Do We Need A Hero?

I finished watching my recording of the season finale of How to Get Away with Murder and I felt conflicted. I enjoyed the twists and turns. I have since the beginning, but I have been losing interest in the series. After the finale, I was leaning towards not watching it again. On the other hand, I do enjoy those twists and turns. I thought about the shows I usually record. They are crime dramas with a hero or heroine. The good guys go after the bad guys and win. I was left wondering whether or not a show needs a hero?

Romance writers and readers are used to having a hero and a happy ending. We leave our books or television with a sense that good overcame evil and all is right with the world.

Then I remembered Breaking Bad. I believe the character development was superb. We watched the nice guy, a teacher, turn bad for good reasons. Eventually, he had to admit he reached a point where he enjoyed being bad because he was good at it. But even when he was bad, he still protected Jesse and his family, including his brother-in-law, who worked for the DEA.

I get the impression that Annalise on How to Get Away with Murder would throw anyone under the bus if it fit into her scheme to win. I feel sorry for the character she had affair with. He seems to be a nice guy who has suffered the most from knowing her. The students who work for her have been dragged to the dark side as well. I feel sorry for them, but that isn't enough to keep me watching. I need a hero on this show. It is a popular series, so I am sure many people do not agree with me. We are all entitled to our own opinion.

Increase the Danger - Let's Be Cops

***SPOIL ALERT***

Romance novels are often accused of being formulaic because they all have a happy ending where boy gets girl. That guaranteed happy ending is why romance novels sold well during the recession. What makes them different from one another is the journey. After boy loses girl, what must he do to win her back? What dangers must our couple face in a suspense to triumph over the bad guys?

You could say comedies are formulaic. They make you laugh and then, in most cases, have a happy ending. Last night, my husband and I watched Let's Be Cops. I expected a silly movie that would make me laugh. What surprised me was the way the writers kept increasing the danger. At first, the main characters could end up in jail for impersonating police officers. Then they bought a police car, which would increase the length of their sentence. Next, while impersonating police officers, they interfered with the illegal activities of the bad guys and humiliated them. Soon we discover one of the bad guys is a detective who wants to kill them. Although that is bad enough, they each must run for their lives without the other until they join up to defeat the evil villains.

I knew how the story would end twenty minutes into the movie. How we got to that ending was a fun ride.

That is what we must do as a romance writers. Drag your hero and heroine through hell and back until they have grown as people and accomplished their goals. At that point, they have earned the happy ending.

Until next week,
happy reading and writing.

Tina Swayzee McCright

Pantsing My Way

When other writers ask, and they usually do, my preferred method of writing, I always answer I'm a pantser.

A panster are those folks who write stories by the seat of their pants.

Ahh, how many rewrites do you have on a manuscript?

Just one—where I have to fix punctuation, add emphasis and just plain explain something so everyone else but me understands. My edits at the publisher are copy edits. I've never NEVER had to rewrite scene or a novel. EVER.

Of course, part of that is my publishing houses and their editors. Another part is my process of pantsing. Yep, writing by the seat of the pants starts with a process.

I vaguely knew what I did, such as end, a few great twists, and my characters, the theme (which makes me break out in hives just consciously thinking about the word) is there too. None of it is written down, expect those character traits like eye, hair and height. You know the stuff that seems to magically change when you're not paying attention.

I like my process. It works well for me, but I also have this thing about learning. I love to learn new things and I want to be the best writer I can be.

So I signed up for an all day workshop put on by my local writing chapter. I really, really, really, REALLY didn't want to go. I was in the middle of a book sprinting toward the finish line and didn't want my process screwed up by something that sounded intriguing but needed time lots of time to be incorporated into my process.

The workshop start and the speaker started asking questions that had me staring at the exit and trying to figure out how to escape. A headache was brewing and it promised to be a humdinger.

As I worked on the pressure points in my hand to relieve the throbbing in my head, I contemplated excuses for running out as well as how to pass the time until I could escape.

Then he began to explain a process that screenwriters and nearly all successful modern books adhere to. He was describing my process.

My pantsing process.

To hear it laid out with the over abundance of analogies and liberally sprinkled with anti-pantsing propaganda was amazing to me.  Once I understand his language, I could answer every question about my current WIP without  hesitation and see the ripples through my manuscripts. But they were raw and now I had a stone to sharpen them.

The speakers was Larry Brooks. After I got home from the workshop, I returned home and ordered his books—Story Engineering and Story Physics. I read them after I finished my last manuscript and will use the 7/9 points to bracket out my current book and see if my daily writing page count goes up since I'm consciously thinking of everything that I used to take for granted was in place.

I look forward to the adventure, I need someone to tell me an easy way to get the write.

I would definitely recommend both books, but with this caveat. The Romance genre has significant plot points that are not covered in either book. That in no way invalidates the process, it just means Romance specific workshops must be attended by those targeting the genre.

Happy writing

Free Mystery Writing Workshop

February 9, 2013 – 10:00 a.m.-4:00 p.m.

The SinC Desert Sleuths Chapter 3rd Annual Mystery Writers Workshop

NUTS & BOLTS: Fine-Tuning Your Mystery for Publication
Scottsdale Civic Center Library - 3839 North Drinkwater Boulevard, Scottsdale, AZ 85251

Gain expertise in creating the can't-put-it-down mystery thriller! This is a FREE event sponsored by the Scottsdale Public Library and the Sisters in Crime Desert Sleuths Chapter, For more detailed information contact www.desertsleuths.com. 

Featuring workshops by Desert Sleuths members:

10:00-10:45  “Plots that Kill”          
Presenter:  Kate Herbert

11:00-11:45  “Writer’s Voice”          
Presenter:  Nancy McCurry

12:00-12:45   “Creating Memorable Characters”                      
Presenter:  Kris Neri

1:00-1:45   “Scene of the Crime”
Presenter: Connie Flynn

2:00-2:45   Getting Your Cop Facts Straight”          
Presenter:  Isabella Maldonado

3:00-3:45   “First Lines, Queries, and Synopses”
Presenters: Deborah Ledford and Pascal Marco

Tell Your Friends! Our speakers are published and the fee is $0.00. What better way for a writer to spend a Saturday?

Plotting... What that?

I would love to say I plot my story out from beginning to end, but alas, I don’t do anything like that. At least not with the book I’m currently working on. Usually I have some plotting points written out. Not this time.

I know I have to worry about the sagging middle, climax and resolution, but my focus is pretty much in developing the scene I’m in right now. I know there’s got to be action and conflict in each scene. I start letting the characters do their thing and shove obstacles at them they don’t expect. Most of the time I don’t’ know where they are going the week before. At other times, a character appears who I never planned, but 99 percent of the time I do find out the reason why they show up in the book. The other 1 percent, I realize that the character is dead weight and I pitch.

]I probably have to do more rewriting because I don’t have each scene or plot point mapped out, but that’s fine. Granted, I get really excited that I really don’t know where my story is going. Yes, I’ve got an idea someone is going to end up dead, my main character is going to grow from point A to point B, but I don’t know the how. At the same time, there’s periods where I do get a little panicky thinking what the heck am I doing flying by the seat of my pants. Then I get my trusted tape recorder from my smart phone and keep it by my pillow at night. Right before I fall asleep or when I’m just waking up, ideas hit me from my subconscious. And I’ve got my next scene. And yes, I’m one that writes all over the place. I’ll do a scene near the end, and then another near the middle and then move into the beginning the book, and from there who knows?

I’ve always liked a mystery, so being a panster works for me.

H. D. Thomson
www.hdthomson.com

Plotting

I love this picture! This is how I feel sometimes when I am plotting a novel. I enjoy the process, for the most part, but am always afraid there might be a sagging middle, or the plot twists might not be unique enough for an editor, or too unique for the them to take a risk on buying the novel, etc. At every writer's meeting someone will tell you how to write a book well and they don't always agree with each other.

When I want advice from the experts, I turn to my favorite craft book Writing the Breakout Novel by Donald Maass. His literary agency sells more than one hundred manuscripts to the top publishers every year.

In his chapter regarding plot, he reminds us conflict is the essence of the story, but we also need a sympathetic character who confronts this conflict. He also discusses the importance of creating tension on every page. I highly suggest you read his book.

Until next Sunday,
Happy writing!
Tina Swayzee McCright

Plotting Using The Hero's Journey

Looking for that happy ending? Try plotting your story using the Hero's Journey. Our own Caris Roane swears it helped her.

I found three videos on YouTube I found helpful in explaining this pattern of narrative identified by Joseph Campbell.

The Hero's Journey, explained with examples from The Matrix, Star Wars, Harry Potter, and the Lord of the Rings - 10 steps

http://www.youtube.com/watch?v=SB_Q1gFsvIw

In 5 steps with examples from The Wizard of Oz, Harry Potter, and Star Wars

http://www.youtube.com/watch?v=KGV1BvnyvGo&feature=related

The Journey shown with examples of Disney movies.

http://www.youtube.com/watch?v=uBr97zaWj8M&feature=related

The Rise of the Pantsers!

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!

Plotting With Post-It Notes

This month we are discussing plotting. I am a visual person, so my favorite way to plot is to jot notes about the book onto Post-it Notes. The colors I use depend on what I have available. Each color represents a different thread in the story. This is an example:

:Pink - Romance
Orange - Romantic Conflict
Light Blue - Achieving the Major Goal
Dark Blue - His Character Arc
Yellow- Her Character Arc
Green - Black Moment

After I write the notes, I divide the white board into chapters and scenes. I write the setting, time, and point of view at the top of each box and then I place the notes in a way that the story builds the romance and their character arcs. The various colors show me if I'm dumping too much of one plot thread into one place or if I haven't shown the romance growing throughout the story.

I'll jot these notes into my computer and take it to Barnes and Noble where I work. When I wrote my short story, Once Upon a Weekend, which comes out 12/12/12, I placed each chapter onto construction paper on top of the boards. I folded the chapter I was working on and took it with me when I wrote.

Each author has their own way of plotting. This is mine and I enjoy the process. In the end, that's really all the matters.

Tina Swayzee McCright

BootCamp Face to Face Seminar

THE DANCE OF PLOT AND CHARACTER

. . . a full day seminar, taught by Bootcamp for Novelists co-founder and instructor Connie Flynn

WHEN: Saturday, June 23 30, 2012 10am to 5:30pm Doors Open at 9:30am

WHERE : Vision Quest Bookstore, 2225 N. Scottsdale Rd, Scottsdale, AZ

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.

This is a hand-on seminar so come prepared to work. 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 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 (defined as 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.

FEES: $65 prior to June 10 and $80 after June 10. You can remit by
Paypal or contact me for address for mail payment.

THE DAY'S SCHEDULE:

9:30 Doors open/check in. Seminar begins.
Module 1: Characters Discovered Module 2: Boxes to Put Them In

1:00 Lunch --- Off-Site

2:30 Seminar resumes.
Module 3: The 8 Major Story Events Module 4: The Glorious Dance

5:30 Seminar Complete

For more information about Bootcamp for Novelists or to register, go to
bootcampfornovelists.com  or contact Connie directly at bootcamp4novelists@cox.net
--Connie Flynn

Writer U July On-Line Courses

July 1-31, 2011


Laws of Motion: Plotting the Compelling Story


by Laura Baker


$30


at http://www.writeruniv.com/





Do you know what your story is REALLY about? How would your writing be different if you knew the answer? Receive personal attention and brainstorm on your own story as you plot your book with critically-acclaimed and award-winning author Laura Baker. With over two decades of experience as a writer, teacher, critiquer and judge, Laura will teach you a revolutionary way of managing the dynamics of plot, character and conflict. This session is packed with information and feedback, but all the lessons and plotting are at your own pace.





In this class you will:





* Learn how to construct Story and Character Arcs* Use the Story Question to create clear and compelling conflict


* Define the decision that changes your protagonist's life


* Plumb the heart of your story using struggle and insight


* Discover and use three setup scenes for every Turning Point


* Use mini-epiphanies to launch the protagonist into escalating action


* Create a visceral connection of plot to subplot


* See your story vision come to life





With Laura's coaching, many unpublished writers are now published, and the techniques she teaches are used by NY Times bestselling authors. One writer said, "I now know what's been missing from this story. I finally 'feel' the layers and the textures and the plot is no longer contrived. I'm so excited! I'm digging in, writing my little brain out!"





For more information about Laura's coaching, classes and critiquing, visit her website: http://www.fearlesswriter.com/





~ ~ ~July 11-22, 2011


MASTER CLASS: Urban Fantasy


by Eileen Wilks


$55


at http://www.writeruniv.com/





Prerequisite: Must be reading, writing or considering urban fantasy.


What is urban fantasy? Why has it stayed hot?





Eileen Wilks, NY Times bestselling author of three dozen novels and short stories -- including the twelve which comprise her World of the Lupi series -- addresses the 21st-century genre that's attracted millions of new readers and continues drawing more every month. Focused solely on writers with an interest in urban fantasy, this hands-on workshop looks at the craft of blending fantasy, and reality...with in-depth information on topics like building a world and creating plausible characters ("Mary Sue need not apply").





During this two-week session, you'll also learn about:


* What urban fantasy readers look for


* Genre-busting books that work


* Placing limits on characters -- supernatural and otherwise


* Creating a setting and magic that works


* Urban fantasy publishers to watch for


* Writing a series: how much planning does it take?





Ever since her first release in 1996, "World of the Lupi" series author Eileen Wilks has consistently appeared on national bestseller lists. With thirty-two books in print and novellas in nine anthologies, her award nominations include Career Achievement in Series Romantic Suspense. Eileen covered territory in Canada and Venezuela, as well as twelve U.S. cities in five states, before coming home to West Texas where she's lived for over 30 years.

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/

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

WriterU On-line Classes for February

"Plotting Via Motivation"

by Laurie Schnebly Campbell

February 1-28, 2011

$30 at www.WriterUniv.com


Motivation is what drives your story. Any of us could write a book in which the characters set out for a three-hour tour and get shipwrecked on an uncharted desert isle. We've seen what seven such characters would do...over and over and over again. But what would YOURS do?

If you nail down any character's motivation, it doesn't matter whether the ship capsizes or lands safely three hours later. Your characters will create a plot from WHATEVER happens, because you've got their motivation built in from the very beginning. Find out how, with a workshop that covers:

* Your biggest question in motivation

* The surprising core that makes it plausible

* How deep do you go?

* The Motivation Checklist, with 14 blanks

* Difference between Goal and Motivation

* Using motivation to build your plot

Laurie Schnebly Campbell grew up in a family that talked "motivation" around the dinner table. While her day job in advertising is responsible for her synopsis skills, her Master's in Counseling works for motivating characters in her novels...including one that beat out Nora Roberts for "Best Special Edition of the Year." Check her out at www.BookLaurie.com.


* * *


MASTER CLASS: "Law Enforcement: Making Your Cop Real"

by Margaret Taylor

February 7-18, 2011

$55 at www.WriterUniv.com


Prerequisite: Minimum of three chapters written about a law enforcement character.

This workshop helps writers figure out realistic actions, motivations, and responses for their law enforcement characters. Participants will shove up their sleeves, get down in the dirt and participate by posting scenarios to see what works and why. Based on actual experience from her 20+ years in the field, Margaret Taylor presents a clear perspective on developing and shaping fictional cops, making them and their contacts ring true. Along with details on who to contact for more information -- and insider tips on how to get it -- students will learn:

* Basics of everyday police routine, from patrol through investigations
* What's behind most law enforcement characters' motivations
* How your cop’s actions help define his or her character
* Creating realistic goals and responses for people in law enforcement
* What each agency is responsible for; how task forces work
* The difference between innocuous pranks and war
* Why the legendary "gray area" is a cop’s best friend

M.A. Taylor spent more twenty years in law enforcement. After seven years with the California Highway Patrol (CHP), she become a Special Agent for the California Department of Justice (DOJ), spending over a decade in Narcotics...including assignment to a Federal DEA-HIDTA Task Force. Margaret’s areas of expertise range from surveillance to wiretaps to tribal gaming, sexual predators, investigations and more.

Writer U June On-Line Classes

June 1-25, 2010
"Character-Driven Plotting"
by CJ Lyons
$30 at www.WriterUniv.com


Whether you're a plotter or a pantzer, you still need to tell a story. And to tell a compelling story, you need characters driven to take action. In this highly interactive workshop, national bestseller CJ Lyons shows how to let your character do the driving as you move your plot forward. Using simple methods that you'll not only remember but can also apply daily to your writing life, CJ will give you the tools you need to empower your creativity, amp up your plotting, and energize your writing!

* A look at Plotting 101: What is story?
* The ancient secrets of story telling
* How to build three-dimensional characters
* How to brainstorm like DaVinci
* World building and block busting
* Theme: it's not a four letter word
* Tools for a Writer's Survival Kit

As a pediatric ER doctor, CJ Lyons has lived the life she writes about. In addition to being an award-winning medical suspense author, she is a nationally known presenter and keynote speaker. Publishers Weekly called her first novel, LIFELINES, a breathtakingly fast-paced medical thriller." Her second, WARNING SIGNS, was published by Berkley in January, 2009, followed by URGENT CARE in November. To learn more about CJ and her work, go to www.cjlyons.net.

~ ~ ~ ~ ~


June 1-25, 2010
"Building The Fiction Pitch, Step By Step"
by Janet Wellington
$30 at www.WriterUniv.com


You've completed the manuscript of a story you love, and now all it needs is a home. Time for the next step: marketing your story to an agent and/or editor at a writing conference you've just decided to attend. The thing is, you might be the most talented writer on the planet -- but if you can't describe your story in an exciting but succinct way during a pitching opportunity or appointment, you could be in real trouble.

By taking this course you’ll learn:

* What to do when preparing to pitch
* Anatomy of a pitch; different lengths you'll need and why
* Techniques to help you analyze your story
* The biggest mistake writers make in pitching their stories
* How to craft the opening for your pitch
* The top benefit of an editor/agent appointment at conferences
* How to design a pitch for individual and group appointments
* What to say -- and not say -- if they want more


Janet Wellington is an award-winning author, writing teacher, and line-editor for both published and not-yet-published writers. She started learning the art of pitching stories in 1995 when she attended her first Romance Writers of America national conference, and hasn't stopped since! She has presented workshops on the art of pitching both regionally and nationally, and now teaches online. Read more about her at www.janetwellington.com.

BOOTCAMP for Novelists Online August Class

BOOTCAMP for Novelists Online August Class

We want to announce that we'll now offer four courses each month. Because the first four courses of each learning track (Basic and Polish) are so important, we've decided to offer them each term.

The Basic Track will feature the Four Pillars of Story Structure, which includes characterization, plot, scene structure and conflict.

The Polish Track will feature the Techniques of the Pros, which includes the first three chapters, advanced characterization, escalating consequences and subplots and layers.

The regularly scheduled fall courses will still be offered along with the foundational courses..August 2 to August 29

5B SCENE & STRUCTURE (Basic Track) taught by Connie $22

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 how that's doneFor more information, contact Connie at bootcamp4novelists@cox.net

5P INFUSING STORIES WITH EMOTION(Polish Track) taught by Linda Style. $22

Learning how to infuse your story with emotion is one of the most important techniques, yet most writers don't even think about it until they realize something is missing in their stories. As writers we must not only know how to build emotion in our stories and characters, but how to engage the reader emotionally. In this class you'll learn techniques to do both.For more information, contact Linda at bootcamp4novelists2@yahoo.com

1B CHARACTER DEVELOPMENT (Basic Track) taught by Connie $25

This course is the first pillar of story structure and it deals with populating your book with living breathing people who will stay alive throughout the story. You'll also learn why character equals plots and plot equals character.For more information, contact Connie at bootcamp4novelists@cox.net

1P THE FIRST THREE CHAPTERS(Polish Track) Taught by Linda Style $25

Writing powerful first chapters is the first technique of the proses. This course covers how to structure the vital first three chapters to set up your story and instill emotion and suspense. A must do course for anyone hoping to get published.For more information, contact Linda at bootcamp4novelists2@yahoo.com

For more details about BOOTCAMP for Novelists or to enroll in courses go to BootcampforNovelists.com

Boot Camp For Novelists Online Workshop-May

Boot Camp For Novelists MAY COURSES
5/3 to 5/31


BASIC TRACK PLOT
(Connie)

The very best story seamlessly intertwine plot events with character decision until readers can't tell where one begins and the other ends. Sound almost impossible to do? Well, that's what Plot will introduce. How to find the boxes to put your character's dreams and how to place the successes and obstacles to get the most drama from your story. You'll explore the four act structure, learn about the eight major plot points, and discover how you as a storyteller can fill in the spots between them.

Many of you have developed extraordinary characters and nows the change to give them a story that brings out the very best and worst in them, that forces them to grow. Don't have characters? No worry. We'll invent some and you can start completely fresh, which is often the best way to travel through this education.

Questions? Email Connie at Bootcamp4Novelists@cox.net


POLISH TRACK
ESCALATING CONSEQUENCES
(Linda)

A well crafted story lures the reader from paragraph to paragraph, page to page and chapter to chapter. To do that, writers have to be part craftsman and part psychoanalyst, figuring out the best ways to draw the reader in and keep him turning pages. How do we do that? We do it by combining a number of techniques, the most important of which is escalating consequences. Without escalating consequences, the reader will quickly lose interest.

Escalating Consequences examines the structure of escalating consequences to increase the intensity of both action and emotion in your story. From first sentence to paragraph, scene, sequence, dramatic act and story, whether you're writing a heartwarming tale or a nail-biting thriller, you'll want to learn the four techniques to escalate consequences in your stories and keep your reader flipping those pages. In this class we'll study:

* Escalation of action
* Escalation of emotion
* Where to start: High to low or low to high? (It's not what you think)
* Escalation from sentences to scene, dramatic act to story


Questions? Email Linda: bootcamp4novelists2@yahoo.com

FEE: $22/course Click here for enrollment information

Check us out and enroll on our website. Again, the start date is May 3.
http://bootcampfornovelists.com/

Put Your Characters in the Driver's Seat: Character Driven Plotting

Put Your Characters in the Driver's Seat: Character Driven Plotting

May 4-30, 2009

Fee: $30 for Non-PASIC members, $20 for PASIC members

Deadline to Register: April 29th

Presenter: CJ Lyons

For more information go to: http://www.pasic. net/workshops. html

Whether you're a plotter or pantzer, you still need to tell a story. And to tell a compelling story, you need characters driven to take action. In this highly interactive workshop, National Bestseller CJ Lyons will show you how to let your character do the driving as you move your plot forward.

Using methods that students will not only easily remember but can also apply daily to their writing life, CJ will give you the tools you need to empower your creativity, amp up your plotting, and energize your writing!

Some topics covered include:

* What is Story?

* Plotting 101

* Ancient Secrets of Story Telling

* Building 3-d Characters

* Brainstorming like DaVinci

* World Building

* Theme: it's not a four letter word!

* A Writer's Survival Kit

* Block Busting!

About CJ:

As a pediatric ER doctor, CJ Lyons has lived the life she writes about. In addition to being an award-winning medical suspense author, CJ is a nationally known presenter and keynote speaker. She has been invited all over the country to present her workshops and speak to audiences ranging from physicians to first responders to romance and thriller authors including: Colorado Fiction Writers, Oklahoma Writers Federation, the University of South Carolina at Beaufort, RWA National,
MWA's Sleuthfest, Lowcountry RWA's Master Class, Left Coast Crime, and PennWriters, among others.

Her first novel, LIFELINES (Berkley, March 2008), received praise as a "breathtakingly fast-paced medical thriller" from Publishers Weekly, was reviewed favorably by the Baltimore Sun and Newsday, named a Top Pick by Romantic Times Book Review Magazine, and became a National Bestseller. Her second novel, WARNING SIGNS, was published by Berkley
in January, 2009. To learn more about CJ and her work, go to www.cjlyons. net.

Plot Trick-by Connie Flynn

PLOT TRICK
HOW TO DEFEAT THE 'WHAT SHOULD
MY CHARACTERS DO' SYNDROME
An 8-Point Plotting Method
by Connie Flynn

So you've got these great characters. He's brutally handsome, she's terminally pretty. The setting is outstanding, a slick trendy nightclub in a major city or a brooding house in the depths of some godforsaken wilderness. The conflict is of the 'she's an arsonist, he's a firefighter' variety. You can't go wrong, except for one thing. What should your characters do. It's called plot. Some people think it's unnecessary. Other people think it is king. Neither side is right. Or wrong.

Plot serves one function – making sure your character changes. Good luck having a good story without characters who learn and grow and strong, connected plot points pressure your character into that growth. So, surrender yourself to learning a few basics. This structure can be as loose or as tight as you want. What it does do is give you a box for your story. So here goes.

A writer can start a book by first developing the characters or by first developing the plot. Either way is a valid entry point to the story. When beginning plotting, however, these following elements must be taken into account.

1. Setting
2. Characters
3. Goals
4. Obstacles to the Goals (conflict)
5. Motivation (reason for trying)

A novel can also contain a theme or moral, but use a light touch. Avoid preaching.

Begin with the story problem (question), which includes:

1. What the character(s) wants to achieve. (goal)
2. What the character stands to gain. (motivation)
3. What stands in the way. (conflict)
4. The consequences of failing. (motivation, i.e., the other side of gain)

Give this area lots of time and attention because when you have this established for all major characters (not just hero and heroine) the rest of the plotting process will more easily fall into place. Now, using the bare bones method, you will plug in brief scene descriptions in the following areas of story change. Complex motivation and intense detail can be filled in later, once you’ve completed this skeleton outline. And, yes, there are nuances for each of the eight steps but we won't be talking about them today.

Bare Bones of Plotting

1. Inciting incident: Sets the tone for the book and defines the story question. It is an action scene that contains a place, a conflict and action that shows the conflict. It also contains setting, at least one of the characters (usually), and ends with readers understand the clear-cut problem the protagonist faces. This is one of the most important scenes in a book and few books get sold without an outstandingly written inciting incidents.

2. Escalating troubles: The character takes steps to overcome the problem, but each attempt makes the situation worse, until he finally tries something that he falsely believes has solved the problem. You can plug in one to three action scenes and one or two summary scenes, depending on the length of the book, The events will include:

A. Point of No Return: The spot where your character is so invested the goal that turning back is a major issue — risking major loss of property, relationships, even of life. Most return options have closed. The character is now stuck with the problem until the end.

B. Small Successes: Or a large and outstanding one that will later be reversed or turn out not to be what it seemed.

3. Resting Point: The character's success let him take a breather. In mysteries and thrillers this is often when characters believe they've caught, killed or identified the villain. In romance, the characters believe they've overcome the obstacles to love. In horror they believe the wicked witch is dead.

4. Major Crisis: But something is held back from some, if not all, characters and very often also from the reader. When this information surfaces, all illusion of success is shattered. The character now realizes the problem hasn’t been solved, and this last crisis convinces him it can’t be. This leads to despair. This is a key point of character change and one of the three most important scenes. Develop it well. It destroys completely whatever success has been achieved and the rules have escalated.

5. The Black Moment: Characters believe that all is lost. This can be a period of story review and high angst and if properly done leaves the reader wondering if the character(s) will ever prevail. This is where the character changes. This is usually more than one scene involving more than one character. While introspection works well here because characterization is at a high, action scenes can add interest and texture and should be worked in whenever possible. The longer you spend here the more character based your story becomes. The faster you go through it the more plot or action driven your story becomes. Neither is better, they're just different.

6. Turnaround: Something occurs that causes the protagonist(s) to see a solution. This must be something that is caused by an external event, not just a result of the character’s thinking process. A new decision is made. The turnaround is caused by some kind of action so this is an action scene. It's intensity can surpass the major crisis, but not the climax. This is the third of the important scenes

7. Climax: The character acts on the decision and either succeeds or fails to achieve the goal. This is the most intense scene of the story but is often not the most important one because it answers questions rather than raises them. Here is action, action, action. This is not the time to stop and complain. This scene must answer the story question. Some loose ends can be delayed but not the major ones.

8. Denoument:: Shows character(s) receiving the appropriate rewards or punishments. Remaining loose ends are also tied up, but many should have already been resolved during the major crisis through climax scenes. Keep it short.

The trick to plotting is creating incidents that demonstrate the ideas you want each step to convey. The incident must include character, goal, motivation (if only implied) and most important, conflict (obstacle to goal). These scenes are considered plot points because the plot will not move without them.

Example: If you've filled in the major crisis like this – Sara loses Jim's love – you've failed to define an action. You need something like this – Angry that Sara failed to tell him her parents didn't approve of their relationship and wouldn't be at the celebration, Jim broke their engagement and walked out on her. Physical details that you can picture in your mind or draw on a storyboard. Specific words like angry, instead of vague ones like lose. This is the key point of plotting. On these major plot points, picture your characters DOING something and then describe that, plug it into the plot point, move on to the next plot point. Once the majors are defined, it's not too hard to figure out how to link them together if you must. Often that isn't even needed as you can use scene and chapter breaks to end one event then establish the next one.

MORE DETAILS

Once you have the basic bones begin filling in more details of characterization, motivation and consequences. Never forget that characters drive the plot through their decisions and actions. Make sure secondary characters have a vital role in the plot. The sidekick whose only job is to give the hero someone to bounce his ideas off is not enough. Give this person another role, perhaps that of unwitting betrayer. If not kill him off or eliminate him.

The inciting incident must be an action scene. Buildings don't have to explode, but a problem very serious to the protagonist(s) must be outlined as an action scene. No backstory allowed.

The escalating troubles must build on one another. The character applies for a dream job. First complication is the bus breaks down and she must reschedule the interview. During the reschedule telephone call, the interviewer makes a racist comment that the character cannot abide. She objects and while the interviewer does reschedule the appointment, the character knows she won't get a fair outcome. What does she do next? Each decision makes things worse until she reaches small successes.

The major crisis must believably derail the character's chance of succeeding. Not only must the character believe this, the reader must believe the character. It's okay for the reader to know that the pot of gold is just over the next rise in the road, but they must be convinced the character doesn't believe that.

The turnaround scene must be triggered by an outside event that gives the character a shift in perspective. The character can’t just look in the mirror, think “I”ve been such a fool,” then make the change. Although this kind of turnaround has been seen in some books, it always makes the reader feel cheated.

Keep in mind, plot equals character and character equals plot. In other words, although the character makes the decisions, you must decide what those decisions will be and how the actions will play out. This is plot. Without it, the characters cannot demonstrate the full depth of their abilities.

So there you go . . . good luck with your story. Let your imagination roam, put together plotting group and brainstorm together. Creativity feeds off itself. Most of all have fun with your writing. It's the best way to write a great book.