DID YOU MISS 12 ESSENTIAL QUESTIONS IN JULY?

IT'S BACK!

12 ESSENTIAL QUESTIONS TO ASK THAT TURN NEW IDEAS INTO STORIES

NEXT COURSE: SATURDAY NOVEMBER 2

Connie Flynn and Bootcamp for Novelists Introduce Bootcamp Classrooms
 
The Bootcamps formerly called Face-to-Face have been renamed Bootcamp Classroom since it's easier to say and it means the same thing. I'm curious about how you like the new logo. It's a little more girly and yet still has a whiff of testosterone, not to mention the blackboard that reminds us this is a learning experience.

The first renewed Bootcamp was well received by twenty-one authors at various stages of their careers. Watch for the testimonial page that will come up soon on the Bootcamp website ( http://www.bootcampfornovelists.com ). The 12 Essential Questions Classroom is designed for all writers from beginners to those who are seasoned and multi-published.  It's purpose is to help you pull together the story you want to write full enough that you will know WHAT to write when you leave the Classroom and head home to finally put it down on paper.

HERE ARE THE DETAILS:

WHAT: Twelve Essential Questions to Ask to Turn New Ideas Into Stories. An all-day fiction writer's workshop that begins with your idea and guides you through your story to the end using a series of questions that when fully
answered provide the basic structure on which to write your novel.

WHEN: November 2, 2013 TIME: 10:00am - 5:00pm

WHO: Taught by multi-published author and Bootcamp founder, Connie Flynn.

FOR: Anyone who wants to write a novel, from first timers to writers to multi-published authors who are starting their tenth or eleventh or one hundredth book.

WHERE: Vision Quest Bookstore 2225 N Scottsdale Rd, Scottsdale, AZ 85257 Cross streets: Scottsdale Road and Oak (SE side)

WHY: You've always wanted to write a novel and don't know where to start. You have a blockbuster idea that you can't quite pull together. You've written several books that you haven't been able to sell. Connie Flynn can help. Whether you've never written a word or are a multi-published author working on your trillionth novel, this workshop will fill the bill because the material and exercises are tailored to apply to the individual writer's needs. They focus on YOUR story content, YOUR story flow, and as YOU answer each question you'll find the parts that fit the unique circumstances of the novel YOU want to write.

CONTACT:  Connie at bootcamp4novelists@cox.net

FOR MORE INFORMATION
AND TO REGISTER:  
http://www.bootcampfornovelists.com

 REGISTRATION FEES:
Until October 6    $69 Save $26

After October 6   $79  Save $16

After October 20 or at the Door  $85

 If you are coming from out of town and need hotel recommendations email Connie at Bootcamp4Novelists@cox.net for information

Twelve Essential Questions That Turn New Ideas Into Finished Novels

Connie Flynn and Bootcamp for Novelists 

are back with a Face-to-Face Bootcamp

On the Spot Feedback         

Student Interaction         

Door Prizes — books, writing tools, $25 VISA card         

WHAT: Twelve Essential Questions That Turn New Ideas Into Finished Novels. An all-day fiction writer's workshop that begins with your idea and guides you through your story to the end using a series of questions that when fully answered provide the basic structure on which to write your novel. This Bootcamp is as totally suitable for the first-time never-finished-a-book writer as it is for the multi-published novelist.

WHEN: July 27, 2013

TIME: 10:00am - 6:00pm

WHO: Taught by multi-published author and Bootcamp founder, Connie Flynn. 

FOR: Anyone who wants to write a novel, from first timers to writers who are working on their tenth or eleventh or hundredth book.

WHERE: Vision Quest Bookstore 2225 N Scottsdale Rd, Scottsdale, AZ 85257 Cross streets: Scottsdale Road and Oak (SE side)

WHY: You've always wanted to write a novel and don't know where to start. You have a blockbuster idea that you can't quite pull together. You've written several books that you haven't been able to sell. Connie Flynn can help. Whether you've never written a word or are a multi-published author working on your kajillionth novel, this workshop will fill the bill because the material and exercises are tailored to apply to the individual writer's needs. They focus on YOUR story content, YOUR story flow, and as YOU answer each question you'll find the the unique circumstances of the novel YOU want to write.

FOR MORE INFORMATION:  Email Connie at bootcamp4novelists@cox.net

TO REGISTER: Go to BootcampforNovelists.com
REGISTRATION FEES:

• By June 22 — $76
• After June 23 — $85
• After July 20 & at the Door — $95 

Self-Editing Using GMC & Action/Reaction

by Connie Flynn

The subject of self-editing is a bit confusing since the phrase doesn't truly define what we're talking about. Is it rewriting, which entails tearing apart the whole book, tossing out stuff, writing new stuff, changing stuff? Or are we talking revision, which requires less drastic changes but still demands a bit of messing with the stuff? Or copy and line edits which focus on the stuff itself – word choice, clarity, rhythm and flow?

Personally, I'm an outspoken advocate of structure, so the first thing I edit is my story question. Is it present in every scene? Do the scenes move my character closer to or farther from the goal?

If the answer is yes, I move on the next step, polishing my prose. If not, I troubleshoot, using wonderful methods I learned at Debra Dixon's and Jack Bickham's knees.
When I have having trouble writing a scene or finding the heart of an already written scene, it's probably because the character GMC or scene goal isn't defined. Sometimes, neither are.  A clue that a scene is missing both is that it seems totally flat and it's difficult to pin down why. Here are some remedies:

When a character's purpose for being in the scene isn't clear, it's difficult to know what to write, and the cause is usually a lack of GoalMotivationConflict.

1.If you've completed a GMC for the character, go back to the chart and examine it for tension.  The conflict (obstacle) must powerfully oppose the goal and be apparent to the reader.  If you haven't completed one, it's time you did. If you have no idea what I'm talking about, now is the time to run, not walk, to pick up a copy of Debra Dixon's GMC book (not sold on Amazon, use link at end).

2. Look at internal conflict.  Does the character want two opposing outcomes? Is this a lose/lose situation — if he gets one, he gives up the other?  It should be, so get busy fixing if it's not.

3. If you don't have a GMC for the character, the goal is probably absent from the scene. (Yes, you may have it in your head, sorta, but it's always writes better when it's on paper somewhere).

4. If the goal is there but you have problems getting engaged in whether the character reaches the goal, take a long look at motivation. Make sure the motivation is big and that the consequences of failure are enormous.

5. You have two types of scenes. One concentrates on action and is show not tell; the second explores the character's reactions to the action. In the goal scene, your character emphasis is 'I want.' In a reaction step it is 'I'm blindsided.”
   
Action Toward Goal:
a)  Goal:  “I want” leads to b)  Conflict: “You can't/better not” or “You'd better get out of my way.” leads to  c)  Failure or Setback: “What I've feared (or worse) has come upon me.”

Reaction to Setback:
a) Reaction: “I'm blindsided.” or “This is worse than I feared.” leads to b)  Dilemma/ Indecision: “What did I do/can I do?” leads to c)  Decision: “By God, I think I've got it.”

This decision then immediately transform into action. You may have heard that the reaction scene (often referred to as a sequel) is a license to write pages of introspection. While these scenes do include character self-examination this doesn't mean long passages of internal thought. Active writing, events occurring on the page, can often show the mental and emotional change required to come to decision more powerfully than internal dialogue. Also, the process of decision can span several action segments and doesn't always neatly fit into one scene.

6. When you've identified the steps of your scene, keep your writing centered around them.  Examine everything in the character's actions that is relevant and strengthen, clarify, add, and subtract until the scene becomes vital to the forward movement of your story. If the scene still doesn't contribute or just barely performs that function, consider folding the major elements into another scene or eliminating them altogether.

7. Cut any scene that doesn't show one of these: a) the character in powerful action toward the goal, b) a visibly escalating conflict, c) a strengthening or change in motivation.  Again, extract any vital information and fold it in elsewhere.

Applying this analysis to every scene that doesn't measure up will result in a remarkably stronger book and will actually simplify your editing process if you do it first, before you begin messing with the prose. 

But how about you? Do you have some time-tested methods of dealing with the self-edit process? This is only one way  and no matter how convinced I am of its effectiveness because it works for me I'm well aware there may be easier ways or different approaches. I'd love to hear about them and invite you to leave a comment.

Until next month,  
---Connie
   

This article has its foundation in these writing books:

GMC: GOAL, MOTIVATION AND CONFLICT by Debra Dixon. Available at www.gryphonbooksforwriters.com.

SCENE AND STRUCTURE by Jack Bickham and TECHNIQUES OF A SELLING WRITER by Dwight V. Swain.

Connie Flynn Goes A.W.O.L.

At Amazon - http://amzn.to/smoZp5

This just in . . . Connie Flynn, Basic Track Instructor for Bootcamp for Novelists Online, will go AWOL beginning March 10.

Not the usual AWOL, I suppose.  I mean, a person’s not supposed to give notice when they go AWOL, are they?

But it was time.  In November I blogged that my heart was in my writing and since then I’ve worked to finish my fantasy novel – yes, I’m still working on that one – and on getting my out of print books up on Amazon, plus pull two other finished mysteries into shape to publish.  Every time I turned around, the demands of teaching the Bootcamp and my college classes interfered, making my progress very slow.  Finally it came to a head, and after some heart to heart conversations with family members and close friends I eventually concluded I couldn't do it all.

I decided to take a six month leave of absence from Bootcamp for Novelists.   I’m rescheduling my upcoming classes and will return on September 7 with Sparkling Dialogue, followed by Punch Up Your Prose.  Come the new year (yes, 2013, how quickly time flies) I’ll resume the Four Pillars of Structure. Registration will remain open for those classes and I will offer 2-4 course package discounts.

In the meantime I’ll be busy finishing the book that’s been burning in my heart for so long and will keep in touch with former students and future students through the Bootcamp Bunker.   I now might even find time to take in some movies or spend a day at the mall and there will definitely be more lunches with family and friends.

So see you in September.  I’ll be looking refreshed.
Connie

P.S.  Leave a comment for a chance to win a free copy of my debut paranormal novel, SHADOW ON THE MOON.

MUSINGS OF 2012

It's January 2nd and the holidays are over and my tree is still up.  I even plugged the lights in today. Neighbors are probably saying, "Poor thing. Doesn't she know?"

I'm always a little spacey this time of year because sometime back I fell into a habit  of using the New Year's holiday to assess past accomplishments and mistakes and to design the future year.  In other words, New Year's resolutions.  

What I noticed a couple years back was that the resolutions I thought were goals, were actually items on a to-do list.  What I aIso noticed was they all seemed connected to a larger outcome I wasn't aware of until then. 

This year I started with the outcome, which became the theme for my resolutions and allowed me to focus my efforts on the right to-do's.  My personal  blog covers my process in detail so I won't repeat it here, but one of the best results to come out of my newly-minted theme method was I became very careful about what I associated my "I'm" to. 

Your I'M,  you may say. What is that?

Well, it's a contraction for I AM, which seems pretty obvious, but the affects of those two letters is probably not so clear.  The scary but wonderful truth is that those two letter, whenever they're thought or spoken, become a declaration of what you think you are, and/or what think you will become.  Anything you attach I am to becomes your new mental goal.  So if you say I am going to take the Christmas decorations down, my mind puts that on my to-do list.  I may or may not take down the decorations that day, but until I do, the task will float around in my mind, taking up space.   

This is true for everyone, whether you're saying "I need to, I must, I can't, I won't, I shouldn't, I wouldn't, I will." In other words, any form of the verb  "to be."  You get locked in because you declared yourself to be or to become that way. 

If, instead, you'd simply said that the Christmas decorations needed to come down . . . well, this sounds really silly, but essentially you don't get personally involved when you say it that way.  You're free to get the task done any number of ways (like, maybe your husband will do it, can you believe that?)

This works all the way through your life.  When you use I am combined with words like happy, wonderful, excited, energetic, engaged, loving --- I could could go on forever, but you're getting my drift.  These declarations also stick in your mind, too, but as enriching energy rather than as gnatty little thoughts that clutter your mind and sap your will to go on.

So, I was actually going to write about the re-launch of, SHADOW ON THE MOON, my debut paranormal werewolf book, but since I'm scheduled for a Much Cheaper Than Therapy interview on January 13, I'll save it for then. Which left me free to ramble, thank you very much.

But let me leave you now by wishing that your I am declarations create a planet full of happiness for you and yours in 2012 and on.  

Until next time,

Connie Flynn,

What's In a Name?

Comic Strips
I’m a avid fan of comic strips and think every storyteller should be. Especially of the strips that have ongoing story lines. No, I’m not talking Mary Worth and Judge Parker or even Little Orphan Annie, although they were greats strip back in the day. I’m talking about newer strips relevant to the twenty-first century life like Stone Soup or LuAnn. Or edgier ones like Doonesbury, Non Sequitur and Pearls Before Swine. All timely, funny and insightful. Even more impressive, the artists/writers exhibit an enviable skill of story telling in very few words.

Sunday morning's funnies featured a strip that inspired this blog post. Pearls Before Swine, written by Stephan Pastis. His character, Pig (no fancy names for Mr. Pastis) is naive and as genuine as the day is . . . well, you know, and he’s been told he might want to rethink his hero’s name, more than once, I believe. So here goes. Oh, did I mention funny?

Pearls Before Swine by Stephan Pastis

Having trouble reading the print? Here's a direct link.

After I stopped rolling around on the floor, the strip got me thinking and we all know how dangerous that is. But I get off-track.

Are names hard?
There are those magical times when characters names come right from the start. I love those times. There are also times when the name doesn’t quite fit. I don’t let that stop me from beginning the book, but I tend to keep changing the character’s name as I write, much to the dismay of my critique partners. At least one of my books was published even though I was never fully satisfied with the hero’s name. Somehow editors don’t think “the hero’s name isn’t right” is a good excuse to miss a deadline, Can you imagine?

Have you, like me, ever struggled with a character’s name? I mean, why can’t we always come up with cool names like, say, Scarlett O’Hara or Rhett Butler or even Hannibal Lector. These names are genius. They stick in the mind and evoke a picture of the character even before they’d been described.

I want all my names to be like that and wonder if some of you might not have your own favorite names that remain the standard you try to reach with all your characters’ names. I’m also wonder if other writers are as enthralled with comic strip as I am. And I really am. Between the strips and the Carolyn Hax column, well, I’d probably cancel my subscription to the morning paper. If you are, well here’s a Go Comics link that will lead you to all your favorites. The search engine is very picky about spelling but it’s a fun site and eventually you’ll find almost every strip out there. Unless, of course, you're still a fan of Mary Worth and Judge Parker.

Author Appearance
And, FYI, the Pearls Before Swine artist Stephan Pastis will be in Tempe on at 7pm on October 20, autographing at Changing Hands Bookstore.

Before I end this month’s Therapy blog, I’d like to mention my revised website. Although most of you know that I’m a published writer, I think I’m better know as a teacher at Bootcamp for Novelists Online and I wanted to remind everyone that I am still actively writing and have been busy reissuing my backlist of titles. Several are currently in e-book format and you can reach my Amazon offerings through my Connie Flynn website.

Ciao until next month,
Connie Flynn

The Wisdom of Breaking the Rules

Should you or shouldn't you?

Some people think that’s the best advice any creative person can hear. Let’s face it, rules are the enemy of the creative process. I mean, what’s this stuff about plotting, about character sketches, about inciting incidents and turning points. I just write and those things take care of themselves.

Don’t they?

Sometimes, yes. Sometimes everything just flows. Your people come alive, your story holds together and sizzles with tension. Never, ever, have you not needed rules more.

What happens, though, on those days when you aren’t quite in the groove? If it’s just a day or two, you think it’s a touch of the flu or your preoccupation with an upset in your life, and it goes away. But then your editor calls and offers you a novella and you’re tearing your hair out trying to find an idea. Plus, your work in progress hits a really saggy middle. The realities of being a successful author sink in.

When inspiration fails you, rules come in handy.

Not stuffy rules like, oh say, the heroine’s mother always has to be a paragon among women. Or the hero always has to be the richest man in the free world. Or there can be no romance or sex in mysteries and fantasy. At one time these were standard conventions in contemporary fiction and cross genre writing was a big no, no, and no one read erotica that didn’t come in a brown paper wrapper.

No, I’m talking about using rules to build a comfortable structure in which to write. Rules like, say, every story needs an arc. Characters should have flaws. Listing twenty things that could happen in your book on a daily basis keeps ideas flowing. A consistent writing schedule is the surest way to productivity. Take rejection in stride. Pay attention to methods of promoting your career. Be alert to a changing market.

These rules create professional writers. Craft and business rules provide a foundation for your daily writing routine and support your writing efforts when inspiration alone isn’t enough.

That said, I now circle back to the title. Watch out for the subtler rules that inhibit creativity. We often call them conventions. For instance, for a long period of time contemporary romance was always written in third person — definitely an unspoken rule. Before that, much of it was in first person, then that died one day and, lo, first person was shunned. Mysteries remained solidly first person; you seldom saw one written in another voice. Although taking place in invented worlds, fantasy were always Medieval-like. Westerns could only be written by Louie L’Amour (just kidding).

If no one had ever broken through these conventions, we wouldn’t have riveting third person thrillers, chick-lit would have never been born, urban fantasy would still be a fantasy, the western romance would be even more unpopular than it is today (another joke).

Another area where rules are being challenged is the area of being published at all and the arenas in which our works will be offered. Nobody knows right now where publishing is going and writers who cling to the rules are in danger of being left behind.

Rules are a mixed bag. Even the foundational rules of structure — plot, character flaws, scene and sequel — can sometimes hinder. Which mean we have to be willing to stretch beyond “what everybody does.” Once upon a time the way to modest success was to find someone who’s doing it well and emulate them. No more. Those who soar to the top always write with a distinctive flair. They push stories to the edge, and then slightly beyond. They take a different approach than the average meerkat. And at the same time they scrupulously follow important rules like consistent writing schedules and meeting their deadlines and networking as needed.

Most of us know how to follow rules. It takes tweaking of the perspective to break rules. If you’re interested in pushing your own personal edges, take a hard look at your current writing. Do you always write in third person? Try a chapter in first person. All your heroes are alphas? How about introducing yourself to a beta hero.

Is your writing style in a distant and objective point of view? Try writing just one scene in the emotional deep pov. If you always write romance, try you hand at a young adult, or a mystery, or a goofy comedy – not the whole book at first — my, that would be too daring — but a scene, a chapter, a short story. Stretch the way you write, continually look for new approaches. Just for the heck of it, despite your deadlines. Who knows, you could enter a new period of your writing when a fresh voice just bursts out of you.

How do you deal with rules and with the need to adapt in your writing career and, just as important, in your own life? If you have comments or insights, I invite you to post them.

Connie
http://bootcampfornovelists.com
http://connieflynn.com

Bootcamp for Novelists Fall Courses

To Enroll or Get More Information Go to the Bootcamp website

July 22 to September 2
Late registration accepted until July 29
CONNIE'S 6-WEEK BOOTCAMP CLINIC . . .
C1 Applying the Hero's Journey

Mythology was made famous by Joseph Campbell and later applied to screenwriting and storytelling by Hollywood, yet the principles of this powerful tool to readers' subconscious common links are still only vaguely understood. Learn how the archetypes are actually placeholders and that the journey itself takes many forms. This course is six weeks long and features considerable discussion as well as exercises for employing the "Journey" method.
FEE: $48

August 5 to September 16
LINDA'S 6-WEEK BOOTCAMP CLINIC . . .
LS1 Secrets To a Killer Synopsis
Plus Query Letter and First Three Chapters

The best story in the world won't sell if the editor can't get past the query letter and the synopsis. Most publishers give very specific guidelines on what they want in a submission, but they don't tell you how to make your submission stand out among those hundreds of submissions they receive daily. In this class, you'll learn how to do just that, and you'll get direct feedback on your query letter and your synopsis. It is recommended that you have completed at least half of your manuscript in order to get the most from the class.
FEE: $48

September 2 to September 16
CONNIE'S FALL 2-WEEK SIDEBAR
SB1 Haiku Magic — a gentle journey into poetry

Haiku is a Japanese poem structure that is traditionally three lines long, each line is a specific length - line one is five syllables, line two is seven syllables and line three is again five.

Why haiku? Bootcamp students know I'm constantly after them to write concisely and make precise word choices. What better way to learn that skill than playing around with a form of simple poetry that limits you to seventeen syllables. Plus, it asks you to form a mental image with those few sounds. Talk about showing, not telling.

It also frees the creative mind, kind of like mental doodling. At $15, this course is a steal, and just what many of you need to relax those overworked mental muscles of yours.
FEE: $15

September 9 to October 7
7B Punch Up Your Prose w/Connie Flynn

You can have great characters, excellent plots,and zingy dialogue but if you don't write the story with brevity and clarity and evocative words you'll lose readers by page three. You'll learn how to stay in active voice, what excitement killers must be avoided and how to exploit sentence structure and punctuation to get the most out of your writing. engaging.
FEE: $28

October 28 to November 18
8P The Big Black Moment

Dramatic, powerful storytelling doesn't just happen. There's a plan. A story plan. The Big Black Moment is only one piece of the plan, but it's one of the most important and many writers fail to get it right. Most writers understand that this is the moment when all seems lost, but they don't understand why or what goes into making it that way. In order for TBB to be emotional, certain components must be there. In this class you'll learn what TBB really is and how you can make it the most powerful, emotional point in your story.
FEE: $28

BOOTCAMP PACKAGES ARE BACK!

Like regular Bootcamps, each of these package courses is a full four weeks and covers the same material as a regular Bootcamp. There will be a one-week break between each course and you still have the option of registering for each Bootcamp individually, just without the package discount.

PILLARS OF STRUCTURE PACKAGE
Begins September 30
1B - Creating Characters
2B -Dynamic Plotting
3B - Sculpting Scenes
4B - Conflict That Sizzles

These four courses develop your basic writing skills and give you the foundation for writing your book. You'll go through step-by-step exercises that can sometimes be frustrating but are designed to help you identify how to create the memorable characters, can't-put-it-down plotting, and tense, crackling scenes that are found in all the best books. Plus, knowledge at a bargain. Individual courses are $28 each. You''ll save $20 by enrolling in the combined package.
PACKAGE FEE: $92

TECHNIQUES OF THE PROS PACKAGE
Begins November 11
1P - The First Three Chapters
2P - Deepening Character
3P - Escalating Consequences
4P - Creating Strong Subplots

The advanced techniques in these four classes are designed to expand and build on your basic foundation skills to take your writing to another level. The lessons and exercises, using your own work, will give you hands on experience as you learn the concepts and practice the techniques that create the kind of stories that make a bestseller...complex stories with memorable characters that readers will remember long after they've turned the last page. Individual courses are $28. You'll save $20 by enrolling in the four-class package.
PACKAGE FEE: $92

What Concerns You?

Last night I dreamed I was awakened on America’s Top Model by a 4am call to a surprise modeling gig. I’d slept in my clothes, my hair was a mess, my breath probably worse, and we were leaving NOW. The girls and I had partied in our model’s apartment the night before and I was badly hung over. And because I was still the age I really am (shouldn’t I have been younger and better looking? It was my dream!) and the other girls were young and beautiful and probably handled their booze better than I do, I was already at the back of the pack. America’s top model? Please.

Soon I was hanging out on the sidewalk in front of a designer’s studio and I got to assess how bad it was. I had on blue jeans, the I’m-about-to-paint-the-house kind, with a t-shirt bearing some rude slogan I refuse to share, and flip-flops, which — according to my friend who was subtly gloating because she’d done everything right — was something designers absolutely hated. Hey, they were wedgies and in a tasteful black, so how bad could that be?

I woke up defending my flip-flops, if you can imagine that.

But it wasn’t a bad dream. How many middle aged women get a chance to pretend they’re hot models? And, of course, I’m still a writer and a writing teacher and in no time I noticed that my dream was an inciting incident. My character had a (barely) achievable goal, a worthy motive to prove that old broads had a chance, and a conflict revolving around overcoming not only age, but being fully unprepared that morning.

If I were to actually take off with this unlikely premise what else would I need? After all I have this huge goal, a good reason, and an obstacle.

What’s missing is focus. Having caught a few episodes of Top Model, I discovered these girls have lots more to worry about than just looking good. They’re expected to be versatile – looking like an angel in one shot, sultry in another. They’re expected to be outgoing. Graceful in movement. Adaptable. And to never, never complain, no matter that the boning in that gown is threatening to give you an unscheduled mastectomy. x

It’s true — who would have thought it? — and it was the breadth of the demands that made me see what rich material this reality show provides. One girl, well, actually a woman — me — would worry about wrinkles, stamina, whether that roll around the waist was too big to hide. Another is too shy, someone else is not classy enough, another’s boobs are too big, another is too thin and suspected of being anorexic.

These are their concerns and are the core of unique characterization. You can make your character an Amazon or a cherub or a tough-as-nail cop but what makes this person behave like an individual are the things/people/events/desired images that concern her/him. Does she strive to be thought of as competent, then her concern is to do things correctly. Does he think of himself as fearless? Then his concern is to keep alert for frightening things to stomp on. Do his children mean everything to him? His concern is to keep them safe and happy.

This is a self-evident truth writers easily forget. Partly because concerns stem from external demands.but we tend to think they're internal. If one person is a go-getter who is hell-bent-for-leather after success, and another is a laid-back party-hearty guy, their concerns would be different. Character A is intent on impressing the boss. Character B is more interested in keeping beer in the fridge. They seem motivated by widely different things, but it is their concerns that drive them. If Character B got kicked out on the street, with no fridge, and no bucks for beer, he’d suddenly become intent on impressing the boss, any boss. Likewise, given enough bad luck, Character A could end up a beer-guzzling slacker. External demands and expectations drive the concern.

So, back to my dream. Although I risk making a fool of myself, I’d like to go into what my concerns might be if I really were on America’s Top Model competing with a dozen women young enough to be my daughters.

Well, I’d probably be the first one to hit the gym each morning, making sure that nothing sagged. And I’d watch my diet more closely than the younger ones. I’d also make sure everyone liked me. I’ll need the support since I’m already one down.

If I’m smart and actually hope to be a winner, or at least snag a modeling contract, I’d make sure I didn’t lead with my weaknesses. Nope, I’d be up first in the morning, getting the makeup on perfectly, styling my hair (gosh, I’m getting exhausted thinking about it). All of these concerns, these efforts to make these little things right, create events. I, for instance, might need my particular curling iron to get my hair just so. Another girl keeps borrowing it without asking. Micro-conflict coming up, which could possibly get bigger depending on the concerns of the other girls.

Now this is the most important thing to remember when you strive to give character’s individuality: each character has their own concerns, which blends or clashes with other characters, or make that person seem weird. But it doesn’t take much backstory to make the weird believable. All you need is a reason. I want to win the modeling contest. If I’m reasonably successful at hiding my age, my insecurities will seem weird. But as soon as the reader know the reason, it no longer does. Concerns are the outward evidence of motivation and when used effectively they make every character unique.

Which leads me to think, with this much concern would I have partied hard enough to have a hangover? It looks like I did. What’s up with that?

A new concern, one not yet revealed. One that derailed me. What could it be?

Well, the dream ended so we’ll never know, but if you think of something include it in your comment and maybe share what you would do if you found yourself trapped inside a reality show. What show would you be on? What concerns would reveal your motive?

Until next month, follow your dreams,
Connie Flynn
BootcampforNovelists

BOOTCAMP FOR NOVELISTS SUMMER COURSES

JUNE 17 TO JULY 1
HAIKU MADNESS with Connie Flynn

Connie is offering the Bootcamp's first off-topic course, called a Sidebar, which is a quick two-week course that will cover creative writing areas that are outside the usual areas of novel writing. She's starting with Haiku poetry, where students will learn the basics of this often misunderstood poetry form.

What is haiku? It's a Japanese poem structure that is measured by syllables. Traditionally only three lines long, each line is a specific length — line one is five syllables, line two is seven syllables and line three is again five. Click this link to see a sample haiku: http://www.bootcampfornovelists.com/cf-courses/c-course-csb1-haiku-sample.html

So why haiku? I think it also frees the creative mind, kind of like mental doodling. In this course we will write haiku on various topics, starting with the classic season/nature themes, then moving on to satirical haiku, and then free for all haiku on topics far and wide.

It's a two-week course. You can come in once a week for the lessons or pop in an out every day. There is no constructive (or non-constructive) feedback. You just take your bow each time you post. At $15, this course is a steal, and just what many of you need to relax those overworked mental muscles of yours.
FEE: $15
ENROLL NOW

JULY 15 TO AUGUST 12
A NEW AUTHOR SPOTLIGHT
The Return of Ever Popular Historical Author
DENISE DOMNING!

BRING YOUR HISTORICAL TO LIFE

Learn to weave historical facts into your novel so deftly that readers
feel they've entered a time machine while reading your book.

In this course you'll learn how to create your characters' world view and create conflict by letting some of them rise above the "truth" of their time period. You'll also learn how to balance historical fact and events with your fictional story to make them seem true to their time. Finally, you'll learn what in their environment they need to see and interact with so you can create a bridge between our time and theirs, the bridge that will take your readers on their journey into the past.

But don't think that these research tools are for historical authors only. Any author who writes about an unknown setting or occupation will find this course invauable for creating a believeable world.
FEE: $28
ENROLL NOW

JULY 22 TO AUGUST 5
7P THE ART OF PACING
A 2 week mini-course taught by Linda Style

Pacing isn't all about speed. It's also about moving readers along. And even more. Pacing has many facets and involves everything from the tone of your book to the language you use. In this class you'll learn the ins and outs of pacing from story to scene to paragraph to sentence and how to use pacing to benefit your story.
FEE: $15
ENROLL NOW

JULY 22 to SEPT 2
SUMMER SPECIAL BOOTCAMP CLINIC taught by Connie Flynn
C1 APPLYING THE HERO'S JOURNEY
Mythology was made famous by Joseph Campbell and later applied to screenwriting and storytelling by Hollywood, yet the principles of this powerful tool to a reader's subconscious common links are only vaguely understood. Learn that archetypes are actually placeholders and how the journey itself takes many forms. This course is six weeks long and features considerable discussion as well as exercises for employing the "Journey" method.
FEE: $48
SAVE $5 ENROLL BY 6/24 Fee: $43
ENROLL NOW

AUGUST 5 to SEPTEMBER 16
SUMMER SPECIAL BOOTCAMP CLINIC taught by Linda Style
LS1 SECRETS TO A KILLER SYNOPSIS
Includes: query letter, voice & style
A unique voice and style can make your synopsis stand out among the hundreds of submissions editors and agents receive. In this class you'll learn all the elements necessary for a successful synopsis and receive direct feedback on your work. In order to get the most from the class, it is recommended that you have completed at least half of your manuscript.
FEE: $48
SAVE $5 ENROLL BY JULY 15 Fee: $43
ENROLL NOW

Bootcamp for Novelists is has been online for over two years. Instructors Connie Flynn and Linda Style teach step-by-step novel writing that starts at the beginning and takes you through the polish. Enroll at http://bootcampfornovelists.com

Why Use Pen Names?

"What's in a name? That which we call a rose
By any other name would smell as sweet."
— William Shakespeare

When I first started writing back in the last century (the 1900's not the 1800's :-), many publishers required their writers to use pseudonyms and everyone I know was itching to use their own name. I’d been advised by my agent to keep all my writing under one name and it took a nice bit of negotiation to convince one publisher that I should write future books under my own name. That was considered quite a coup d'état.

Lately, many writers assume a pen name even before they are published and I often wonder why. I know some authors hope to publish academic or political papers someday and fear that being linked with writing genre fiction might be a stigma. Others are writing edgy erotica that they might not want their grandmother’s uncorrupted eyes to see — although I’m not sure those eyes exist much anymore.

I had a personal experience with the benefits of pseudonyms when one of my romantic comedies came out shortly after my first werewolf romance, SHADOW ON THE MOON. A reviewer loved SHADOW and gave it her highest rating. Two months later the same reviewer read ONLY COUPLES NEED APPLY, the comedy, and gave it a scathing review, the kind that melts toenails. I liked both books but must admit the content were world’s apart and I suspect the reviewer was expecting a touch of S&M and was quite disappointed when I gave her M&Ms. I’d failed to live up to her reader expectations, which makes this incident a very good argument for using pseudonyms.

After all, very established writers like Nora Roberts and Jennifer Ashley use a pen name when they writer for a new genre, especially if the genres don’t cross over well. Partly it’s a financial decision involving sales figures and such, but that motive aside, I can’t see much benefit in taking on the enormous task of supporting and publicizing two or more career names. I’m sure there are many reasons that haven’t occurred to me but I’ve been giving it a lot more thought since I started writing two series, one fantasy, and the other thriller/suspense.

So what do you think? Do you have a pen name? If so, why? Is it to keep your genres separate or to keep your grandma in the dark? Or just because you like the sound of the name you chose? There’s no right answers so if you’ve got an opinion, sound off. I’m listening. You may help me make up my mind.

THE DANCE OF PLOT AND CHARACTER

THE DANCE OF PLOT
AND CHARACTER

. . . taught by Connie Flynn


When: Saturday, April 30, 2011

9 am to 5 pm

Continental breakfast and sit down lunch included.

WHERE: The Historical Monti's La Casa Vieja Steakhouse

100 S. Mill Avenue

Tempe, Arizona 85281

www.montis.com

WHAT YOU WILL LEARN
When we study novel writing we are forced to break its many elements into smaller chunks in order to master each of them well enough to write the powerful stories that are in us. Never is that truer than in the study of plot and character. You hear writers say things like "I'm a plot driven writer," or "My stories are driven by character." In the long run this is impossible. Plots are boring unless we care about the characters who live them. Characters never show their whole selves unless pressured by strong plot events. It's a delicate dance that takes place between plot and character and there are techniques that make the dance easier to choreograph. This course deals with some of the techniques.

During the day, you will learn how and why plot and characters move through a story and how to intertwine them so that the people and events appear real and natural. At the end of the seminar you will be able to block out a novel in which characters create plot and plot pressures the characters to bring about a story resolution that is almost inevitable, but not necessarily predictable. The day includes a continental breakfast and a seated lunch

The morning session will cover the basics of building the focal character and discovering how they will drive your story. Next, we'll learn a four-act structure of loose boxes that define the story and build its plot arc (the change occurring within a story due to the characters' decisions). And finally you'll be introduced to the eight major scenes that will guide your story.

The afternoon session is about techniques to add credibility to your focal character. You'll study what makes people tick and assign your character attitudes, perspectives, opinions, and concerns that will help you know them so well you'll know exactly how they'd react in any situation.

We'll end the day by aligning the eight major scenes to the focal character's arc (defined as the change in their perspective caused by the story events). We'll see how events that seem to change the character are actually a result of the character's decision and how plot/character integration is a delicate dance between these two.


FOR MORE INFO & TO REGISTER

Early registration (until March 31, 2011) $125

Late registration (after March 31, 2011) $150

All day seminar includes continental breakfast and lunch. Register at the Bootcamp website

Installment Plan and Mail Payment Options Available

Contact Connie for more details

bootcamp4novelists@cox.net

Don't Wait to Begin Your Dream . . . Register Today

Bootcamp for Novelists March-April On-Line Class

Bootcamp for Novelists upcoming classes

March 18 to April 15

Taught by Linda Style

3P ESCALATING CONSEQUENCES
Have you ever been so excited about a story that it practically writes itself...and then, somewhere after the third chapter, it stops dead? If so, it's probably because your conflict is staic. This workshop examines what makes your conflict dynamic...and what to do to make your story move along naturally...with high drama.

FEE: $28
Taght by Connie Flynn

March 18 to April 15
3B SCENE SCULPTING
Structuring scenes for maximum input is the third pillar of story structure. You'll leave this course knowing where and when to place a scene and hot to connect each scene for ease of flow and maximum impact.

FEE: $28

www.bootcampfornovelists.com

Bootcamp for Novelists-March Courses

LINDA'S COURSES

March 18 to April 18
3P ESCALATING CONSEQUENCES
Have you ever been so excited about a story that it practically writes itself...and then, somewhere after the third chapter, it stops dead? If so, it's probably because your conflict is staic. This workshop examines what makes your conflict dynamic...and what to do to make your story move along naturally...with high drama.

FEE: $28
ENROLL NOW


CONNIE'S COURSES

March 18 to April 15
3B SCENE SCULPTING
Structuring scenes for maximum input is the third pillar of story structure. You'll leave this course knowing where and when to place a scene and hot to connect each scene for ease of flow and maximum impact.
FEE: $28

Enroll now http://bootcampfornovelists.com/

Bootcamp for Novelists September On-Line Classes

BOOTCAMP FOR NOVELISTS ONLINE SEPTEMBER BOOTCAMPS

*September 5 - October 2 Author Spotlight*

Synopses - How to Take the Bite Out of Writing Them . . .
. . . using the classic movie, JAWS, as an example

Taught by Harlequin American author Cathy McDavid

*Whether plotter or pantser by nature and whether you write them before
or after you've written the book, the darned synopsis is often the part
of professional writing we hate the most. Yet, to be successful, we must
do a passable job of constructing one.

Unfortunately, there's no secret to writing a synopsis. However, in this
workshop we'll cover basic and simple steps that will let you produce
that passable, and possibly very good, synopsis. We'll also debunk some
common myths about synopses that may have been making the task more
difficult than it needs to be.

If you haven't watched JAWS recently (or ever), you might want to view
it before the course starts. For the romance plot, our example will be
Cinderella.

*COURSE FEE: $30
*
REGISTER AT http://BootcampforNovelists.com/current-courses.html

September 5 to October 2 Bootcamp Courses
*
POLISH TRACK*
*4P SUBPLOTS AND LAYERS/ taught by Linda Style/ *
Some of the most successful techniques used by bestselling authors are
the judicious use of subplots and layering, both of which add depth,
texture and interest to a story. But many writers don't make full use of
their subplots and sometimes even mistake a secondary plot for a
subplot. Many writers believe layering is simply adding more stuff to
make it interesting. Not so. In this class, you'll learn the intricacies
of subplot and layering and how to use them to your story's best
advantage. We'll cover what the subplot can do for your story, the
start, the finish and the why plus weaving, braiding, intersecting and
all that jazz and a look at the secret ingredients of the subplot*

_BASIC TRACK_

5B SPARKLING DIALOGUE /taught by Connie/*
Dialogue is not hard to write. But neither is it like real
conversations. Dialogue has a story purpose beyond showing that your
characters have voice boxes. This course gives techniques on writing
dialogue that reveal character and moves along the plot. We'll master
using dialogue to move your story, learn why how he thinks is how he
speaks, and cover techniques for dynamic dialogue and how to weave it
smoothly into your narrative.

These 4-week courses are delivered as a weekly lesson that
includes an exercise and detailed personal feedback.
FEE PER COURSE: $28
REGISTER AT http://BootcampforNovelists.com/current-courses.html

Writing Tip of the Month

From the gals over at Bootcamp for Novelists-Linda Style and Connie Flynn

http://bootcampfornovelists.com/

THE THREE FUTURES

Each scene must have an outcome or consequence. Outcomes fall into two categories. The character encounters or revisits information that triggers a decision. The outcome of a decision is that the character must act on that decision.

Disaster and/or success trigger three possible futures. First, there is Yes (total success) and No (failure). Both these answers stop the forward movement of your story because conflict vanishes and the result is 'no future,' at least not for this story.

The answers that produce conflict are "Yes, but . . ." which means there's a cost. Yes, you can have the loan to save your farm, but you'll need to put up your mother's farm as collateral.

The other plot-moving answer is "No, and furthermore . . ." As in, "You and your little dog, too."

These are story consequences. As you can see, the future then becomes about more than losing just what you set out to gain. It's now about learning that there's more at stake than your character had the good sense to fear. This is tension, conflict, and it's guaranteed to leave readers biting nails and sitting on the edges of their seats.

August Bootcamp for Novelists

Bootcamp for Novelists August On-Line Classes

http://bootcampfornovelists.com/

LINDA'S COURSE

August 1 - August 28
3P ESCALATING CONSEQUENCES
Pro writers know how to keep each scene simmering with expectation by highlighting external situations and internal conflict to create high drama. This course covers just that topic and you'll never again wonder what to do with that boring but necessary scene.


FEE: $25

ENROLL NOW!

CONNIE'S COURSES

August 1 - August 28

4B STORY CONFLICT
Without conflict there is no story. But what is conflict and how does it affect character and plot? It stems from the obstacles to the character's goal and from the consequences of character action. This course will focus on increasing obstacles and consequences until conflict sizzles on every page.

FEE: $25

9B REWRITING & REVISING
The most exciting day of your writing life is the day you finish your book. That's soon followed by days of revisions which can be painfully less exciting. Still, the process can be made easier, and it should be rewarding. After all, this is your last chance to polish and shine the baby you worked so hard to bring into the world. This course teaches a series of steps that keep revisions organized and let you avoid reworking the same sections again and again, while coming out with the best book that's in you.


FEE: $25

Bootcamp Fees Go Up Aug 1

The bad news is we have to raise fees to $28/course, not a life-changing amount, but it still adds to the cost. The good news is that we will honor registrations for ALL courses at the old $25 rate until August 1, including the new Spotlights series.

So if you already have your future courses picked out, this is a good time to lock in the old rate. And, if you haven't planned that far ahead, you can get the old rate for next month's course.

May/June Bootcamp for Novelists Classes

MAY 5/30 TO 6/25

LINDA'S COURSES

DEEPENING CHARACTERIZATION
How your character acts in any given situation is based on multiple variables. Here you'll learn what they are and how to use them to make your characters leap off the page. Among the areas covered are the character arcs, values and believes and deep point of view.

FEE: $25

ENROLL NOW!
Enroll at http://bootcampfornovelists.com/

Need more info?
Email Linda bootcamp4novelists2@yahoo.com


MAY 5/30 TO 6/25

SCENE STRUCTURE by Connie

Action rules, introspection is dead. Not entirely true, but every author must learn how to write action and bring events to life on the page. The goal is to generate mental pictures in readers' minds so they can feel the story, live the story. This course deals with scene and sequel overview, distinguishing action scenes from sequels and gaining a mastery of the principles of cause and effect, including how to use smaller beats to produce maximum impact.

FEE: $25

ENROLL NOW!
Enroll at http://bootcampfornovelists.com/


BOOTCAMP SPECIAL CLINIC
Coming in May
May 23 — July 3

A 6-Week Bootcamp Clinic
EXPLORING THE HERO'S JOURNEY
taught by Connie Flynn

Mythology was made famous by Joseph Campbell and later applied to screenwriting and storytelling by Hollywood, yet the principles of this powerful tool to readers' subconscious common links are still only vaguely understood. Learn how the archetypes are actually placeholders and that the journey itself takes many forms. This course is six weeks long and features considerable discussion as well as exercises for employing the "Journey" method. We'll also use a textbook — THE WRITERS JOURNEY by Christopher Vogler — and take it apart chapter by chapter to discover how to use this structure to enhance our stories. It is highly recommended that you complete 1B-Characterization and 2B-Plot before taking this course.

FEE: $48
Enroll at http://bootcampfornovelists.com/

Need more info?
Email Connie at bootcamp4novelists@cox.net

The Bootcamp will be on summer break during the month of July
Courses will resume on August 1

Bootcamp for Novelists-April/May Classes

Connie's Courses

APRIL 4/25 TO 5/22

8B DEVELOPING STORY IDEAS
You've got a cool idea for a setting, but have no idea who to put in it. A swaggering, broad-shouldered, chivalrous hero keeps walking through your head and you can't come up with an idea good enough for him. A publishing house puts out a call for a particular kind of story and nothing comes to mind. Anything like this ever happen to you? This course is about pulling in threads that build on and expand that small seed of an idea until it becomes something that will live on paper.

FEE: $25
ENROLL NOW! http://bootcampfornovelists.com/current-courses.html

2B PLOT DEVELOPMENT
Some people believe that stories come from a magical realm and simply float down to
some lucky writers. But could it be possible that given a character with a goal
who faces conflict that you can give them situations that make your story sing? This
course shows you how. You'll learn to use a story question to test your premise and guide your book. You'll learn how to break your story into four boxes and what plot points to put in those boxes. Effective plotting guarantees a page turner and that's the aim of this course.

FEE: $25

ENROLL NOW! http://bootcampfornovelists.com/current-courses.html

Bootcamp for Novelists March On-Line Classes

March Courses – March 21 thru April 17

FIRST THREE CHAPTERS
taught by Linda Style

There are many reasons an unpublished writer's work gets turned down by editors, but by far, the reason most often cited is "It just didn't grab me," or, "I just didn't care about the characters enough." The first job you have as an author is to get the editor's attention and keep her reading. The First Three Chapters digs deep into the finer points of putting these pages together and helps you discover what you can do to make you book stand out above others.

FEE: $25
Enroll at http://bootcampfornovelists.com/

Need more info?
Email Linda bootcamp4novelists2@yahoo.com


PUNCH UP YOUR PROSE
taught by Connie Flynn

You can have great characters, excellent plots, and zingy dialogue but if you don't write the story with brevity, clarity and evocative words you'll lose readers by page three. You'll learn how to stay in active voice, what excitement killers must be avoided, and how to exploit sentence structure and punctuation to get the most out of your writing. engaging.

FEE: $25
Enroll at http://bootcampfornovelists.com/

Need more info?
Email Connie at bootcamp4novelists@cox.net


CHARACTER DEVELOPMENT
taught by Connie Flynn

Beginners often want to push their characters around, which can result in inconsistent behavior that is labeled poor characterization. This course provides the fundamentals necessary for replacing stick figures with living, breathing people. We'll cover the nuances of goal, motivation and conflict, plus point of view and character integration. But most of all you'll learn specific approaches that make your characters unique.

FEE: $25
Enroll at http://bootcampfornovelists.com/

Need more info?
Email Connie at bootcamp4novelists@cox.net


Coming in May
May 23 — July 3

A Special 6-Week Bootcamp Clinic
EXPLORING THE HERO'S JOURNEY
taught by Connie Flynn

Mythology was made famous by Joseph Campbell and later applied to screenwriting and storytelling by Hollywood, yet the principles of this powerful tool to readers' subconscious common links are still only vaguely understood. Learn how the archetypes are actually placeholders and that the journey itself takes many forms. This course is six weeks long and features considerable discussion as well as exercises for employing the "Journey" method. We'll also use a textbook — THE WRITERS JOURNEY by Christopher Vogler — and take it apart chapter by chapter to discover how to use this structure to enhance our stories. It is highly recommended that you complete 1B-Characterization and 2B-Plot before taking this course.

FEE: $48
Enroll at http://bootcampfornovelists.com/

Need more info?
Email Connie at bootcamp4novelists@cox.net