution and conclusion. If the scene doesn’t fulfil that purpose, then it doesn’t belong in the story.”

This is a very easy thing to forget when you’ve just written something hilarious or nerve-wracking or thought-provoking or otherwise brilliant, and you want to keep it in your novel just because it’s a good scene.

Good scenes aren’t good enough.

Every scene should contain action, AKA conflict AKA proactive characters.
Every scene should derive logically from the preceding action.
Every scene should directly cause change, thus provoking the following scene(s).

(This, of course, assumes you are writing a chronological piece, and not something like Pulp Fiction or Momento.)

Three Act Structure

In three act structure, Act 1 belongs to the hero, or the situation. Act 2, however, belongs to the villain. This is where everything the hero does backfires even though s/he is being heroic. The situation escalates and worsens with every scene.

Heads up: Structure

This week's Craft topic is Structure. Look for "Structure" posts on Wednesday.

Vernacular: structure

STRUCTURE is a selection of events from the characters' life stories that is composed into a strategic sequence to arouse specific emotions and to express a specific view of life.

Structure provides progressively building pressures that force characters into more and more difficult dilemmas where they must make more and more difficult risk-taking choices and actions, gradually revealing their true natures, down to the unconscious self.

[Robert McKee--STORY]

Hero's Journey: Point of No Return

In Vogler's "Point of No Return" stage of the Hero's Journey, the worst that could happen actually happens. Part of the hero dies, causing the rebirth of the "new" hero. S/he has learned new lessons, but there are severe consequences.

Hero's Journey: Tests, Allies, Enemies

In Vogler's "Tests, Allies and Enemies" stage of the Hero's Journey, the hero/ine figures out new rules, builds a team, experiments with change, and deals with new minor enemies as they crop up.

Be sure to show/exacerbate different sides of the same issue.

Hero's Journey: Refusal of the Call

For the story to work, the journey must be treacherous. Vogler's "refusal of the call" stage of the Hero's Journey is to illustrate the risk involved. Reader must know what is at stake for the hero.

Heads up: Heroes' Journeys

This week's Craft topic is Heroes' Journeys. Look for "Heroes' Journeys" posts on Wednesday.

Vernacular: story events

A STORY EVENT creates meaningful change in the life situation of a character, that is expressed and experienced in terms of a value, and is achieved through conflict.

[Robert McKee--STORY]

Vernacular: story values

STORY VALUES are the universal qualities of human experience that may shift from positive to negative, or negative to positive, from one moment to the next.

Ex: alive/dead, love/hate, freedom/slavery, truth/lie, courage/cowardice, loyalty/betrayal, wisdom/stupidity, strength/weakness, excitement/boredom, good/evil, right/wrong, life/death, justice/injustice, self-awareness/self-deception

[Robert McKee--STORY]

Vernacular: beats

A BEAT is an exchange of behavior in action/reaction. Beat by beat, these changing behaviors shape the turning of a scene.

[Robert McKee--STORY]

Vernacular: scenes

A SCENE is an action through conflict in more or less continuous time and space that turns the value-charged condition of a characters life on at least one value with a degree of perceptible significance. Ideally, ever scene is a Story Event.

[Robert McKee--STORY]

Vernacular: sequences

A SEQUENCE is a series of scenes--generally 2 to 5--that culminate with greater impact than any previous scene.

[Robert McKee--STORY]

Vernacular: acts

An ACT is a series of sequences that peaks in a climactic scene which causes a major reversal of values, more powerful in its impact than any previous sequence or scene.

[Robert McKee--STORY]

Heads up: Black Moment

This week's Craft topic is Black Moment. Look for "Black Moment" posts on Wednesday.

Vernacular: story climaxes

A STORY CLIMAX occurs when a story (a series of acts) builds to a last-lact climax which brings about absolute and irreversible change.

[Robert McKee--STORY]

Heads up: Action

This week's Craft topic is Action. Look for "Action" posts on Wednesday.

Vernacular: archplot

ARCHPLOTS have causality, closed endings, linear time, external conflict, consistent reality, and a single, active protagonist.

Most human beings believe that life brings closed experiences of absolute, irreversible change; that their greatest sources of conflict are external to themselves, that they are the single and active protagonists of their own existence; that their existence operates through continuous time within a consistent, causally interconnected reality; and that inside this reality, events happen for explainable and meaningful reasons.

[Robert McKee--STORY]

Internal Conflict

The internal conflict is an intangible clash of belief, value structures, dreams, and hopes. These are your characters' hot buttons, and the clash directly affects the external conflict.

External Conflict

The external conflict must be tangible. The oft-cited metaphor is of two dogs competing for one bone.

The reader must be clear about the goal (bone) and there must only be room for one winner.

Internal Conflict

Use internal conflict (like relationship challenges) in push/pull between hero and heroine.

Conflict

External Conflict should illuminate the internal conflict, and Internal Conflict should impact the External Conflict.

Heads up: Conflict

This week's Craft topic is Conflict. Look for "Conflict" posts on Wednesday.

Vernacular: miniplot

MINIPLOTS have open endings, internal conflict, and multiple, passive protagonists.

[Robert McKee--STORY]

10 Writing Prompts

01) Character tries to keep up appearances
02) Character is jealous
03) Character is told a pickup line
04) Character tries a pickup line
05) Character deals with someone drunk
06) Character gets drunk
07) Someone embarrasses Character
08) Character embarrasses self
09) Character makes local headlines
10) Character makes national headlines

Emotion and Motivation

Keep your characters well-motivated. Emotional stakes may include guilt, fear, worry, shame, etc. Often this directly relates to the internal conflict.

Heads up: Motivation

This week's Craft topic is Motivation. Look for "Motivation" posts on Wednesday.

Vernacular: antiplot

ANTIPLOTS have coincidence, non-linear time, and inconsistent realities

A story must obey its own internal laws of probability. The event choices of the writer are limited to the possibilities and probabilities within the world he creates.

[Robert McKee--STORY]

10 Writing Prompts

01) Character is on the run
02) Character discovers something very old
03) Character borrows something
04) Character gets cursed
05) Character decides to take the direct approach
06) Character deals with passive-aggression
07) Character dances
08) Character plays along
09) Character goes wild
10) Character makes a big mistake

Goals

Story goals should be both measurable and explicitly defined.

Jimmy joins a boxing league.
So?

Jimmy joins a boxing league because he wants to impress a girl.
Defined, but not measurable.

Jimmy joins a boxing league because if he *wins*, Susie will go out with him.
Whether Susie goes out with him or not is measurable because it’s visual, clear cut, obvious. Either she does, or she doesn’t.

Scene goals should work the same way. Don’t just have your characters sitting around the coffee table yapping (or worse, laying in bed ruminating on their lives) when you can have them striving toward an unambiguous goal.

Where there’s goals, there can be opposition—and where there’s opposition, there’s conflict. Conflict turns pages. Conflict is good.

Heads up: Goals

This week's Craft topic is Goals. Look for "Goals" posts on Wednesday.

Vernacular: active protagonists

An ACTIVE PROTAGONIST, in the pursuit of desire, takes action in direct conflict with the people and world around him.

[Robert McKee--STORY]

10 Writing Prompts

01) Character finds self in "Podunk" town
02) Character is on trial
03) Character realizes s/he is in love
04) Character realizes s/he is NOT in love
05) Character narrowly avoids being in a fight
06) Character starts a fight (or finishes it!)
07) Character forgets something important
08) Character escapes
09) Character gets lost
10) Character gets trapped

Inherent Conflict

One way to guarantee conflict in your story is to have protagonists with directly competing goals or outlooks.

An oft-used example is "the fireman and the arsonist". We also see the FBI agent and the hacker, the cop and the vigilante, and so on.

But keep in mind that conflict doesn't equal career. Inherent conflict can come from very basic outlooks on life.

Ex:
Rule follower vs Rule breaker
Globe Trotter vs Homebody
Orderly mind vs the free spirit
Ends Justify Means vs Follow Procedure
Introvert vs Extrovert
Reliability vs Impulsivity

GMC

GMC stands for Goal, Motivation, and Conflict. This term was popularized by Deb Dixon, who does workshops and published a book on this topic.

Basically, the theory is this: All primary or secondary characters worthy of appearing in your story should have GMC, which can change over the course of the story and which can be expressed as follows:

[Character] wants [Goal] because [Motivation], but [conflict].

This is also one way to set up your story pitch when querying editors and agents.

EX: Susie wants to marry Johnny because she just found out she's pregnant with his baby, but she's engaged to Johnny's scary biker brother and the wedding's tomorrow morning.

Heads up: GMC

This week's Craft topic is GMC. Look for "GMC" posts on Wednesday.

Vernacular: causality

CAUSALITY drives a story in which motivated actions cause effects that in turn become the causes of yet other effects, thereby interlinking various levels of conflict in a chain reaction of episodes leading to the Story Climax, expressing the interconnectedness of reality.

[Robert McKee--STORY]

10 Writing Prompts

01) Character teaches a lesson
02) Character learns a lesson
03) One (or more) of Character’s belongings disappear
04) Character rents/test drives a car
05) Character has a wacky/scary Friday the 13th
06) Character has must appear in court
07) Character gets stranded somewhere
08) Character is falsely accused
09) Character has superstitious habits/routines/fear
10) Character must appear for jury selection

Character Arcs

All the major characters should experience character growth or decline, not just the hero, heroine and villain.

Heads up: Character Growth

This week's Craft topic is Character Growth. Look for "Character Growth" posts on Wednesday.

Vernacular: setting

SETTING is 4-dimensional:

PERIOD: Story's place in time
DURATION: Story's length in time
LOCATION: Story's place in space
CONFLICT LEVEL: Story's position on hierarchy of human struggles

[Robert McKee--STORY]

10 Writing Prompts

01) Character unmasks someone in disguise
02) Character is fooled by someone in disguise
03) Character spies on someone/something
04) Character is spied upon / watched
05) Character gives a high five (or a whoo-hoo)
06) Character gives chase
07) Character runs away
08) Character faces biggest fear
09) Character hears a bump in the night
10) Character does some "trash talking"

Sex: Differences Between Men and Women

Women believe relationships should be repaired before lovemaking. Men believe sex repairs relationships.

Men's Emotional Reaction to Sex

Men might be fumbling/nervous/possessive after/during the first lovemaking because it's the relationship point of no return.

Heads up: Men and Women

This week's Craft topic is Men and Women. Look for "Men/Women" posts on Wednesday.

Vernacular: character arc

CHARACTER ARCS: The finest writing not only reveals true character, but arcs or changes that inner nature, for better or worse, over the course of the telling.

[Robert McKee--STORY]

10 Writing Prompts

01) Character is in an accident
02) Character witnesses a crime
03) Character participates in a crime
04) Character attends/stops a wedding
05) Character gets married
06) Character gets jilted/stood up
07) Character jilts someone/stands someone up
08) Character learns someone (or self) is NOT pregnant
09) Character is in disguise
10) Character is tricked

"Scenes emphasizing the drive toward the antagonist's goal can be used for pacing or to heighten tension. And since the goals and motivations of the adversary must be in direct opposition to those of the hero/heroine, the naturally ensuing confrontations demand action."

Darese Cotton

"Villains are a lot like heroes: They are active, powerful, dynamic, and capable of change. They are not always willing to change, and that's where you might find their eventual downfall. Aristotle observed of tragic heroes that what makes them great, brings them down. The same can be true of villains- that what they're best at, what they hesitate to change, might lead to their defeat."

Alicia Rasley

"Your villain must get his/her punishment in the end; if he/she simply disappears, then you've given the villain too much power. Give the reader the satisfaction of closure for all the evil that the villain put your hero and heroine through; this doesn't necessarily mean that the villain must die, but he/she should suffer in some way for his/her actions."

Ruth Kerce

"Believe in your villain as much as you believe in your heroes."

Susan Rich

"You must make your villains credible, logical, believable and understandable, but not likable. You want your villains to be real, three-dimensional people. You want the reader to understand what they're doing, why they're doing it, why they believe their actions are just and rational but you don't want the reader to become so empathetic with the villain that he/she loses empathy with the hero/heroine and starts cheering for the villain. [...] Make him good. Make him darn good. Because that makes the heroine and hero better and permits you to make the story stronger."

Vicki Hinze

"You have to lay in, at least in a single broad stroke, a motivation for villainy. In the Three Little Pigs, we assume the wolf is hungry."

Sid Fleischman

"Having a worthy adversary makes our heroes/heroines larger than life. A villain, like all characters, must make an invaluable contribution for the story, whether through advancing the action or plot, revealing important points though conversations, or emphasizing motivations and goals. A well-constructed antagonist can provide each of these through defining moments in our hero/heroine's experience."

Darese Cotton

"Villains and Antagonists are tools to be used in your story. Their main purpose is to drive the drama and get the story going. What's the big deal with the opposing factor? They up the ante for both the hero and the heroine."

T.J. Killian (paraphrased)

"No one actually sets out to do evil."

Ben Bova

"A real villain is also useful because he can force the protagonist to make moral choices. Ruthless disregard for moral rules is, after all, a characteristic of the villain. But heroes and heroines can't be like that, no matter how much they might want to be. Once again, the villain becomes a force for good, by challenging the protagonists to come up with a way to defeat evil without becoming evil themselves. The villain is part of their journey to heroism."

Alicia Rasley

"Pure, unrelenting evil gets boring. That's why Bond villains have pet cats. […] The bad guy isn't doing bad stuff so he can rub his hands together and snarl. He may be driven by greed, neuroses, or the conviction that his cause is just, but he's driven by something not unlike the things that drive a hero."

David Lubar

"How does a villain differ from an antagonist? An antagonist is a general term for the person who opposes the protagonist and villain is a sub-category of antagonists."

Darcy Pattison

"Don't overdo it. This doesn't mean to pull back in your writing; however, don't get 'villain-happy.' Make your villains as evil as they need to be for the storyline, but no more than that; otherwise, they will either ring untrue or they will take over the story, distracting from the hero, heroine, and original plot."

Ruth Kerce

"Villains are tricky rascals."

Vicki Hinze

Villain:
1. A wicked or evil person; a deceitful and unreliable scoundrel; someone who is morally reprehensible.
2. A dramatic or fictional character who is typically at odds with the hero.

Thesaurus Synonyms:
* blackguard
* bounder
* cad
* dog
* hound
* heel
* knave
* persona non grata
* rapscallion
* rascal
* rogue
* scalawag
* scallywag
* scoundrel
* unwelcome person
* varlet

Antagonist:
1. One who opposes and contends against another; an adversary.
2. The principal character in opposition to the protagonist or hero of a narrative or drama.

Thesaurus Synonyms:
* adversary
* agonist
* dueler
* duelist
* dueller
* duellist
* enemy
* foe
* foeman
* opponent
* opposer
* opposition
* resister
* withstander

Heads up: Villains/Antagonists

This week's Craft topic is Villains/Antagonists. Look for "Villains/Antagonists" posts on Wednesday.

Vernacular: true character

TRUE CHARACTER is revealed in the choices a human being makes under pressure. The greater the pressure, the deeper the revelation, the truer the choice to the character's essential nature.

[Robert McKee--STORY]

10 Writing Prompts

01) Character receives mail
02) Character sends a package
03) Character receives a package (not necessarily thru mail)
04) Someone Character knows is hospitalized
05) Character is hospitalized
06) Character witnesses a murder
07) Character witnesses vandalism
08) Character participates in vandalism
09) Character gets mugged
10) Character is lied to

Alpha Heroes

According to wikipedia, an alpha male is the individual in the community whom the others follow and defer to.

What this means in terms of characterization is that this type of hero is a can-do hero. He's a proactive hero. He's intelligent, self-assured, self-confident, skilled, successful, opinionated, respected, proud, strong, courageous, passionate, and powerful.

Your alpha hero will be in a leadership position. He doesn't work at the corporation; he owns it. He doesn't advise the king; he IS the king.

This situation means that plenty of responsibility--for himself and for others--rests on your alpha hero's shoulders.

In contrast to all his good traits, some character weaknesses emerge.

Your alpha hero's independence may lead him to a "needs no one" or distrustful nature. Your alpha hero's talent and charisma often leads to arrogance. Your alpha hero's natural leadership abilities can come off as demanding and bossy in other areas of his life. His power--whether physical and/or social--often leads others to fear, resentment, or subservience.

Your alpha hero may be aggressive, angry, hard, forceful, high-handed, hostile, tough, jealous, or dark--but he is also heroic: honest, loyal, dependable, capable, honorable. He is not abusive, selfish or cruel.

Heroes

HERO:

1. In mythology and legend, a man, often of divine ancestry, who is endowed with great courage and strength, celebrated for his bold exploits, and favored by the gods.
2. A person noted for feats of courage or nobility of purpose, especially one who has risked or sacrificed his or her life: soldiers and nurses who were heroes in an unpopular war.
3. A person noted for special achievement in a particular field: the heroes of medicine.

Thesaurus Synonyms:

* Artificer
* Champion
* Character
* Defender
* Discoverer
* Fighter
* Guardian
* Inventor
* Leader
* Mythical Being
* Paladin
* Protector
* Shielder

Publishing Tuesday: Romance Genre

ROMANTIC CONFLICT

When developing the romantic conflict, ask yourself these questions.

What is the hero's initial impression of the heroine? Why does that change?

What is the heroine's initial impression of the hero? Why does that change?

What do they offer each other emotionally that they cannot find elsewhere (or give themselves)?

In what way do they complete each other? What makes them perfect for each other? How can this be shown (not told!) to the reader?

What is the trigger that causes each character to fall in love? What event/revelation convinces them they've succumbed/fallen in love?

Heads up: Heroes

This week's Craft topic is Heroes. Look for "Heroes" posts on Wednesday.

Vernacular: character

CHARACTER brings the story the qualities of characterization necessary to convincingly act out choices.

[Robert McKee--STORY]

10 Writing Prompts

01) Character hears/sees someone crying
02) Character goes on the hunt (figuratively or literally)
03) Character gets rejected
04) Character writes/hears/receives a poem
05) Character gets/gives a nickname
06) Character is Fated to do something/be someone
07) Character gets sick
08) Character sends flowers
09) Character receives flowers
10) Character interacts with child/ren

Action Heroines

Action heroines need to be strong, not silly, but they do not necessarily have to be a "tough as nails" warrior.

They have self-confidence, grace, skill, poise, humanity and expertise. They are independent, smart, classy, emotionally strong, self-confident, pro-active.

They are not angry, bitter, brash, clumsy, over-emotional, cold, sarcastic, snappish, weepy, hard, crude or incompetent. They do not "need" to be rescued.

Heroines

HEROINE:

1. A woman noted for courage and daring action.
2. A woman noted for special achievement in a particular field.

Thesaurus Synonyms:

* Artificer
* Champion
* Character
* Defender
* Discoverer
* Fighter
* Guardian
* Inventor
* Leader
* Mythical Being
* Paladin
* Protector
* Shielder

Publishing Tuesday: Harlequin Category Romance

The various Harlequin lines are very different, and may prefer things such as feisty heroines who don't want help even if they need it, alpha males for heroes, gritty protective heroes, heaps of sexual tension throughout, forced proximity, serious emotional baggage, babies, excitement, characters the reader can relate to, and heroines who can match wits with anyone.

www.eHarlequin.com

Heads up: Heroines

This week's Craft topic is Heroines. Look for "Heroines" posts on Wednesday.

Vernacular: wallbanger

A book so dreadful that the reader chucks it full-force against the nearest wall rather than suffer through another word.

10 Writing Prompts

01) Character recognizes someone’s photo on web site
02) Character discovers photo of self on web site
03) Character gets put on the spot
04) Character’s day goes from Good to Bad
05) Character’s day goes from Bad to Worse
06) Character interacts with a ghost
07) Character hears a scream
08) Character becomes embroiled in a misunderstanding
09) Character fakes an emotion
10) Character tells a lie

Industry Thursday: Editors who blog

Evil Editor is an anonymous editor at a publishing house. He blogs on the editor/author relationship and the editorial process, and frequently hosts online submissions for feedback.

http://evileditor.blogspot.com

Female Villain Archetypes [more info]

THE BITCH

abusive, autocrat, lies, cheats, steals, success-oriented, self-involved, doesn't care about anyone but herself


THE BLACK WIDOW

beguiling siren, luring, takes what wants, seductive, charming, liar


THE BACKSTABBER

two-faced friend, dupes others, exploits secrets, betraying


THE LUNATIC

unbalanced madwoman, unfathomable, illogical


THE PARASITE

poisonous, desires security, sees self as victim, blames others, merciless


THE SCHEMER

lethal plotter, plays with others, elaborate plans, traps others


THE FANATIC

uncompromising extremist, does wrong in the name of good, ends justify means, if you're not with me you're against me


THE MATRIARCH

motherly opressor, smothering, controlling, knows what's best, enabler

Male Villain Archetypes [more info]

THE TYRANT

bullying despot, power-hungry, ruthless, conquering, crushing, powerful, people are pawns, destroyer


THE BASTARD

dispossessed, resentful, hurtful, provoking, rebellious, boyish, hateful


THE DEVIL

charming fiend, judging, charismatic, destructive, cajoling, exploits weakness, tempting


THE TRAITOR

double agent, betraying, untrustworthy, two-faced, plotting


THE OUTCAST

lonely, outsider, wants to belong, tortured, unforgiving, willing to sacrifice others


THE EVIL GENIUS

malevolent mastermind, show-off, superior intelligence, contemptful, enjoys elaborate puzzles, pulls people's strings


THE SADIST

savage predator, cruel, violent, brutal, psychological torture is fun


THE TERRORIST

dark knight, warped code of honor, self-righteous, believes in own virtue, judging, ends justify means, amoral

Hero Archetypes [more info]

THE CHIEF

leader, dynamic, workaholic, tough, decisive, goal-oriented, overbearing, inflexible


THE BAD BOY

dangerous, wild, rebel, bitter, volatile, crushed idealist, wrong side of tracks, charismatic, street smart


THE BEST FRIEND

sweet, safe, kind, responsible, decent, nice, anti-confrontation, unassertive, cares about others


THE CHARMER

fun, irresistible, smooth operator, playboy, rogue


THE LOST SOUL

sensitive, understanding, tortured, secretive, brooding, unforgiving, vulnerable, wanderer, outcast, creative, loner


THE PROFESSOR

cool, analytical, intelligent, logical, introverted, inflexible, genuine, fact-oriented, honest, faithful, dependable


THE SWASHBUCKLER

exciting, adventurous, action-oriented, physical, daring, fearless, daredevil, explorer, thrill-seeker


THE WARRIOR

noble, champion, honorable, reluctant rescuer, knight in shining armer, tenacious, relentless, protector, rule-breaker

Heroine Archetypes [more info]

THE BOSS

Pro-active, successful, takes charge, respected, goal-oriented


THE SEDUCTRESS

Enchantress, mysterious, manipulative, distrustful, cynical, tough, survivor


THE SPUNKY KID

gutsy, loyal, honest, moxie, team player, helpful


THE FREE SPIRIT

optimistic, unique, playful, fun-loving, spontaneous, follows heart


THE WAIF

damsel in distress, innocent, naieve, enduring


THE LIBRARIAN

controlled, clever, prim, proper, passionate, shy, intelligent, know-it-all


THE CRUSADER

fighter, meets commitments, on a mission, headstrong, tenacious, goal-oriented


THE NURTURER

serene, capable, nourishing, caretaker, good listener, optimistic

Enneagrams: The Reformer

Rational, idealistic, principled, purposeful, self-controlled, perfectionistic [more info]


Enneagrams: The Helper

Caring, interpersonal, demonstrative, generous, people-pleasing, possessive [more info]


Enneagrams: The Achiever

Success-oriented, pragmatic, adaptive, excelling, driven, image-conscious [more info]


Enneagrams: The Individualist

Sensitive, withdrawn, expressive, dramatic, self-absorbed, temperamental [more info]


Enneagrams: The Investigator

Intense, cerebral, perceptive, innovative, secretive, isolated [more info]


Enneagrams: The Loyalist

Committed, security-oriented, engaging, responsible, anxious, suspicious [more info]


Enneagrams: The Enthusiast

Busy, fun-loving, spontaneous, versatile, distractable, scattered [more info]


Enneagrams: The Challenger

Powerful, dominating, self-confident, decisive, willful, confrontational [more info]


Enneagrams: The Peacemaker

Easygoing, self-effacing, receptive, reassuring, agreeable, complacent [more info]

Publishing Tuesday: Romance Genre

MOTIVATION AND RISK

Over the course of a romance novel, the romantic stakes need to rise. The hero and heroine need to become more and more invested in each other.

Heads up: Archetypes

This week's Craft topic is Archetypes. Look for "Archetypes" posts on Wednesday.

Vernacular: WIP

Many authors will refer to their "WIP" or "MS" when writing emails or posting messages electronically.

WIP stands for Work In Progress. MS, which is short for ManuScript, may or may not by synonymous, since an MS may be complete, whereas a WIP is by definition unfinished.

10 Writing Prompts

01) Character tries a new hobby/sport/etc
02) Character meets someone new
03) Character discovers she is pregnant
04) Character discovers someone is pregnant
05) Character discovers someone is dead
06) Character discovers s/he is dead
07) Character receives a gift
08) Character gives a gift
09) Character’s first time in new town
10) Character volunteers for something

Industry Thursday: Editors who blog

Anna Genoese is an editor for TOR. She blogs frequently about the inner workings of publishing houses and the editorial process.

http://alg.livejournal.com

Myers-Briggs Personality Types: ISTJ
Introverted - Sensing - Thinking - Judging
Serious, quiet, peaceful, thorough, responsible, dependable, supports tradition, well-organized, hard-working [more info] [more info]


Myers-Briggs Personality Types: ISTP
Introverted - Sensing - Thinking - Perceiving
Quiet, reserved, mechanical skills, risk-taker, uncomplicated, extreme sports, loyal, ends justify means, detached, analytical [more info] [more info]


Myers-Briggs Personality Types: ISFJ
Introverted - Sensing - Feeling - Judging
Quiet, kind, conscientious, dependable, follows through, puts others first, stable, practical, value security and tradition, perceptive [more info] [more info]


Myers-Briggs Personality Types: ISFP
Introverted - Sensing - Feeling - Perceiving
Quiet, serious, sensitive, kind, anti-conflict, loyal, faithful, appreciation for beauty, non-controlling, flexible, open-minded, original, creative, enjoys the present [more info] [more info]


Myers-Briggs Personality Types: INFJ
Introverted - iNtuitive - Feeling - Judging
Quietly forceful, original, sensitive, persistent, intuitive, concerned about others, high values, well-respected, does right thing, individualistic [more info] [more info]


Myers-Briggs Personality Types: INFP
Introverted - iNtuitive - Feeling - Perceiving
Quiet, reflective, idealistic, serves humanity, high values, loyal, adaptable, laid-back, intelligent, understanding, helpful [more info] [more info]


Myers-Briggs Personality Types: INTJ
Introverted - iNtuitive - Thinking - Judging
Independent, original, analytical, determined, action-oriented, knowledgeable, competent, structured, driven, needs meaning, long-range thinker, high standards, natural leader [more info] [more info]


Myers-Briggs Personality Types: INTP
Introverted - iNtuitive - Thinking - Perceiving
Logical, original, creative, capable, driven, values knowledge, competence, logic, quiet, reserved, individualistic [more info] [more info]


Myers-Briggs Personality Types: ESTP
Extroverted - Sensing - Thinking - Perceiving
Friendly, adaptable, action-oriented, a "doer", risk-taker, faced-paced lifestyle, impatient, loyal, rule-breaker, good people skills [more info] [more info]


Myers-Briggs Personality Types: ESTJ
Extroverted - Sensing - Thinking - Judging
Practical, traditional, organized, athletic, loyal, hard-working, in charge, capable, organizing, leadershiip, values security, peaceful [more info] [more info]


Myers-Briggs Personality Types: ESFP
Extroverted - Sensing - Feeling - Perceiving
People-oriented, fun-loving, lives for moment, loves new experiences, serves others, center of attention, has common sense, practical [more info] [more info]


Myers-Briggs Personality Types: ESFJ
Extroverted - Sensing - Feeling - Judging
Warm-hearted, popular, conscientious, puts others first, responsible, strong sense of duty, value tradition, security, serves others, needs positive reinforcement [more info] [more info]


Myers-Briggs Personality Types: ENFP
Extroverted - iNtuitive - Feeling - Perceiving
Enthusiastic, idealistic, creative, capable, good people skills, inner values, open-minded, flexible, many interests, many talents/skills [more info] [more info]


Myers-Briggs Personality Types: ENFJ
Extroverted - iNtuitive - Feeling - Judging
Popular, sensitive, great people skills, externally focused, dislikes being alone, dislikes impersonal analysis, manages people issues, serves others, puts others first [more info] [more info]


Myers-Briggs Personality Types: ENTP
Extroverted - iNtuitive - Thinking - Perceiving
Creative, resourceful, smart, skilled, enjoys debates, "one-up-manship", outspoken, assertive, enjoy people, stimulating company, logical [more info] [more info]


Myers-Briggs Personality Types: ENTJ
Extroverted - iNtuitive - Thinking - Judging
Assertive, outspoken, driven to lead, problem solver, intellignet, well-informed, public speaking, value knowledge, competent, no patience with inefficiency or disorganization [more info] [more info]

Character Types

What kind of characters will populate your novel? The different types can be grouped in three overlapping categories: Role, Personality, and Inspiration.

3 CHARACTER ROLES

Primary Characters, such as protagonist(s) and antagonist(s)
Secondary Characters, which support the primaries and/or provide subplots
Walk-on Characters, such as waiters, taxi-drivers, cashiers, etc

Primary and secondary characters should only come on-screen with an agenda. This agenda may or may not be verbalized (action and subtext give the reader many clues). On that note, the other characters' agendas may or may not be at odds with the POV character's goals.


PERSONALITY

All characters should be consistent. This means they must stay true to their personality and environment. The arrogant warrior will not burst into tears if the heroine doesn't like his haircut.

That said, watch out for stereotypes. Librarians are not necessarily shy and mousy. Yours might have put herself through college by moonlighting at a strip club. Think outside the box.

Some writers group characters into three general personality types: alpha, beta, and gamma. An alpha character is strong-willed and agressive. A beta character is sensitive and low key. A gamma character is a beta by nature, but his alpha tendencies come roaring out when his back is against the wall.


INSPIRATION

One method of generating ideas for characters is to consider established character archetypes, such as The Swashbuckler and The Spunky Kid. We'll look into archetypes more deeply next week.

Another method of generating realistic characters is to utilize established personality types, such as the 16 combinations described by Myers-Briggs, or the 9 Enneagram types.

A third method of idea generation is to combine traits from people you know or other characters you've seen in TV, movies and books, or to use horoscopes and other personality generalizations as inspiration.

Publishing Tuesday: Romance Genre

TROUBLE IN (RELATIONSHIP) PARADISE

Danger signals
-contempt
-withdrawal
-defensiveness
-critcism
If the hero and/or heroine acts this way, make sure they're properly motivated so the reader still likes them.

Heads up: Character Types

This week's Craft topic is Character Types. Look for "Character Types" posts on Wednesday.

Vernacular: HEA

Happily Ever After, most often found in romance, but a key element in most mainstream (non-literary) fiction.

10 Writing Prompts

01) Character gets a surprise
02) Character surprises someone
03) Character meets someone famous
04) Character loses something/someone
05) Character reacts to a holiday
06) Weather interferes with Character’s plans
07) Character starts a new job/school/etc
08) Character goes shopping for something
09) Character has a First Kiss
10) Character cooks a meal for someone

Industry Thursday: Agents who blog

Miss Snark is an anonymous NYC literary agent. She blogs daily on the author/agent relationship and frequently hosts online submissions for feedback.

http://misssnark.blogspot.com

Imaginative Character Names

What do you do with all that junk email that pours in day after day? You’re not wasting your spam, are you?!

Next time, before you hit that delete button, take a glance and who those cosmetic pharmacy emails are from, and you might find some inventive new character names. Many authors espouse such traditional sources as baby name lists and high school year books. Bor-ing.

Where else but your junk mail folder will you find such gems as Isidora Halley, Augustine Castro, Fancisca K. Davison, and Clifford Castaneda?

Wounded Hero/ine

Also known as a "hole in the heart" (Michael Hauge), a character's wound often defines their internal conflict. It's that missing piece in their lives that affects them emotionally, and stops them from entering into a loving relationship.

Ex: My mom left us when I was twelve. I'm not worthy of love.
Ex: My dad beat me when I displeased him. I'm not good enough.
Ex: My checkered past has ruined all chances of happiness for the future. I'm not worthy of being trusted.
Ex: As a child, we moved too often for me to make any friends. I can't be one now.
Ex: I was born with [disease/issue] and I don't want to pass that on to my children.

Once the reader understands the internal conflict, don't pound it into their skulls with needless repetition. The reader gets it. Now show how it affects the characters daily life.

Make use of subtext, throwaway lines in which the characters themselves may not even realize how much they've given away.

Hauge also has a phrase known as "the killer share" to describe that scene where the character reveals the wound and opens up enough to explain the hole in the heart and/or how it got there and/or how it makes the character feel.

Internal conflict is not why the person can't fall in love, but why s/he can't act on their feelings. They want the other person, but truly believe they can't have them.

Characterization

Make sure your characters are complex and multifaceted, or they will come across as cardboard and boring. There should be many reasons why they feel/think/do what they do.

Fear

What is your character afraid of? Baring his soul? Being inadequeate? Disapproval? Show this to your reader through dialogue, action, and/or internal thoughts.

Characterization in Romance

A strong woman needs an equally strong man who is mature enough and self-confident enough to let her BE strong.

Publishing Tuesdays: Romance Genre

FALLING IN LOVE

Bronwyn Jameson stresses the importance of including “less confrontational scenes that still include conflict. They could be talking, working together, sharing a new understanding... and that may only make matters worse! BECAUSE THE STAKES ARE NOW HIGHER.”

This is to avoid a situation where the hero and heroine hate each other for 399 pages but fall in love just in time for the HEA on page 400.

To add to her advice, I’d also suggest scenes like:

1) Hero and Heroine forced to work together for common goal (such as shared enemy)
2) Hero or Heroine discovers that the other has unexpectedly done something nice/thoughtful for them (or a third party, such as a loved one) without any expectation of reward/compensation
3) Hero or Heroine discovers the other has heretofore unknown skills or qualities (from alto sax to altruism)
4) Hero and Heroine discover they have unexpected common ground, such as shared interests, beliefs, goals, or values

Heads up: Characterization

This week's Craft topic is Characterization. Look for "Characterization" posts on Wednesday.