Muse Ink

In Praise of Bad Decisions

2009-07-14T15:30:00.004-04:00

or, "The Taming of the Shrewd"

We all know them: good people, friends even, who seem hell-bent on living their lives from one train wreck to another. We look at the choices they make and shake our heads in disbelief, wondering Is it just the writer in me that sees this for the tragedy it really is?

I find it fascinating that some people willingly choose to put themselves in real-life situations that I would hesitate to inflict upon my characters. And every time I wonder why on earth a real person committed to some clearly ill-advised course of action, I realize that I do the characters that exist only in my imagination no favors if I allow them to lead stable, comfortable lives.

This thought struck me last night as I re-watched "The Taming of the Shrew," one of four solidly interesting re-imaginings of the Shakespearean cannon in the BBC's Shakespeare Retold. In real life, I tend to wish more people would make shrewd, solid, logical decisions that would enrich their lives and enhance their stability. However, in my reading and movie-watching, I prefer Those Who Choose Badly. They make far better entertainment.

Now, I am not suggesting for a moment that a writer should look to befriend the sorriest people imaginable in order to shamelessly plagiarize and then publicize their unfortunate decision-making. I am, however, advocating, taking a hard look at characters and imbuing them with complicated, complex, and -- at times -- downright contrary motivations.

Tonight, the Novel Writing Practicum is going to focus on Character Development. Participants are to bring a chapter or segment of writing no more than 10 pages long, and we will workshop it with regards to the characters involved.

Some of the questions I encourage my students to ask when analyzing a character include:

• What drives this character? How is it evidenced?
• What distinguishes this character from everyone else?
• What makes this character interesting? How can this be improved?
• What makes this character worthwhile? How can this be strengthened?
• What makes this character complex? How can this be made more interesting?
• What are this character’s flaws? How can they pose even more challenges?
• How can the character be more proactive?
• What is this character’s passion? How can this be better focused?
• Why does the character behave this way?

I then suggest a list of questions to apply to the character in action in a particular sequence, scene, or chapter. One of them is:

What else could happen here that would take this character further out of his or her comfort zone and make things even more interesting?

I have to admit, though I hate it when the real people that I love and care about make deplorable decisions, it's kind of fun to play God and see what sorts of situations I can inflict upon those who are at the whim of my words...

A Clean Well-Lighted Place

2009-07-13T08:52:00.004-04:00

This Tuesday, July 14, beginning at 6:00, the newly formed Novel Writing Practicum will meet at Isabella's Tapas Bistro (formerly the "Hacienda") in Benton Harbor.

I thought I'd try this location before the Practicum became too entrenched in a way of doing things. If it works, it could be a good thing -- Isabella's has good food at reasonable prices, so people won't have to miss supper to attend the Practicum. Also, because Isabella's doesn't have the space issues that my writing loft does, there may be no need to limit the number of participants in the Practicum.

In any case, it will be worth a try.

This week, we'll be working on Character Creation. Participants are encouraged to bring 4 copies of one chapter (up to 10 pages) and workshop it with regard to the characters that people it. We'll explore different filters to apply to our writing, in order to bump the characters off the page and into our readers' minds.

It promises to be an interesting, challenging, and stimulating evening. (Writers who wish to join us should contact me for details.) Looking forward to it!

Casting the Hook

2009-07-08T09:12:00.005-04:00

or, But "N.W.P" Doesn't Mean Anything...

Last night was the first meeting of the Novel Writing Practicum (NWP) I am facilitating at the Muse Ink Writing Loft. I hope there will be many more like it.

We focused on the "hook" -- the thing that grabs readers by the throat and forces them to turn the page and keep reading. As literary agent Chip MacGregor recently informed attendees at the American Christian Writer's Conference in Grand Rapids, he can tell in 30 seconds or less whether or not a writer can write, whether or not that writer has a unique "voice," and whether or not he wants to spend any more time with that writer's submission.

(Incidentally, Chip's blog is practically a must-read for anyone hoping to get an agent or to get published. It's full of great information AND he invites readers to send him their publishing industry questions, which he then actually takes the time to answer. If you ever wanted to ask a working agent something, it's an excellent resource.)

Back to hooks...

Since hooks are so important to a work, the first meeting of every month is going to be dedicated to focusing on them and improving them. Hooks aren't just for introducing the book, remember. Every chapter needs one to keep the reader turning pages.

We read the opening paragraphs of current fiction and non-fiction bestsellers (including "Twilight," "Dead Dark," "Horse Soldiers," "My Sister's Keeper," and others), discussed what hooks really worked, and analyzed both how and why they worked. It is amazing how quickly the authors got to the point of getting the reader's attention. All did it within the first 200 words.

Interestingly, the one hook that flat-out DIDN'T work for any of us is a number one bestseller -- and the latest installment of a very long series. We all agreed that it was sophomoric and overwritten. It would have never passed muster as a first work. It just goes to show how important an established readership is to an author's continued success.

Participants then read the opening paragraphs of their current projects, and we analyzed them solely for their "hook" value. A rule of the NWP is that trashing is patently not allowed. But neither is saying that something is "perfect."

"But what if it is perfect?" someone might ask.

We'll cross that bridge when we come to it...

I believe that every participant received targeted, valuable feedback. Every writer heard specific suggestions for how to hook her readers faster, and make them want to find out more. All of the suggestions were framed in such a way that held the original work in high regard.

We went a bit over time (First night. Lots of "new business" to attend to and explanations of How This Will Work. It was to be expected.), but I believe it was productive. Though I didn't workshop the hook from my novel, after going through the process with the others, I believe I can be as tough on the material as I need to be. I can already see the flaws -- which I couldn't see at this time yesterday. Better yet, I know how to fix them.

If you're a writer, I challenge you to engage in a little "Hook Homework" yourself:

* Read the first page of 5 or 6 current bestsellers in a row. Ideally, read them out loud.
* Write down what does and does not work for you.
* Analyze what the writer is doing to force you, the reader, to turn the page and commit to reading more.
* Read the first three or four paragraphs of your current project.
* Subject it to the same analysis. If you realize that the "exciting part" hasn't happened yet, skip to where it does happen, read it, and find a way to make it part of the hook.

Remember -- if you don't hook the readers and make them keep reading, all of your brilliant writing later on will go unread. Words require readers' eyes to dust them off and keep them alive!

In Other News

I have been asked to conduct another month-long Writer's Workshop similar to the one I did in June at the Coloma Library. We're currently discussing dates and times. It would be great to do so -- the venue is close enough that it wouldn't require air travel or hotel stays: it's a possibility packed with plusses!

Poor Cassandra was looking forward to playing in the park last night while I conducted the N.W.P. Unfortunately, she got sick at the last minute and spent the evening wrapped in a blanket on the couch. Poor kid. I felt terrible about having to leave her at home while I went to the Practicum.

The Marathon Man screenplay keeps not being done. Every day for the past week, Paul and I have said, "this is the last day." And every day we're wrong. It's close... very close. And it's good (thank heaven). But it's not yet done. Perhaps today will be the day I can do the Happy Dance that accompanies the completion of every project.

The Sample Chapter of the Marathon Man's book proposal also continues to evade completion. At this point, it's overburdened with too many words. I must be even more merciless in my role as Editor and Chief Word Executioner.

Finally, I've been toying with thoughts of entering the 3-Day Novel Writing Contest held every year over Labor Day. I have an idea I've been shelving that would lend itself well to such an endeavor. At the very least, it would kick my butt and force me to spend three days wrestling with the project. At the end of the weekend, I'd know for sure whether or not the idea was worth dedicating any more time to...

That does it! I've talked myself into it...

Wait: Create a novel in 72-hours? What am I thinking?!

In Praise of Readers

2009-07-06T09:37:00.005-04:00

Too often, writers forget that they have a dual audience. While it is true that we must write the things that move us, it is also true that we owe our readers our best.

In the past, I have worked with clients who came perilously close to forgetting this tenet. Ah, but the public is not clueless. And the moment a writer begins to think of the readers with distain (about the same time that writer begins to describe him- or herself with superlatives), the pact a writer makes to the reader has been broken.

My favorite moment in any movie is when the screen goes completely black just before the film begins. It is fraught with promise and possibility. Likewise, my favorite moment in any new book is sitting down with it and opening the cover. I am full of anticipation, and I hope the story will move me. I want the words to affect me. I want the book to become an all-time favorite.

Don't delude yourself: words don't make great writers. Readers do. Consider the amazing event that occurs when a writer's words leap off the page, engage the mind, and force a reader to consider the bold new possibilities presented by a new arrangement of 26 innocuous letters and a few punctuation marks!

No wonder we become fans of people who can craft words that affect us! Being a writer is akin to a sacred trust. When writers begin to think that their thoughts are all that matters, those writers allow pride to blind them to their readers.

I'm not suggesting for a moment that writers should lower their standards and write schlock in an effort to be all things to all people. But every writer should consider the reader a beacon of light on the creative landscape. The reader should inform every word, every turn of phrase, and every edit -- and the thought of one's readers should constantly encourage the writer to push the limits to deliver his or her very best work.

Those Who Can, Do...

2009-07-03T09:10:00.005-04:00

"I would love to write a book. Maybe someday (when I'm out of school / the kids are in school / out of school / out of the house / when I'm retired...) I will."

I can't tell you how many times I've heard those words. They're usually uttered when someone hears what I do for a living, and then feels compelled to launch into the reasons why they could do what I do, if it weren't for this pesky thing called "life" getting in their way...

It should come as no surprise to learn that I have very little patience for people who are full of excuses for why they don't do what they say they want to. I am much more interested in those who actually follow through with things that they set their minds to...

When I was working on the USHJA's Trainer's Certification Program, I had the great honor of interviewing many of today's truly GREAT horsemen and horsewomen: George Morris, Frank Madden, Karen Golding, and Danny Robertshaw, among others. These people have contributed in a significant way to their chosen sport and have enriched the world with their talents and dedication.

In my experience, it is the busy people who always find the time to get things accomplished.

Danny Robertshaw and Ron Danta, for instance, in addition to their work in the horse world, tirelessly advocate for animal adoption and an end to animal cruelty. Their efforts have been instrumental in placing nearly 1700 dogs, have been featured in the book Saved: Rescued Animals and the Lives they Transform, and have been recognized by the ASPCA. To raise money and awareness for their cause, Ryan Beckett is cycling coast-to-coast this month.

Now, Ryan is a realtor for Palm Beach Polo Realty. The name of the firm doesn't immediately conjure up images of abused animals. One would argue that someone like Mr. Beckett could easily go through life without having to come into contact with any of the gritty reality that most unwanted or neglected animals deal with every day. I think there is something noble about someone who works in the rarified atmosphere of Palm Beach to put his life on hold to cycle across the country -- over 3100 miles -- for such a charity.

You can track Ryan's progress online. If you like, donate to the cause -- I'm sure Ryan, Danny, and Ron would be thrilled. And then, if you're not already immersed in something worthwhile, I challenge you to begin. Those who can, DO. We only go around once. There is no time like the present to do what moves you.

Here's to whatever it is that you decide to DO!

"Stupid is as Stupid Does"

2009-07-02T21:08:00.006-04:00

or, Not As Incompetent As I Feared...

I thought the time was right to put a new wrinkle in my brain. With so many writing projects in the works, so many people contacting me with writing-related concerns, and so many writers asking questions about the protocol of using social networking to promote their writing, I felt that the only thing to do was develop a professional "Page" on FaceBook.

I reasoned that I would endure the learning curve and then use the FB Professional Page to communicate with those interested in writing and in my ongoing projects without annoying my personal "friends" with work-related updates.

So, I spent some time creating a barely-ready-for-people-to-see FaceBook Page. Since it was so easy to have this blog automatically import to my personal page, I figured it would be a proverbial piece of cake to do the same with my Pro Page...

But I couldn't figure out how to do it.

Techno-Geek that I am NOT, I wrestled with the problem. I tried every setting, clicked on every "help" button, fiddled with the templates for both the blog and for FB. I tried to remember how I'd gotten the personal page to do the import, and got increasingly upset with my stupidity. Reasoning that eventually even the blind pig finds an acorn, I kept picking away at it for the past TWO DAYS.

So it was with twin emotional waves of both vindication and utter incredulity that I discovered the following post on a FB Help Forum:

"I have a personal page - and then I have a page that I am an admin for - I want to import our blog posts into the notes of the page I am the admin for, but it seems my only option is my personal page?"

This was posted a month ago, with at least two others chiming in that they had the same problem. No answer has (as yet) been provided.

This all just goes to show that Winston Groom was right when he had Forrest Gump's mom tell him "Stupid is as stupid does."

Though I may have been initially elated to discover that I wasn't quite as incompetent as I had feared, the fact that I wasted significant portions of two days of my working life trying to figure out how to do something that those geekier than I cannot do doesn't say much about my relative IQ...

In Other News...

My co-writer Paul and I spent most of the day re-writing and polishing the Marathon Man script. Thanks to a community theater group's roundtable reading of the screenplay last weekend, we discovered that a major character could be whittled down to nearly nothing, and the story would thrive without him.

So, we pulled out all of his scenes, distilled the essence of what we wanted him to accomplish, and re-inserted him into the story -- a stronger character, though one with significantly reduced screen time.

Listening to the recording of the actors reading the script is an interesting exercise in humiliation. (Did I actually write that? What on earth was I thinking? No one would actually say those words out loud...) I now understand a little bit of why many actors don't like to watch their own performances. I have discovered that I REALLY don't like to hear a lot of my scenes read. They sound SO different than I "hear" them.

We have another roundtable reading scheduled with a different group of actors in Sonoma at the beginning of next month. All are completely unfamiliar with this project and will be reading it cold. With any luck, we'll have the lines polished to where they sound they same in real life as they do in my head...

It's Official

2009-07-01T12:04:00.006-04:00

I discovered today that pre-orders are already possible for Ryan's book. This is mildly concerning since it's not yet finished. Ah, but it will be. It will be. Soon.

Last night was the final class of the Writer's Workshop. Twenty people attended. It was quite bittersweet -- it's been a great group of people to work with: dedicated, driven, and interesting.

So many are interested in pursuing their writing dreams and improving their manuscripts that I am going to be holding an ongoing Novel Writing Practicum: a roundtable reading group limited to only 8 members. It will exist for the sole purpose of helping members polish their work and get it into publishable form. I'm really excited about it. Looking forward to continuing my work with some of these students.

Last night we discussed marketing and promotion. It's the sort of thing that always gives me a reality check because I know I could be doing more on that front myself. (Having a mother who drills the lessons of humility, modesty, and the evils of blowing one's horn is a great thing -- until the day one realizes that one must engage in some Shameless Self-Promotion if one wants to feed her family.)

So, because I know how important it is to DO and not just to SAY, I bit the bullet today and created a FaceBook page for the "writer" me, as opposed to the "person" me. Hoping this allows me to keep business and personal things separate without adding extra upkeep time to my day.

The important thing, I always say, is to know what you're talking about before you tell others how to do a thing. Social networking is the future of marketing. Just ask my friend and author Trudy Morgan-Cole.

Trudy's latest book, By the Rivers of Brooklyn, made the Top 10 of her online Canadian bookseller after she used FaceBook and other networking tools to coordinate a successful online book launch. (I like to take credit for suggesting the thing. But Trudy gets all the kudos for actually putting it together and seeing it through.)

So... it's official: Ryan's book WILL be finished soon. And I officially exist as a "Writer" on FaceBook. Now I just need to fine tune how to use all the tools at my disposal... Further bulletins as events warrant.

Thoughts on How to Keep on Keeping On

2009-06-28T11:55:00.003-04:00

"It doesn’t matter how many times you go down. It doesn’t matter how many times you’re in the dirt. If you can pull yourself up one more time than you go down – that’s what it’s all about." -- Dick Beardsley

This past Friday and Saturday I attended a writer's conference in Grand Rapids with a friend of mine who I have mentored through writing her first book manuscript in the past year. It's been a while since I've been to a writer's conference... And it's been even longer since I've sat in the audience instead of standing up front presenting. I really enjoyed it.

I stayed up late on Friday talking with the lovely Janet, a transplant from Nashville to Michigan this January ("Welcome to 20 below!"). Her narrative non-fiction book follows the pregnancy of a 16-year old girl and presents her experience in a series of personal vignettes and diary entries. Janet has been married for 25 years. The book is a version of her story. It is timely, engaging, and -- from what I saw -- well crafted. It is also blunt, honest, and full of hope.

I ate breakfast with a woman whose lyrical, soul-baring book details how she coped with raising her three children when her husband and her best friend, the pastor of a small church, drove away one morning... and committed suicide before the day ended.

I enjoyed a lively discussion about screenwriting and the difficulties of cracking the film industry with Gerald who writes futuristic adventures that ring creepily true when he pitches them -- making you wish you could pick one up from the airport bookstore, because it would certainly make the time in the terminal pass in a flash.

I traded good-natured ribbing with the talented and intellectually interesting Seth (18 going on 30), who tried to appear cool and jaded by the whole bit, but who was just too interested in life to completely pull it off. Seth, who recently lost a finished fantasy manuscript when his computer crashed, now realizes the great value of something called a "backup." But he also realizes that his re-write is better. So who's to say that the crash was a disaster?

I ate lunch with Mary. Her nearly completed a narrative non-fiction book tells of her life-altering involvement in a support group for a young co-worker who discovered that she was in an advanced stage of breast cancer when she was 10 weeks pregnant.

These and others at the conference have been told by people in the industry myriad ways that their projects don't readily conform to what is "salable" or "marketable."

"It's just not right for us."

"Those types of books are dead right now."

"I don't represent that sort of thing... But good luck..."

A person's project can be discounted with breathtaking speed.

And yet, we writers keep on. We persevere. We know there is a market for what we write -- if, for the only reason that we would read it, if we had the opportunity.

My new friend, Dick Beardsley knows something about perseverance. He has tried -- and failed -- at things more times than most people. Interestingly enough, though his successes are what made him a running legend, his failures in life are what continue to make what he has to say relevant.

"There is no formula for success. But there is a formula for failure and that is to try to please everybody." -- Nicholas Ray (Director, "Rebel Without A Cause," among many, many others...)

"Nobody makes a greater mistake than he who did nothing because he could only do a little." -- Edmund Burke.

So -- to struggling writers, screenwriters, poets -- and marathoners -- everywhere: Keep on keeping on. Here's a massive helping of perseverance, determination, and fortitude to see the thing through. No matter what anyone says.

Plot Spots

2009-06-22T12:46:00.003-04:00

Last Tuesday, in my Writer's Workshop, we discussed Plot. Now -- I'm not one of those who believes that a story is either plot-driven or character-driven. No: I happen to believe that all stories are inextricably tied to the characters within them (even if the only character is the narrator...).

However, I also believe in the Plot Spot. The Plot Spot, as I explained to my students, is the Thing that impacts a character's life and forces that character to make a choice. The resulting story, then, hinges upon the character's choice. For instance:

A major early Plot Spot in Wanted, is the Store Shootout. It establishes every major plot point that drives the next 30 minutes of the film, and it presents Wesley, the main character, with a choice that will impact the rest of his life.

A significant Plot Spot in Happy Feet occurs where Memphis loses the egg that has been entrusted to his care. Though he recovers it, he blames that incident for damaging his son and making him "different."

Some stories have many Plot Spots -- many crossroads that force their characters to make life-changing, long-term, significant decisions. The story line of such works eventually looks like a dot-to-dot of possible turning points, connected by a single line of choices.

Other stories have very few Plot Spots. One could argue that Twilight only has two. If Edward didn't save Bella in the high school parking lot, she wouldn't even know to ask about his special powers. And if James wasn't such a tracker, there would be no reason for Bella to run to Phoenix. (Of course, that's overly simplifying the story -- but the point is that some story lines are heavily reliant on Plot Spots. Others are not.)

After examining what constitutes a Plot Spot, I challenged my students to examine their current projects in the light of "What Happens?" One way to do that is to practice Playing God with a particular scene. For instance:

Underline, or otherwise identify key plot points in your scene. For each one, articulate:

• How will this point pay off later?
• Why is it important for the reader to remember this?
• How will this affect the character’s choices / life?

• (brainstorming option) Identify at least 5 reasonable, logical choices the character could make as a result of each plot point. Follow each choice a short distance to see where that “plot road” takes you.

o Look for ways to work in these “alternate paths” in other characters, to illustrate to the reader the validity of your lead character’s actions.

o KNOW, beyond any doubt, why the story unfolds the way it does. The lead CANNOT a passive victim of chance. Know the consequences your lead unleashes.

o Explore dark alleys. (This is especially effective in ascertaining that you, the writer, are not being Too Nice to your main character. Let him or her fall into some difficult places. Beware of treating your characters with kid gloves. Remember: how we handle hardship is what defines us.)

My students are to bring their re-worked scenes, complete with Plot Spots, to class this week. I'm always amazed and inspired at how a hard look at What Happens can make one's writing SOOoo much more interesting.

Update

My friend, Trudy Morgan-Cole, had a very successful online book launch for her latest work, By the Rivers of Brooklyn. In fact, she actually charted in the Top 10 of the Canadian online bookseller that she used to do the launch. I'm so proud of her! Yay, Trudy!

I donated a complete "Character Building Practicum" as a bonus prize to a lucky winning writer who participated in the online launch. I'm always happy to help my friends with their marketing efforts. And I'm looking forward to working with the writer who claimed the prize.

I've just finished a manuscript edit of an inspirational memoir written by an author I've been mentoring for the past year. It's quite good, I must say. She is attending the Grand Rapids Christian Writer's Workshop with me later this week. With luck, she'll be able to bring the project to the attention of a good agent or publisher who can get it in print in a timely manner.

The Marathon Man screenplay edit continues, and should (God willing) be finished this week. This is great, because Ryan has promised me that he will have his edits and additional content ready for me by the end of the month.

I hope to also finish the sample chapter for the Marathon Man book proposal by the end of this week. Not only will it be good to be able to send it off to the agent who has requested it, but it will free me up to work on two personal projects that are clamoring for attention.

Never a dull moment. If someone were to chart the Plot Points in my life, I wonder what sort of story would be taking shape...

By the Rivers of Brooklyn

2009-06-17T09:21:00.004-04:00

I am always thrilled to help my friends who are writers celebrate their successes. My latest friend with a great writing success story is Trudy Morgan-Cole, who recently saw her book "By the Rivers of Brooklyn" printed.

You are invited to the online launch party for the book -- an invitation of special interest to all writers.

Go to this link on Chapters.Indigo.ca and order the book today, June 17, 2009. Not only will you get an enjoyable read hot off the press, but you will also be entered in a drawing for two cool Writer Related prizes.

FIRST prize is a detailed manuscript evaluation of either your novel or non-fiction book from Trudy herself. What an excellent opportunity to have a critique from an award-winning working writer -- just for the price of a book!

I am providing the second prize to another lucky winner with writing aspirations.

I'll be donating a complete Character Development Practicum: A personalized one-on-one character development session that includes brainstorming, arc planning, developing backstory and personal history, dialogue development, determining motivators, and defining characteristics.

I do this for every major character for every major project, and it's one of the things I teach my Workshop students to do.

When Trudy awards the prize, the winner can send me a Word .doc or .pdf of his or her character's introductory scene, a second pivotal scene, and notes on the character's purpose and journey. I will read the scenes in a timely manner and respond via either e-mail OR a 30-minute personal phone consult (US and CAN only) at the winner's convenience and at no expense. [Winners may determine whether they would prefer to communicate via e-mail or phone.] For 30 days afterward, I will answer related follow-up questions and discuss further character development strategies via e-mail.

So there you have it: Two extra reasons to support an online book launch, in addition to being one of the first people to get your hands on a great new book!

(To be entered in the drawing for the prizes, you must follow the instructions on the launch page. Good luck!)

In Other News

The Major Project for the USHJA is in the middle of the layout and design process. All appears to be on track with that...

Ryan's book is as done as I can make it for now, and is awaiting further content and clarification.

The Marathon Man screenplay has had a wonderful breakthrough moment involving a major character and pivotal story stuff. Paul and I are working on it daily, polishing it up and making it perfect... as perfect as possible.

Most of the Marathon Man book proposal is finished and has his blessing. The only thing to do is finish up the Sample Chapter. Unfortunately, work on the screenplay has cut into work on the book proposal. Resolving to better divvy up my time, because I really want to get the proposal to the agent who has evidenced an interest in it before she forgets she said "send it."

I'm in the middle of conducting a Writer's Workshop at the Coloma Library on Tuesdays through June. Last night's session focused on "Planning and Plotting." Over 20 people attend each week. I think it's going quite well. I know I certainly enjoyed teaching it. I'll post expanded notes from the sessions as blog entries in future days. I love being in front of a classroom again.

Next weekend (June 26 & 27), I'll be in the middle of a classroom, attending a small niche Writer's Conference in Grand Rapids with another writer friend of mine. Looking forward to getting away for a bit and getting recharged (hopefully). I have two manuscripts to edit before we go, however. Which means that I should end the update and get back to work.

See you all at the virtual book launch!

"UP" and Away...

2009-06-07T15:44:00.005-04:00

We just returned from a matinee showing of UP. As far as I'm concerned, it is the gold standard of "heart" in recent movies. The whole family got weepy on it at different times, and for different reasons -- but it's a comedy. Funny and tragic, human and fanciful, it is both popcorn entertainment and moving storytelling.

I have a new goal in life: to write for Pixar. As I understand it, all of their stuff is developed in-house. They accept no outside scripts or story submissions. But if I could be a part of their development and writing team, I would gladly move from my Michigan paradise, and even bid good-bye to the horses, move to California, and never look back.

The movie has singlehandedly restored my faith in the film industry (though, truth be told, "The Hangover" and "Land of the Lost" threaten to cause an attitudinal relapse :yeesh::). It's gratifying to know that someone out there is telling wonderfully complex, vivid, entertaining stories AND having them made available to the public.

So -- to all the people at Pixar, my hat is off to you. Please let me know when you have an opening... Will write for food -- and I can live off PB & J's for a loooooooong time.

Recognizing a Great Idea

2009-06-03T20:45:00.005-04:00

Last night I taught the first of a 5-part Writer's Workshop at the Coloma Library.

The general topic was "The Care and Feeding of the Creative Gift." We began with a discussion about "What makes a Great Idea?" We focused on how to recognize something brilliant when it occurred, and how to apply the "great" filter to our current projects.

In order to qualify as "Great," an idea must first pass the Personal Litmus Test. You must be able to honestly answer "Yes" to two questions:

1. Is it worthwhile? and
2. Does it interest me?

(Be honest here. How much does it push my buttons and get me fired up? Can I obsess about it, study it, research it, live it, breathe it, eat it and sleep it from now until it’s done? If not... it's not great. Dedicate your valuable time to working on something else.)

The next series of hoops the Idea must jump through are the rather mercenary ones that a publisher is going to put in its way. These include questions such as:

* Is there a universal touchstone / chord?
* Does it have an audience?
* Does it fit into a genre?

(The answers must be "yes," or the idea is dead in the water. What the writer must do, however, is answer the following:

What do I know about this audience?
How well do I like this demographic?
What do I have to offer that has not yet been done?
What do I have to say that had not yet been said?
What do I know about the genre?
How well do I like my competition?
How will this contribute to what’s out there?)

Finally, the Idea must jazz you enough for you to answer these questions in the unequivocal affirmative:

(*) Am I willing to do whatever it takes for this to find an audience?
(*) Will I accept responsibility for promoting this when it’s done?
(*) Can I envision great success for this?

I told my students what I tell every aspiring writer: Passion is key. If the answer to ANY of these primary questions is “NO,” then walk away. Don’t waste your time or energy, because life is too short to waste it on something that doesn't move you.

Lack of knowledge is not a limiting factor. Knowledge is readily available.
Lack of enthusiasm, however, is a kiss of death.

In Other News

Work on polishing the Marathon Man script and crafting the book proposal progresses. Both our subject and his lovely wife are being wonderfully helpful and forthcoming.

Speaking of Great Ideas -- I had one today that impacts this project. If it pans out, it could be the "Excitement Meter" equivalent of setting off a fireworks display in a candle store. Further bulletins on that front as events warrant.

I'll be attending the Austin Film Festival Screenwriting Conference this year. I haven't been there since Cassandra was born. (In fact, this past week, I just got back a script with consult notes from a friend that I met there when she was a panelist 8 years ago. How time flies...) I'd love to have the Running script done in time to enter it in the screenplay competition. But that's looking doubtful. Considering throwing one or two others in the ring, though. Further bulletins to follow on that front as well...

The May Update

2009-05-26T11:00:00.003-04:00

Sometimes a working writer has only one project in the works. (Sometimes -- frighteningly -- NO projects are on the board...) Being in Single Project Mode is a rare luxury. You can work on one thing, in depth, until you get it right. You can do copious research, thoroughly immersing yourself in your project's nuances. When your work on that One Thing is done for the day, you can relax and do something non-writing related.

This, however, is not one of those times. So much has been happening lately that I felt a general update was warranted:

The Major Legacy Project for the USHJA is completed. A final edit of the galley proofs may come my way, but for all intents and purposes, the project is done. It's in the hands of the layout department now. ::sigh::

Ryan's book is nearly completed. All but two chapters have been drafted. The rest of the content should be compiled by the end of this month. Then, all that remains will be taking, editing, captioning, and slotting the photographs to illustrate the text.

I'm about half done with a book proposal for another project, based on the life of the subject for the biopic that my friend Paul and I have been working on this year. I love this aspect of my job: being able to talk with people who have made great contributions to some part of their world, and find a way to bring those accomplishments to the attention of a larger audience.

The biopic is in second-draft stage. We're in the midst of the re-write, punching up the characters, tightening up the scenes, and making sure the story beats make sense.

My friend, Sheila Gallien, script consultant to the stars, has finished page notes on one of my scripts. Her comments are flying across the Pacific as I type... With any luck, I'll have time to review them and assimilate them into the script, making it brilliant!!! enough to attract an agent / manager -- or at least a contest judge.

I'm gearing up to present a month-long Writer's Workshop to be held at the Coloma Library on Tuesdays in June. I love working with writers who are interested in improving their craft -- and especially love it when I don't have to travel and stay in a hotel to do so!

I've just signed a year's lease on a studio loft in Berrien Springs. Now, I'll finally have a place to work while Cassandra is in school. I'm also thinking of offering on-going writer's groups there, with specific targets -- one for non-fiction book writers, one for novelists, and one for screenwriters. Facilitating such groups would be a good way to force myself to produce more. Plus, it's always fun working with other similarly driven people.

School ends in three (count 'em -- three!) days, but the summer is rapidly booking up. With any luck, by the end of the summer, the screenplay will be done and pre-production will have begun on the movie, Ryan's book will be finished, and the book proposal for the Marathon Man will have sold.

Then, perhaps, I'll find the time to work on my Great Novel Idea. Right now, I'm just collecting notes (current count: 4 notebooks full and 8 books awaiting my research reading). Someday, however, that will be my One Project.

Not complaining. Never complaining. It is GOOD to have too much work. If I could only find an extra few hours in a day...

Oprah OK's Frey's Way

2009-05-14T08:37:00.003-04:00

or, Why Tell the Truth When Fiction is So Much More Interesting?

In a move that makes one go "Hmmmm..." Oprah has brought author James Frey (St. Joseph, MI native) back into the news. You remember Frey and his bestselling memoir "A Million Little Pieces" that languished in mid-list purgatory until Oprah featured it in her book club, launching it to instant best-seller-dom?

(I've heard it said that the 6 most important words in a writer's career are: "Thanks for inviting me back, Oprah.")

Then, those who had actually lived through the events described in the book noticed that the author had taken certain, erm, liberties with the facts. Most of the memoir was more-or-less true. (And one must always make certain allowances for the vagaries of memory in autobiographies and memoirs...) But many of the so-called "facts" had been manipulated to make them more interesting. After all, sales numbers don't lie...

(Regular readers may remember a rant on this topic early in 2006 when it was all happening.)

When the proverbial poo hit the media's fan blades, someone uncovered the fact that Frey's agent had originally shopped the manuscript around as a novel. Then Oprah called Larry King to apologize to her readers and say how betrayed she felt. Then she had Frey himself on her show and lambasted him for lying. At that moment, I was Oprah's biggest fan.

Frey lost much more than professional credibility and oozed from the public eye.

All was well with the world. Truth won out over fiction. Justice had been done, and Good prevailed over Evil.

Now, it seems, Ms. O. has changed her mind. Instead of calling Larry King to apologize for leading her fans astray, she has called Mr. Frey (who has a new novel out) to apologize to him for calling him on his fabrications.

Why would she do that?

It's been over 3 years since this little hiccup of credibility. Is it possible that Ms. O. has a memoir in the works and is realizing the merits of creative license? Or has the "Truth Scale" been discontinued for lack of interest -- to be replaced by an "Entertainment Meter?"

Time will tell...

I'm gearing up to begin work on a biographical project. At this point, I hold as an indisputable tenet that the story's Truth is king. I don't think it needs to be massaged to appease the masses' appetite for more. But if that all changes, it's good to know that Oprah will be on my side.

Scripting Christian

2009-05-11T15:00:00.003-04:00

or: File This Under "Problems I'd Love to Have..."

So, Christian Bale is reported to have "forced" the writers of Terminator Salvation to have written a larger part for John Connor... and this is reported upon in such a way as to make the Dark Knight seem petulant and diva-like.

What a very dreary life some writers must lead:

*****

PHONE RINGS

WRITER: Hullo?

AGENT: Hey! Bale says he'll sign on to do your script, but only if you make his part bigger.

WRITER: Oh, man! I have to do more work? Writing words to be uttered by one of the more interesting and watchable actors working today? Are you kidding me? That could take hours. Days even...

AGENT: Right now, the part of John Connor is kind of small. You think YOUR name on the one-sheet is going to put butts in seats?

WRITER: ::grumble::

******

All I have to say is: Cry me a river!

Remember what they say -- "Directors are replaced because of a difference in vision. Writers are replaced because... it's Tuesday."

In Other News

I have a phone conference tonight with the subject of the biopic I've been working on for the past few months with my friend and colleague Paul Martin. We're going to discuss the possibilities for putting together a book that would expand upon the life story that the movie will explore.

I have a wonderful agent who has agreed to take a look at the proposal when it's ready. So... fingers crossed.

And if Christian calls, tell him I'll write him as many lines as he wants...

Seven Deadly Writer's Sins: #2

2009-05-04T09:22:00.008-04:00

or "Haven't I Heard That Somewhere Before?"

When I was in college, one of my English professors had a sign in his office that read: Avoid Cliches Like the Plague. It always made me laugh.

Now, I'm not suggesting that cliches per se are deadly to one's writing. I don't even try to weed them out in my first drafts (which, incidentally, explains why I let so many slip by in blog posts). I use them as glorified place holders: weak similes that while away the time until the pithier, meatier metaphors arrive.

No, cliches are merely indicators of weakness or laziness. They are rarely deadly.

Cliched dialogue, on the other hand, is another story. Few things will kill your readers' interest faster than throwing something common at them and asking them to pretend they've never read or heard anything like it before.

Overly Cliched Dialogue (OCD) can appear anywhere. How to recognize it when you see it? Easy: it's the dialogue that exists NOWHERE in the real world. It is cliched because it only occurs on screen or on the printed page. And it occurs there often. Some of the most common include:

* I'm your brother (sister/father/mother/blood relative)...

This is common OCD. If one character is actually imparting news to another, it's a cheap way to ratchet up the drama before the obligatory scene where the newly discovered relations are forced to part.

Sometimes this line is an even worse offender. It is said to a person who is completely cognizant of the familial relationship. It exists only to tell the audience information that everyone else in the story knows. Really -- how often does one say, "I'm your brother and I need your help?" Never. Only in Hollywood...

* What the--?

Only in PG and PG-13-land do people say this. In the real world, people tend to finish this particular sentiment.

* I'm cold. I'm so cold.

This OCD always makes me laugh. It's the obligatory line that a dying character says to his or her beloved. It's like: "Time is short. I'm about to die. Let me give you a final internal temperature reading."

* Not on my watch!

My friend Karen can spot this one coming with unerring accuracy. She has been known to add it as an audible aside during movies for instant comic relief. Variations include She's gonna blow! and Let's get out of here! Personal guarantee: if the situation arises where something is about to blow sky high and we must immediately vacate the premises, I'm going to just start running, instead of providing exposition for someone who may or may not be watching.

* Who else knows about this?

With the proliferation of this line of OCD, you would think that even the characters in books and movies would know that the correct answer is NOT "No one."

* What place is this?

An odd example of OCD that is completely out of place in the real world. "Where am I?" is another one, but at least it rings half true.

There are many, many other examples, but you get the point. Even movies and books that I like suffer from the malady of OCD. Wolverine, for instance, has "I'm your father," "I'm your brother," AND "I'm cold... I'm so cold." Yeesh!

Stories and scripts that suffer from OCD bump the audience out of the experience. They remind the readers or viewers that this is, after all, just a stupid book / movie / TV show... and they could be doing something better with their time. Excessive OCD makes the audience start trying to guess the lines before they come. When the audience is successful, then the characters have become ::gasp!:: predictable. And that IS a sin.

In Other News

The major two-year-long project for the USHJA is finished! It went out without a hiccup, and -- dare I hope? -- it appears that all is well. I expect to hear more from the client as the week progresses. But, for the most part, that project is done.

The rest of the month is dedicated to finishing up the first draft and first edit of Ryan Gingerich's book. I'm on track to make that deadline. We'll see how things pan out.

When I'm not working on Ryan's project, my new novel idea is occupying all of my free time. It keeps me up until far too early in the morning, and could easily become a wonderful obsession. Much of the project is in the research phase of it. Robert helps with that, too. But what I have begun I really like. It promises hours of fun for the summer...

And I'm gearing up for a Writer's Workshop I'll be conducting at the Coloma Library on Tuesdays in June. I love teaching writers, and am revamping the workshop so it's more hands-on and interactive. Further bulletins on that as events warrant.

And now, Ryan's book calls. I have a chapter near completion, and hope to finish it and get a solid start on another one today.

So... I'm off to write like the wind and avoid cliches like... you know.

Seven Deadly Writer's Sins: #1

2009-04-20T12:49:00.003-04:00

or: Need More Ned!

I admit with a touch of embarrassment that I went to see 17 Again this weekend.

I went with low expectations, and for the first 15 minutes, I felt that perhaps even they had been too high. (Admittedly, however, I find it difficult to argue with any premise that stipulates that if divorce is imminent, the way to save your marriage is to have your husband suddenly turn into Zac Ephron and still have the hots for you.)

Often, I actually enjoy movies with scripts as full of holes as this one -- they give me great comfort, and bolster my hopes. Though they make me seriously question why I bother working so hard on things like character development and continuity.

But then I realized that I was enjoying some parts of the film far more than others. And I wasn't alone. Every time Thomas Lennon came on the screen, the audience perked up and the energy level in the theatre rose. Less than 30 minutes into the movie, I commented to my friend Chari that I could watch an entire film of just Ned (Lennon's character).

You see, in my humble opinion, the writers of "17 Again" committed one of the seven deadly sins of writing: they created a secondary character and made him more interesting and more engaging than the protagonist.

By the end of the first act, I was far more interested in what Ned would do next than in what Zac (oops, "Mark." Or was it "Mike?") would do. Ned got the best lines, the best scenes, got to wear the most interesting clothes, and had the most complete inner life. He may have been created only as comic relief, but his character assumed a life of his own and grew far beyond the meager bounds of the movie that he lived in.

Why is that a sin? Isn't it a good thing to create a memorable character that lives and breathes? Of course. But if your supporting characters are more well-rounded than your protagonists, or your antagonists, you have committed the writer's sin of Complacency. You thought you had a Good Idea, and figured it would take no more than bare-bones cardboard characters to execute that idea.

For shame!

One well-rounded character -- no matter how small -- shows the audience that the writer had it in him the whole time. But only one such character also lets the audience know that the writer didn't feel like working that hard on every person he created.

In Other News

My major client has sent more work my way. I hope to be able to make great inroads on it by the end of the day. I'm also putting the final touches on a chapter of Ryan's book.

Which means, if I play my cards right, I will carve out some free time to work on my Own Private Project. I have a portion of the first paragraph finished, the entire story mapped out, and a fairly good handle on all the major characters. With any luck (if I do my job right), the characters will all be interesting enough, flawed enough, and compelling enough to merit their position as major players on the story's stage. Time will tell if I'm guilty of the same sin I accuse others writers of...

The Best Part of the Project...

2009-04-17T10:23:00.003-04:00

The Great Biopic Screenwriting Project is finished! ::RAH! Yee-ha!::

Of course, all writers know that NO project is ever truly finished. There is always something we feel could be done to improve it. Be that as it may, it's done for now. It got its WGA and LC registration, has been converted into a .pdf, and my friend and co-writer Paul has sent it on to Those Who Matter -- including the real-life subject of the project. All that is left to do now is sit and wait for the notes to come in.

Some days, I think finishing a thing, and doing the Happy Dance at the finale is the best part of a project.

It's not like there's nothing else to do while I wait for the client's notes. My Major VIP Client has come through with an entire project's worth of illustrations that must be reviewed and captioned. A strict deadline looms in the near future, so I have earmarked part of this afternoon and most of Sunday to the task.

Truth be told, I'm quite looking forward to it. I haven't yet seen any of the illustrations, and the text that they are to illuminate is already carved in stone. In many instances, because it's so straightforward, captioning could be construed as the best part of a project.

I've been asked to present another Writer's Workshop -- something I am always happy to do.

I've been given free rein to talk about anything I want to (which goes a long way to making me smile uncontrollably). I'm thinking that in addition to a short workshop on more general topics for novice writers, I'd like to conduct a lengthier, more intensive workshop for those wanting to develop and complete a novel or screenplay already in progress.

I love speaking to others about their writing dreams and suggesting ways that they can move to make those dreams reality. Sometimes I consider that the best part of what I do for a living.

And then there is the ongoing development of Ryan Gingerich's book. Ryan is very clear about what he wants to say and how he wants to say it. He's engaging and loquacious. He has a voice that readily translates to the written word without losing its defining characteristics. And (so far) he approves of the way his book is coming along.

Often, converting someone's raw spoken material into polished prose is the best part of a project.

Ah, but all of those "bests" lose a bit of their luster when compared to the heady rush of being struck with a Great Idea. That's what happened to me last Friday. With little to no warning, a New Killer Idea hit me -- and I haven't been able to stop thinking of it since. I have 4 notebooks currently in various stages of the story development. I've shared the premise with only two other people -- and they are now clamoring for daily updates. It's good. It's exciting. It's challenging...

And it's all I want to do.

I've had to force myself to work on my clients' projects...

... to do regular household duties...

... to eat and to sleep, for crying out loud!

I am "with book" -- full of the promise and potential of this new project. OOooo, I love the obsession. I haven't experienced it for over a year, and am realizing how very much I MISSED it.

So, though there are many good things about the various phases of writing projects, if I had to cast my vote for the BEST PART, this would be it.

To every writer out there: here's to great beginnings!

In Search of Silence

2009-04-08T09:59:00.002-04:00

Today is another day in the ongoing, line-by-line Great Biopic Screenplay Edit. Paul and I shower each other with encouragement:

"You write like a girl!"
"You dictated this -- remember?"
"Try again; this time with talent."

...as we try to make the script fit for human consumption. I am, admittedly, too close to the project for true objectivity. However, if I do say so myself -- I believe we're crafting something that's quite good.

Paul and I are both believers in the "Oblique Conversation Principle." People rarely say exactly what they mean. It's second nature in real life. But it's not always easy to duplicate in a script.

Sometimes, the best way to approach the issue is to write out the scene using on-the-nose dialogue that articulates what the characters would say, if they said precisely what was on their minds -- then going back through it and changing every line to something less obvious. It's the writing equivalent of an artist outlining something in pencil first, finishing the drawing, and erasing the original lines.

Sometimes, however, the best thing you can do for a scene is to write out the dialogue; wrestling with it until it strengthens the subtext, adds nuance to your character, and impresses you with your own cleverness. Then... getting rid of it all.

Often, if you have done your job as a writer, the scene will play just as well without a single line spoken... or, at the very least, with minimal language.

This happened to us as we worked yesterday. We were polishing one of our favorite scenes. I liked certain aspects of it. Paul liked others. We each argued for our pet projects until... Paul suggested axing everything but the actions.

Et voila!

Suddenly, the scene got MUCH more interesting. It's not like all our hard work on crafting cool words went right out the window. Rather, when we got rid of the words, we both felt that the real essence of the scene shone through.

If you're wrestling with a scene -- be it in a screenplay or in a novel -- consider taking all the words out of it and see how it plays. Without the distraction of spoken words, the audience's attention is riveted on the characters' actions. And, of course, one of the first truisms of humanity is that actions speak louder than... you know.

Project Updates

The Major Project for the USHJA is at the "clean up the bits and pieces" stage. Later this afternoon, I'll go through the entire project on a part-by-part basis and make sure that all individual sections are ready for vetting by the legal department.

Speaking of vetting, the horse vet comes tomorrow for spring shots and some much-needed dental work on the two "free" horses that have come to call our place home. One, in particular, will need some extensive work. Her teeth are interfering with her ability to make the most of her food. She's literally getting as much to eat as Theo, and she's a small, light horse -- yet Theo is in fine (some would call him "fat") fettle, and she's... ribby. Ick.

We are in the midst of a Subterranian Extravaganza, as our contractor does daily battle with both the low basement and the high water table. Further news from the front as events develop.

And Ryan's book is poised to take precedence over all other projects. In fact, with any luck, I hope to have most of it at least in rough draft form before the end of the month.

With several projects clamoring for attention, it behooves me to finish today's post and get to work! So... off I go: in search of silence.

When Everyone's a Critic

2009-04-03T10:01:00.003-04:00

or, Good Griefer!

We writers can be a terribly sensitive bunch, especially when it comes to our literary creations. Oh, sure -- we may say "I don't care what the critics say," but we don't mean it any more than your mother means it when she says "it's fine if you don't come home for Christmas."

Of course we'd like critical acclaim -- whether it's accepting the Pulitzer, the Nobel, the Tony, or the Oscar. Frankly, 5 stars, a "9" or a "10," or even a "thumbs up" from an established, reputable critic can go a long way toward vindicating the single-minded effort it takes to push through the rejection that often earmarks a writer's early days.

I was ecstatic, for instance, when American Equine Publications named Dr. Warson's book one of the Top 3 Books of the Year. And I always enjoy it when my publishers send me clippings with favorable reviews. I don't think it's vain to rejoice when voices in the industry praise your efforts.

(Likewise, if a respected reviewer offers less than glowing praise for a project, it may be worthwhile to at least consider the validity of the pan... before deciding that the reviewer is an idiot who would be better suited to taste-testing toxic waste.)

Whether or not we give credence to the opinions of professional reviewers, however, any writer worthy of the name will soon learn to beware the "Look, Ma! I'm a Critic" homegrown-variety reviewer that the internet has spawned.

Suzanne Male addressed the "griefer," this denizen of the digital world in her excellent post on Smink Works Books' blog last month.

You may think "but if my book is good enough everyone will like it," but the nature of the Internet has proved this a naive thought.

For people who have never put themselves out there - started a business, launched a new product, or made anything like a film, book or art exhibition, it's impossible to know what it's like to do such a thing. But it would be good if they did. For people wield their negative reviews, flippant comments and cutting remarks with abandon and little or no understanding or empathy.

The Internet has fostered this comment-without-responsibility situation. A derisive comment could come from a 12-year-old, an 'anonymous' competitor or someone who hasn't even read the book, or used the product, for all you know. And yet this 'customer feedback' can make or break a product.

I'm not writing this because I'm peeved at a bad review. Like many writers, I rarely read the online reviews of my work. But I've been online lately, reading reviews of movies and shows that I like, and the lack of quality reviewing (let alone basic accuracy) is staggering. I find myself wondering "Did we even see the same movie?"

Don't take my word for it. Check out what both Griefers and "Glowers" (raving fans) have to say about your favorite films or books. Perhaps that, more than anything else, will drive home the fact that not all reviewers are competent. Or qualified. Or even semi-literate.

I guess the bottom line is, to make it in this business, you've got to keep writing, work only on projects you fervently believe in (so you can champion them against their detractors), and let the words in your head drown out the Griefers in the world. These days, everyone's a Critic. But not everyone's a Creative.

Here's to the Creatives in my life! And a pox on those stunted souls who use their words to tear the work of others down without first producing something useful of their own!

Writing Updates

The Major Project for the USHJA is sooo near completion, I can almost bask in the glow of the light at the end of the tunnel. Another week or two, and it should be done. One hopes...

My biopic screenwriting project is consuming a significant portion of every day. Paul (the director, co-writer, and collaborator) and I are doing a line-by-line evaluation of the script. We fight for our favorite scenes and our favorite lines.

(Paul: You write like a girl!
Me: Because... I am! And, hopefully, half of our viewing audience will be, too.
Paul: I hate this scene.
Me: I love it. It stays.
Paul: Fine. For now. But it will be the first thing I cut in editing.
Me: Yeah, yeah, yeah... Once you film it, you'll forget all about this, think you wrote it, and think it's brilliant.
Paul: Ok, that's going on the slug list--)

Since we are 2500 miles away from each other, we keep a running "slug list" of things we need to smack the other person for... It's all a bit Keystone Cops, but it seems to work for us.

And I'm plugging away on Ryan's book. I hope to have the bulk of it written in the next few weeks, and then be able to edit it through the rest of April and into May.

Never a dull moment. Anything to give the critics something to chew on!

Mastering Motivation

2009-04-01T19:59:00.003-04:00

One of the trickiest challenges a writer faces is creating interesting, three-dimensional characters that are compelling and believable, while still retaining the capacity to surprise the audience.

If a character is predictable, he or she is, by default, boring. However, even if a character’s choices stun us, we should still be able to accept the motivation for those decisions and accept them as “something he would do.”

Mastering motivation becomes slightly easier if we take a page from reality and throw logic out the window. Once we insist that our characters have a logical basis for their actions, we have taken a step down the slippery slope that leads to clichéd, uninspired prose.

In real life, humans have an infinite capacity for illogical behavior. Often, our actions make sense only to us -- leaving those who know us, love us, and have a vested interest in our continued health, wealth, and well-being scratching their heads in wonder over our perceived stupidity. If we writers can apply this to our character development, we will have tapped into something deeply “human.” Besides, what can be infuriating in the real world can become a tool of vast entertainment potential in the world we create.

Consider, for instance, Indiana Jones' fear of snakes. Or Louise's refusal to set foot in Texas, in "Thelma and Louise." How about Hercule Poirot's fastidiousness? Or Sherlock Holmes' superiority complex balanced with his addiction issues? Illogical? Perhaps. But the lack of rational thought doesn't negate the powerful forces that motivate the characters and make them memorable.

If you find that your characters are as flat as the screen (or the paper) they're written on, consider taking a side road away from Logic. Explore the myriad possibilities of Motivation instead.

Maybe a character idolizes her marriage, but not her husband... Maybe one can't bear to be told "no..." Perhaps a character equates advice with control... Or perhaps a son is terrified of following in his father's footsteps...

Feel free to borrow heavily from real life. Choose an irrational behavior that perplexes you, saddle a character with it, and see where it takes him. You might discover that it opens up a whole new world of possibilities, gives a new dimension to that character's interactions with others, and makes that character come alive.

Enjoy discovering where Motivation leads!

When Words Fail...

2009-03-27T09:10:00.002-04:00

Today, I have to attend the funeral of a long-time writing acquaintance. I am so sorry for her family, for their loss, and for the loss of such a wonderfully talented, giving lady.

Her "official obituary" reads in part:

Stella Rose Edwards, 78 of Lawrence, passed away Sunday, March 22, 2009 at Bronson Methodist Hospital, Kalamazoo.

Stella was born Stella Filipczyk on September 16, 1930 in Chicago. She was the daughter of Felix and Rose (Brumber) Filipczyk. They preceded her in passing, along with her first husband: Howie Schoenberger, two sisters: Florence and Jean and a brother: Rudy.

On October 13, 1953, she married her soul mate: Everett "Eddy" Edwards, who also precedes her in passing. Stella and Eddy met at Camp Farr in Indiana and in 1964, they moved to Lawrence and completed their dream of owning their own summer camp, when they founded Lakeside Farm Camp, later changing the name to Cedar Lodge. Stella spent her entire adult life nourishing the hearts and souls of young people through hers and her husbands lifetime passion of owning and running children summer camps. Her love of music, flowers and animals were gifts she presented daily to those who knew and loved her.

Stella is survived by four children: Chuck and Pat (Griffin) Edwards, David and Nan (Kohlmann) Edwards, Sally and Gene Butler and Amy Edwards, along with seven grandchildren and six great grandchildren.

In lieu of flowers, the family has asked that those wishing to make a donation can donate to a Scholarship Fund being set up in Stella’s name at Cedar Lodge, being created to change the lives of even more children or you may donate to a Children’s Charity of your choice.

Anyone who knows me knows that I believe in the power of words. They can inspire, enlighten, and educate. Handled correctly, they can move our emotions -- incite anger, elicit tears, or provoke laughter. However, I must say that words fail miserably in summing up a life.

I met Stella over 15 years ago. She and I both attended a writer's group in Lawrence, Michigan. Most of the members of the group wanted to write for writing's sake. They were not at all ready or willing to take the plunge into writing for publication. But Stella -- grandmother Stella, with a full life, busy schedule, and extended family -- wanted to publish.

I could take credit, in some small way, for encouraging her to submit her material for publication. But I can't take any credit for her actually following through with it, taking the time, making the effort, and risking the rejection. When Stella told me that Reminisce magazine had accepted a piece she sent them, I was so thrilled for her.

After that, nothing could stop her. She had several things published in "Reminisce" and was tickled when people contacted her because of something she'd written. She later compiled her stories into books to share with her family, friends, and other interested people.

It's ironic that someone can love words as much as Stella did (and I do), yet words simply do not have the power to do justice to a person's life. Ultimately, when it comes time to comfort those remaining, make things "all better," and keep our loved ones with us a little while longer, words fail us.

Goodbye, Stella. You will be missed.

The Internal Editor

2009-03-25T14:52:00.000-04:00

or, A Little Bird Told Me...

Yesterday, I had the great pleasure of being interviewed by a high school senior who wants to make a career out of writing. I hope my answers to his questions were of some use. Some of his questions were about things like motivation, craft, and day-to-day operations. About what one would expect.

Some of the things this rather insightful young man asked about, however, were unexpected and unexpectedly relevant. He attends a local Christian high school, and is a person who lives his beliefs. He's also a creative artist. And he still lives at home. "Honor thy father and thy mother" is not up for debate.

He very tactfully inquired about my belief system. When he realized that we come from similar backgrounds (belief in God, steeped in fundamentalist values that include strict prohibitions on profanity, frivolity, mindless entertainment, sex, drugs, and rock 'n' roll), he asked how my beliefs affected or informed my writing.

We got to talking, and in the course of the conversation, he described how he would be working on a character who he thought would say something "strong" or "colorful," but he would find himself hampered by it. I believe "self-editing" is the phrase he used.

We had a very interesting discussion about the topic of profanity as a tool and as a crutch. I shared with him my views on the matter (which, truth be told, stem largely from my mother's views).

To a degree, profuse profanity that characterizes a character's conversation generally says more about the laziness of the writer than revealing anything profound about the character. As someone brighter than I once put it, "Profanity is the surest sign of a stagnant mind." Every time I read a book or see a movie that is riddled with the same words over and over again, I am struck by the writer's complete lack of creativity. (A notable exception to this rule of thumb is the staggeringly inventive use of expletives dreamt up by Paul Abbott. But that's another story.)

The director I'm working with on my current screenplay has similar views. He's worked on some less-than-squeaky-clean movies. He's no prude, by a long shot. But his advice to screenwriters is to "Take out all profanity." He believes in trusting the actors to tell the story. If the word is on the page, he argues, the actors will say it whether it needs to be there or not. If the word is not on the page, the actors will put it in if it's necessary to convey the right tone, subtext, and emotion of the moment.

More often than not, it's not needed.

Profanity isn't the only area where one is often advised to listen to one's Internal Editor. Sometimes, the problem isn't with being a potty mouth. Sometimes, the problem has to do with engaging the brain-to-mouth filter.

Take, for instance, the case of Cisco Fatty who evidently bound and gagged his Internal Editor in order to post ill-advised snarky Tweets on Twitter about his recent job offer.

Before the work day ended, Web sleuths revealed "theconnor's" true identity. "Theconnor" was lampooned in a popular YouTube meme. And thanks to Google Cache, the deleted content of "theconnor’s" homepage resurfaced on CiscoFatty.com, a Web site erected to commemorate this cautionary tale.

The bottom line is, think before you speak (or Tweet). God gave you a brain -- use it. Just because you have a thought doesn't mean that it must be shared with the world at large. Just because your first inclination is to write "in cursive" doesn't mean that's the best thing to have come out of your character's mouth.

As I said to my new writer friend yesterday, you are the word master. The words don't master you. Don't give them the power to define you, limit you, or enslave you. Make them work for a living. And make each one count.

Welcome, Baby!

2009-03-24T21:26:00.003-04:00

Tonight, in the midst of putting Cassandra to bed, we took a break from the regularly scheduled program to watch Remy, Chari's mini mare, have a lovely wee filly.
Here she comes:

No name yet -- but she sure is cute!

Here's looking at you, kid:

5 Things Every Writer Must Know

2009-03-23T13:50:00.004-04:00

Lately, I've been in touch with an aspiring writer who is eager to learn how to make the most of his chosen career and make a living with words. (Truth in advertising: He is not as proactive as you might think. He's a senior in high school and only contacted me as part of his assignment...)

We have a face-to-face meeting tomorrow, which will be recorded on MP3 for posterity (though hopefully not for YouTube). I don't know how much I will be able to help the young man achieve his publishing goals, but my e-mail exchanges with him have prompted me to think of a few pertinent pieces of advice for all writers.

So, without further ado, I give you, in no particular order:

Five Things Every Writer Must Know

1. How to use e-mail. Not MySpace. Not FaceBook. E-mail. I realize that the up-and-coming generation consider e-mail hopelessly old school. However, the fact remains that it is the preferred means of communication for many publishers, editors, and agents.

2. What you want to write. If you have a preferred genre, know what it is, know what defines it, know who currently writes it better than anyone else, know who currently publishes it, and know where you want to fit into the grand scheme of things.

3. You can do it. Wanna-be's are everywhere. The numbers thin, however, when it comes to proving production. If you want to write -- write. Have something to show people (preferably editors, publishers, and agents) that proves you can do what you say you want to do.

4. How to use Microsoft Word. It is the industry standard. Anything else will only brand you a newbie.

5. What you want. If you want an interview, ask for it. If you want contact information, say so. People are willing to put you in touch with those who can help advance your career goals or give you advice. But people must first know that you would appreciate such things. Though the lyrics are true (You can't always get what you want), it's a given that you WON'T EVER get what you want if you don't know what it is, and if you don't ask.

So, there you have it. It's hardly earth-shattering advice, I realize. But sometimes, the best advice is the stuff you need to hear right now.