Scene and Sequel
by Patricia Kay
November 5-30, 2012
$30 at www.WriterUniv.com
Are
you finding it hard to understand and apply the principles of story
construction using Scene and Sequel? If you are, you're not alone. Many
writers, even multi-published veterans, find the concept a difficult
one. But now
help is at hand. By utilizing a combination of fourteen lessons,
homework, class discussion, and feedback on your written work, this
class on building blocks to great fiction will take the mystery out of
Scene and Sequel. You'll learn:
* What a scene is and isn't
* Planning and revising scenes for maximum effect
* How and when to use sequels
* Controlling pace with scene and sequel
* Choosing the best point of view
* Writing for the strongest emotional impact
* Flashbacks: when and how to use them
* How to write a unique love scene
Patricia
Kay is the USA Today bestselling author of more than 50 novels of
romance and women's fiction. An acclaimed teacher, she formerly taught
writing classes at the University of Houston and has given workshops all
over the country. She now limits her teaching to online classes. You
can learn more about her on her website at www.patriciakay.com.
~ ~ ~
Master Class: Cops, One on One -- How Your Law Enforcement Officer (LEO) Relates to His or Her World
by M.A. Taylor
November 12-23, 2012
$55 at www.WriterUniv.com
Prerequisite: Must have a story (at any stage of completion) featuring a law enforcement officer.
There's
a reason the divorce rate among law enforcement officers is so high.
Most of it is due to the manner in which the officer relates to, or
expresses himself to, the people in his life. Why is the spouse the
last person to know about a particularly nasty day? What makes some LEOs
so unreasonable with their children? How can any LEO be friendly with a
convicted pedophile? During this in-depth look at how LEOs relate to
the people around them, M.A. Taylor's lectures and scene discussions
will explore:
* Personal relationships with family,
friends and off-duty acquaintances
* Relationships with criminals, from informants to targets
* Working relationships with partners and supervisors
* The balance between law enforcement and non-sworn officers
* Professional relationships with other agencies and departments
* Relationships with the public and people LEOs meet through work
M.A.
Taylor spent more than twenty years in law enforcement. After seven
years with the California Highway Patrol (CHP), she became 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.
Showing posts with label Scene and Sequel. Show all posts
Showing posts with label Scene and Sequel. Show all posts
Wednesday, October 24, 2012
Tuesday, August 7, 2012
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
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.
Thursday, October 28, 2010
November WriterU On-Line Classes
November 1-26, 2010
"Pros & Cons of Blending Genres"
by Allison Brennan
$30 at www.WriterUniv.com
With fourteen thrillers and four short stories to her name, ranging from suspense to paranormal to romance and everything in between, Allison Brennan has repeatedly hit the bestseller lists. Her romantic thrillers don't follow the traditional 50/50 mix of romance and suspense, blending traditional elements of thrillers and mysteries to create something a little different. What raises the stakes and makes readers come back for more? Character.
Having taken risks -- like blending genres and breaking rules -- Allison has enjoyed great success, as well as falling in some major potholes. This always frank author will discuss a variety of issues, including:
* What is genre?
* What should you consider when exploring a new genre?
* What is "voice" and how do you find it?
* Who can you rely on for research and technical support?
* What is conventional wisdom and when should you avoid it?
* How can you take your traditional story idea and twist it?
* How to assess feasibility of your intriguing, genre-blending idea?
* The importance of character, pacing, and reader expectations
Alison Brennan is a New York Times bestselling and award-winning author of fourteen books and four short stories. She lives with her husband and their five children in northern California and is currently writing book two in her Lucy Kincaid romantic thriller series which launches in January of 2011 with LOVE ME TO DEATH. Visit her at www.allisonbrennan.com or check out her Seven Deadly Sins series at www.sevendeadlysinsbooks.com.
~ ~ ~
November 1-26, 2010
"Scene & Sequel"
by Patricia Kay
$30 at www.WriterUniv.com
Are you finding it hard to understand and apply the principles of story construction using Scene and Sequel? If you are, you're not alone. Many writers, even multi-published veterans, find the concept a difficult one. But now help is at hand. By utilizing a combination of fourteen lessons, homework, class discussion, and feedback on your written work, this class on building blocks to great fiction will take the mystery out of Scene and Sequel. You'll learn:
* What a scene is and isn't
* Planning and revising scenes for maximum effect
* How and when to use sequels
* Controlling pace with scene and sequel
* Choosing the best point of view
* Writing for the strongest emotional impact
* Flashbacks: when and how to use them
* How to write a unique love scene
Patricia Kay is the USA Today bestselling author of 50 women's fiction and romance novels. An acclaimed teacher, she formerly taught various writing classes at the University of Houston and has given workshops all over the country. She now limits her teaching to online classes. You can learn more about her on her website at www.patriciakay.com.
~ ~ ~
November 8-19, 2010
MASTER CLASS: "Dodging The Saggy Middle"
by Sherry Lewis
$55 at www.WriterUniv.com
Prerequisite: must have a complete manuscript
Some writers love beginnings, and some love endings, but the dreaded saggy middle is dreaded and feared by writers alt all career stages. What causes the saggy middle? How do we get through that dull area between exciting setup and the climactic end, where conflict droops and motivation wilts? In this workshop, Sherry Lewis will help you concentrate on getting around that saggy middle problem to keep readers, agent and editors hooked all the way through. You'll learn how to:
* Make sure your characters are multi-dimensional and interesting
* Make them active enough to keep the reader turning pages
* Pace your character arcs for maximum effect
* Use subplots to drive the story forward
* Make sure you have enough conflict to keep readers interested
* Use conflict and turning points to better pace your novel
* Keep secrets -- a vital part of bridging the saggy middle
Sherry Lewis is an award-winning career writer with roughly 30 published books to her credit. Her books include two traditional mystery series, and both contemporary and time travel romance. A long-time member of Romance Writers of America and a member of Sisters in Crime, Sherry is a frequent judge on the contest circuit, and she has taught writing classes both online and in person for over 15 years.
"Pros & Cons of Blending Genres"
by Allison Brennan
$30 at www.WriterUniv.com
With fourteen thrillers and four short stories to her name, ranging from suspense to paranormal to romance and everything in between, Allison Brennan has repeatedly hit the bestseller lists. Her romantic thrillers don't follow the traditional 50/50 mix of romance and suspense, blending traditional elements of thrillers and mysteries to create something a little different. What raises the stakes and makes readers come back for more? Character.
Having taken risks -- like blending genres and breaking rules -- Allison has enjoyed great success, as well as falling in some major potholes. This always frank author will discuss a variety of issues, including:
* What is genre?
* What should you consider when exploring a new genre?
* What is "voice" and how do you find it?
* Who can you rely on for research and technical support?
* What is conventional wisdom and when should you avoid it?
* How can you take your traditional story idea and twist it?
* How to assess feasibility of your intriguing, genre-blending idea?
* The importance of character, pacing, and reader expectations
Alison Brennan is a New York Times bestselling and award-winning author of fourteen books and four short stories. She lives with her husband and their five children in northern California and is currently writing book two in her Lucy Kincaid romantic thriller series which launches in January of 2011 with LOVE ME TO DEATH. Visit her at www.allisonbrennan.com or check out her Seven Deadly Sins series at www.sevendeadlysinsbooks.com.
~ ~ ~
November 1-26, 2010
"Scene & Sequel"
by Patricia Kay
$30 at www.WriterUniv.com
Are you finding it hard to understand and apply the principles of story construction using Scene and Sequel? If you are, you're not alone. Many writers, even multi-published veterans, find the concept a difficult one. But now help is at hand. By utilizing a combination of fourteen lessons, homework, class discussion, and feedback on your written work, this class on building blocks to great fiction will take the mystery out of Scene and Sequel. You'll learn:
* What a scene is and isn't
* Planning and revising scenes for maximum effect
* How and when to use sequels
* Controlling pace with scene and sequel
* Choosing the best point of view
* Writing for the strongest emotional impact
* Flashbacks: when and how to use them
* How to write a unique love scene
Patricia Kay is the USA Today bestselling author of 50 women's fiction and romance novels. An acclaimed teacher, she formerly taught various writing classes at the University of Houston and has given workshops all over the country. She now limits her teaching to online classes. You can learn more about her on her website at www.patriciakay.com.
~ ~ ~
November 8-19, 2010
MASTER CLASS: "Dodging The Saggy Middle"
by Sherry Lewis
$55 at www.WriterUniv.com
Prerequisite: must have a complete manuscript
Some writers love beginnings, and some love endings, but the dreaded saggy middle is dreaded and feared by writers alt all career stages. What causes the saggy middle? How do we get through that dull area between exciting setup and the climactic end, where conflict droops and motivation wilts? In this workshop, Sherry Lewis will help you concentrate on getting around that saggy middle problem to keep readers, agent and editors hooked all the way through. You'll learn how to:
* Make sure your characters are multi-dimensional and interesting
* Make them active enough to keep the reader turning pages
* Pace your character arcs for maximum effect
* Use subplots to drive the story forward
* Make sure you have enough conflict to keep readers interested
* Use conflict and turning points to better pace your novel
* Keep secrets -- a vital part of bridging the saggy middle
Sherry Lewis is an award-winning career writer with roughly 30 published books to her credit. Her books include two traditional mystery series, and both contemporary and time travel romance. A long-time member of Romance Writers of America and a member of Sisters in Crime, Sherry is a frequent judge on the contest circuit, and she has taught writing classes both online and in person for over 15 years.
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