Two Heads Are Better...

I've had the pleasure this past weekend to have friend and author Stacey Klemstein aka Stacey Kade as my houseguest. Besides the fact that Stacey and I get along hilariously well (even though I'm near her mother's age) it's wonderful to be able to talk--at any time--to another writer. Writing is such a solitary occupation (other than the five hundred or so people living in my head). And yes, while I certainly chat a lot with other authors and authors-to-be via email, there's something special about sitting in side by side rocking chair, feet on the railing, sucking down a beer (me) or Fuzzy Navel (her) on my front porch, debating plot structure, conflict and why we like dark-haired male protagonists better than blonds. Or whatever.

No, it's not the same as speaking to another author on the phone. It's just not.

We've hashed out a number of issues this weekend--she, on her second book and proposal for Hyperion (her first YA paranormal--The Ghost and The Goth--will be out in 2010) and me, the follow-up book to Hope's Folly (the third book in the Dock Five series.)

The fun thing about this Linnea-Stacey combo is we approach the craft of writing fairly differently. She's very much in the Vogler/Writer's Journey camp. I'm solidly Swain's Techniques of the Selling Writer. We both subscribe to Deb Dixon's GMC but even with that, we come at ideas and structure in different ways. Which means she gets me thinking and I get her thinking.

Over the past few years that we've been critters for each other, we found it works very well. We've even started teaching writing workshops together.

I know there are authors who don't use critters or beta-readers (I use both). I was in a workshop this weekend with Romance Divas where a few posted that fact. That's great if they don't need the feedback. Me, I do. That doesn't mean I incorporate every comment. But I do consider andl listen to them. Sometimes they prove I'm wrong in my writing and I make changes. Sometimes they prove I'm right. Sometimes I can see why the comment was made but I feel strongly that what and how I wrote it is how it has to be.

But I still need the feedback. Understand--for those of you who aren't authors--that by the time a manuscript gets to the final draft, the author has likely read it over (and over and over) dozens of times. The brain fills in words or meanings that may not actually be on the page. Honest, it does. Fresh eyes and another brain, to me, are very helpful.

On the flip side, helping Stacey dissect her work makes me see more clearly how and why I do things. Explaining a concept to her helps me incorporate it more effectively in my own prose.

It's really a win-win situation.

So I'm in final edits now on Hope's Folly. Bantam has the manuscript and my editor, Anne, is giving it her fresh eyes once over. She, too, will have changes or suggestions. Which, yes, I'll run by Stacey. She knows my characters and worlds as well as I do. Maybe even better.

So I guess that makes three heads...

BIC HOK! (Butt In Chair, Hands on Keyboard: the writer's war cry)

~Linnea

Plots That Work

Again, riding on Cindy's coat tails here...

There is no one right way to plot a book. Like Cindy, I'm a pantser or rather, I was more of a pantser than I am now. I guess I've morphed, after several mutlibook contracts, into a plot-ser. Half plotter, half pantser. Deadlines can have that effect.

But not everyone starts out a pantser. Last summer, author Stacey "The Silver Spoon" Klemstein and I did a plotting workshop at Archon, the science fiction convention held annually just outside St. Louis. Entitled "Plots That Work" we approached the same subject from two different angles: hers and mine.

Here's the breakdown from Stacey's handout:

Stacey Sez…

*Stephen King says, “…my basic belief about the making of stories is that they pretty much make themselves. The job of the writer is to give them a place to grow (and to transcribe them, of course).”

*Start with a situation: create a truly difficult situation and watch your characters struggle to find a way out of it. Don’t help them and don’t manipulate the situation to get them out—just watch and write it all down. (I’m paraphrasing Stephen King here, again!) Use “what-if” to test your situation’s strength.

*“Through a mirror, darkly”—Sometimes I can’t see much beyond the initial situation. I know someone is on the run, for example, but I don’t know why. That’s where GMC (Goal, Motivation & Conflict) comes in for each of the main characters, including the antagonist. (I don’t use the word villain because every villain is the hero of his or her own story—at least, that’s the way it should be if you want your hero to have a worthy opponent.)

*Imagine your story on a continuum. Your character is a certain way and in a particular situation at the beginning. Events transpire to change both of those elements, resulting in a changed character and situation by the end.

*Christopher Vogler says there are common elements (events, if you prefer) in every hero’s journey. Changes in the hero’s external situation match up with the changes that are happening inside him or her.

Ordinary World
Call to Adventure
Refusal
Meeting w/Mentor
Limited awareness of a problem
Increased awareness
etc etc...
*
Recommended Reading:
The Writer’s Journey, Christopher Vogler
On Writing, Stephen King
Goal, Motivation & Conflict, Debra Dixon
Bird by Bird, Anne Lamott

Linnea Sez…

1 – What is a plot? A plot is a series of events—both internal and external—that comprises the character(s)’s journey through the story.

2 – Plot is the power source that makes the story happen. And conflict is the energy fueling that power source.

3 – James Scott Bell (Plot & Structure) sez Plot answers the questions:
· What’s this story about?
· Is anything happening?
· Why should I keep reading?
· Why should I care?

4 – Your plot is inextricably tied to your characterization. It doesn’t matter whether you’re a plot/problem-oriented writer (let’s write a story about an evil galactic empire challenged by a small band of freedom fighters called Jedi Knights) or a character-oriented writer (let’s write a story about a young orphaned man who wants to be a Jedi Knight and help wrestle his world away from the evil galactic empire). It is the main character(s) that the reader will consciously and subconsciously relate to and identify with. Your characters provide the answer to Why should I keep reading? And Why should I care?

5 – Who, What, When, Where, Why & How:
· Who are your characters?
· What is the inciting incident and/or external conflict that launches the story?
· When does the story take place?
· Where does it take place?
· Why does the external conflict threaten your main characters?
· How will your main characters resolved the conflict?

6 – Utilize the Concept of Rising Action. Make it worse, make it worse, make it worse. “How could things get worse? And when is the worst moment for them to get worse?” –Donald Maass, Writing the Breakout Novel

7 – “Follow no rule off a cliff.” –C.J. Cherryh

*Recommended Reading:

Plot & Structure, James Scott Bell
Techniques of the Selling Writer, Dwight V Swain
Writing the Breakout Novel, Donald Maass
Prescription for Plotting Popular Fiction, Carolyn Greene

Stacey's into Vogler. I follow Swain. That doesn't make Swain right and Vogler wrong. It means I follow the plotting method that sets me all a-flutter. That works for me. If it works for me, it'll work for my muse.

Follow your muse and the plotting method that sets you a-flutter. You'll be the stronger writer for it.

~Linnea
http://www.linneasinclair.com/

BACK FROM ARCHON 31

My flight from St. Louis to Ft Myers, FL landed at noon. It's 141 pm. I haven't unpacked but I'm blogging. Go figure.

Q -Why didn't I blog from the con? A - My brand new Sony Vaio died.

Q - Is this going to be a great recounting of what went on at Archon? A - No. Read my first line. I just got off the plane. I'm exhausted. But they say a picture is worth a thousand words...

Autographing session with Barbara Hambly. (!!!!) We had lunch Thursday and I can't wait for her Anne Steelyard series to come out. More on that later...

Saturday's panel with Elizabeth Moon (who is funny and delightful and just all around wonderful), me (behind toy dog--will explain that later, also), Carol Berg, Richard White, Joy Ward, Janni Lee Simner

Stacey Klemstein (cutie redhead on far end) on panel with Rachel Caine, Rae Morgan/Monette Micheals and others.

Vic Milan (who is a hoot) and my agent, Kristin Nelson on a beginning writers panel.

And now for the fun stuff:

I also had dinner with Jacqueline Lichtenberg and Jean Lorrah, and was on a panel with them as well. WHAT A THRILL! Briefly, Jean has a wonderful, warm smile and sparkling eyes. Jacqueline is one of the most elegant gals I've met--BUT when she smiles, she's an imp! They're both beyond brilliant them and meeting them was top notch.

Hugs all, I need a nap... ~Linnea

http://www.linneasinclair.com/