This month's theme is plotting. Um, yeah, right.
I don't plot.
I refuse to plot.
Okay, I plot a little. For my romances, every one of my plots is--something happens to make the hero and heroine meet, more stuff happens, things get worse, then they get bad, then you have to read with your eyes closed, then that horrible moment when everything looks totally lost and then ahhh, they live happily ever after.
Sound familar.
If so, you're a pantser. A person who writes a story by the seat of their pants, not a plotter (which to mean sounds like a disease where you spend copious amounts of time on the porcelian throne). Remove tongue from cheek.
When I tell someone I'm a pantser, their response is that I must do lots of revisions.
Um, no. And never plot lines, my revisions consist of tweaking words and verbage.
Most respond with denial. Apparently, by not having tons of revisions I'm either a) lying, b) a crappy writer who doesn't listen to editors, or c) write superficial books with little plot.
My answers are I'm not lying about this but if we talk long enough I'll lie about something else (I write fiction, which is made up stuff--ie lies). As for b, I've been published with 4 small presses and worked with 8 different editors. My storylines have passed muster with all of them, it's the evil grammar that kills me. And c) neither my characters nor my plots are superficial. In fact, I write very plot driven and complex stories. Always, even the short ones. The only time I haven't tied them all up is when I intend for there to be a sequel.
So, does that mean all the ardent plotters who are telling you their secrets are wrong?
Absolutely not. Their process works for them and it may work for you. But my brain thinks that if I plot a story, I'm done with it and my story fairy moves on.
While I am at the extreme edge of the antiplotting scale, I do have some tips for those who are in the middle.
Each scene (not chapter) must move the story forward in three ways--one has to raise the internal conflict/goal/motivation, the other must increase the stakes for the external conflict/goal/motivation and the third is a repeat of either the internal or external.
Lastly, because most people are a hybrid, take five minutes before you write for the day and by stream of consciousness think of everything that could happen in a scene that you're writing. These are bullet points like shots fired, running, dark alley, garbage and rats (fear of rats), betrayed by coworker, who can she trust, only the hero knew where she was going.
You don't have to use everything in one scene but this excercise can help focus your writing generating more words in a short period of time.
Happy writing!
Showing posts with label Conflict. Show all posts
Showing posts with label Conflict. Show all posts
Thursday, September 13, 2012
Thursday, April 14, 2011
Bootcamp for Novelists April Courses
LINDA'S COURSE April 22 to May 20 4P Strong Plots and Subplots Do you ever wonder what makes a good story great? Why we remember some stories and not others? In this workshop we examine layering and subplot development and their use in taking a story from okay to outstanding. FEE: $28 http://bootcampfornovelists.com/ CONNIE'S COURSE April 22 to May 20 4B Conflicts That Sizzle 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 escalating obstacles and consequences until conflict sizzles on every page. FEE: $28 http://bootcampfornovelists.com/
Wednesday, May 27, 2009
Bootcamp For Novelists-June Workshop
BOOTCAMP FOR NOVELISTS
JUNE COURSES
Begin June 7
End July 4
BASIC TRACK
STORY CONFLICT
(Connie)
Without conflict there is no story. But what is conflict and how is it driven by character and plot? It stems from the obstacles to the character's goal and from the consequences of character action as well as the push/pull between characters and the pressures from the plot. This course will focus on using all the necessary tools to make conflict sizzle on every page.
External Conflict
Extreme Differences
How Plot Pressures Characters
The Action Arc
Questions? Email Connie at Bootcamp4Novelists@cox.net
POLISH TRACK SUBPLOTS AND LAYERING
(Linda)
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. In this class you'll learn:
What the subplot can do for your story
The start, the finish and why
Weaving, braiding, intersecting and all that jazz
The secret ingredients of the subplot
Questions? Email Linda: bootcamp4novelists2@yahoo.com
FEE: $22/course
JUNE COURSES
Begin June 7
End July 4
BASIC TRACK
STORY CONFLICT
(Connie)
Without conflict there is no story. But what is conflict and how is it driven by character and plot? It stems from the obstacles to the character's goal and from the consequences of character action as well as the push/pull between characters and the pressures from the plot. This course will focus on using all the necessary tools to make conflict sizzle on every page.
External Conflict
Extreme Differences
How Plot Pressures Characters
The Action Arc
Questions? Email Connie at Bootcamp4Novelists@cox.net
POLISH TRACK SUBPLOTS AND LAYERING
(Linda)
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. In this class you'll learn:
What the subplot can do for your story
The start, the finish and why
Weaving, braiding, intersecting and all that jazz
The secret ingredients of the subplot
Questions? Email Linda: bootcamp4novelists2@yahoo.com
FEE: $22/course
Tuesday, January 20, 2009
Why Can't I put This Book Down? On-Line Class
Conflict: Why Can't I Put This Book Down?
Dates: February 2-28, 2009
Instructor: C. J. Carmichael
Cost: FREE to FTHRW members; $20.00 for all others
Registration Deadline: January 28, 2009
Registration: http://www.fthrw.com/workshops
Course Description:
Have you ever started writing a romance novel with great excitement, only to have the words begin to dry up after the first three or four chapters? Chances are your story is lacking in conflict—and if this is the case, you are not alone. A lack of conflict is one of the main reasons editors reject manuscripts for publication. In this workshop we will examine how conflict is introduced, layered and developed to provide an exciting, page-turning read.
About the Instructor:
Hard to imagine a more glamorous life than being an accountant, isn’t it? Still, CJ Carmichael gave up the thrills of income tax forms and double entry book-keeping when she sold her first book in 1998. She has now written over 25 novels for Harlequin and strongly suggests you look elsewhere for financial planning advice.
How to register: http://www.fthrw.com/workshops
Fee: FTHRW Members: FREE; FTHRW Non-Members: $20.00
Did you know FTHRW members get access to 12 free workshops a year?
Check all the benefits out at http://www.fthrw. com
Dates: February 2-28, 2009
Instructor: C. J. Carmichael
Cost: FREE to FTHRW members; $20.00 for all others
Registration Deadline: January 28, 2009
Registration: http://www.fthrw.com/workshops
Course Description:
Have you ever started writing a romance novel with great excitement, only to have the words begin to dry up after the first three or four chapters? Chances are your story is lacking in conflict—and if this is the case, you are not alone. A lack of conflict is one of the main reasons editors reject manuscripts for publication. In this workshop we will examine how conflict is introduced, layered and developed to provide an exciting, page-turning read.
About the Instructor:
Hard to imagine a more glamorous life than being an accountant, isn’t it? Still, CJ Carmichael gave up the thrills of income tax forms and double entry book-keeping when she sold her first book in 1998. She has now written over 25 novels for Harlequin and strongly suggests you look elsewhere for financial planning advice.
How to register: http://www.fthrw.com/workshops
Fee: FTHRW Members: FREE; FTHRW Non-Members: $20.00
Did you know FTHRW members get access to 12 free workshops a year?
Check all the benefits out at http://www.fthrw. com
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