Tailoring, Treaties, and Tomatoes: 3 Techniques to Turn You into a Tenacious Writer

Italiano: Pomodoro grinzoso

Italiano: Pomodoro grinzoso (Photo credit: Wikipedia). By Abbasnullius (Own work) [Public domain], via Wikimedia Commons

In a post that appeared here last fall, Austin Mystery Writer Laura Oles asked the burning question,

Can a technique named after a tomato serve as the answer to your time management woes?

Or, more specifically, what does the writer do when it’s impossible to devote a large block of time–several consecutive hours, at least–to writing?

Laura answered the question with a resounding Yes! and went on to describe her success using the Pomodoro Technique, which involves working in 25-minute blocks of time.

After reading her post, I put a Pomodoro on my toolbar. I like it. It helps me log my time, a necessary evil for professional writers, and gives me a feeling of accomplishment.

But my schedule isn’t demanding. I often feel I’m running around like a chicken with its head cut off, trying to just get through the day, but really–I have time to write.  Pomodoro works while I’m writing.

But procrastination–in my case known as staring into space and thinking about what I’m going to do . . . later–wastes time. I need a jump start in order to start writing.

Even the promise an old-fashioned homegrown tomato is not enough of a carrot to lure me to the page. (Sorry about that.) To move me, there must also be a stick. Fortunately, sticks are available.

One I’ve found helpful is a writing challenge: A Round of Words in 80 Days (ROW80), subtitled The Writing Challenge That Knows You Have a Life.

In ROW80, you set your own goals. They must be specific and measurable, but they’re tailored to your needs. The first day of the challenge, you announce your goals in a blog post; then you put a link to your post on the ROW80 Linky.

I won’t try to explain the Linky, but you can read about it in the FAQs.

There are four rounds each year, starting the first Mondays in January, April, July, and October. Each runs eighty days and is followed by several days off. You check in every Sunday and Wednesday with a blog post in which you report your progress. If you need to change your goals, that’s fine. Just state the new ones and go on from there.

Round 1 for 2015 began January 5. Too late to enter? No. Jump in tomorrow or Sunday, or next week . . .

Your obligations, in addition to writing the Sunday and Wednesday posts and listing them on the Linky are 1) to put a link to the Linky page on your post; and 2) to visit the blogs of other ROW80 participants, comment, encourage them.

ROW80 allows flexibility. You choose when and how much you write, and if you don’t meet your goals, you haven’t failed–you’ve learned something. No pain, plenty of gain. The challenge is a stick, but there’s a lot of carrot in it, too.

A slightly stickier stick appears on Ramona DeFelice Long’s blog, which is an excellent resource for writers. Ramona is a professional editor as well as a writer. She’s successful because she works at her craft. In this post, she describes the persistence and determination required of the serious writer:

Writers write. Writers who get published complete work and submit that work to agents and editors. It’s how it works. The way to write for publication is to commit to it. That means nothing–and no one–stands in the way of your writing goals.

Ramona invites readers to take “The Sacred Writing Time Pledge.” As in ROW80, you tailor the pledge to your own needs–within certain parameters. But after that, there’s no wiggle room. A Sacred Pledge is meant to be kept. It’s simple: You do what you said you would do, or you don’t do it.

The pledge is a kind of treaty, too–a formal agreement between the writer and other parties. In most cases, it takes a village to make a writer. You sign the pledge, but there are spaces for your villagers to sign as well.

What I like best about Ramona’s pledge is its focus on the goal most writers aspire to–publication–and its honesty about what it takes to get there.

Now for a summary: In this post, I presented for your edification three techniques:

 ROW80, which lets you tailor goals to your needs;

The Sacred Writing Pledge, which a comprises both a pledge and a treaty; and

Pomodoro, which is a tomato.

Singly, or in combination, these three can help turn you into a tenacious writer.

But Wait!

I just read over the paragraph in which I referred to Ramona’s pledge as a stickier stick, and I realize the stick part is a gross exaggeration.

The Sacred Writing Time Pledge contains much more carrot than stick. In the first place, publication is as good a carrot as any writer can aspire to. It’s the literary equivalent of carrot cake.

Also, Ramona reminds us that we take the Sacred Writing Time Pledge not to enter 2015 burdened with an overwhelming task, but with hands open, ready to receive a gift:

 Think of it as renewing a vow–or falling in love for the first time, or again—with what you want to write.

Falling in love. What could be better?

Falling in love is carrot cake with a dollop of ice cream on the side.

 *****

And now, for tenacious readers, a pilon:

Tenacious

Cowhide makes the best of leather.
It should. It keeps a cow together.

 ~ Ogden Nash (of course)

 *****

0kathy-blog

  Posted by Kathy Waller,
who also blogs at
To Write Is to Write Is to Write

Etiquette for Critique Groups

We all know the importance of getting feedback from other writers, not just from friends and family. For many writers, that feedback comes from a critique group.

photo (16)Last summer, Sisters in Crime  hosted a meeting about etiquette for critique groups with special guest Tim Green, from St. Edwards University. Members of several local critique groups joined the discussion. The following guidelines and suggestions emerged.

Professor Green offered a general framework for face-to-face critiques. First the writer speaks, then readers take turns offering their comments. Finally, the whole group can engage in a general discussion, summarizing what they agree about and answering each other’s questions.

DOs:

  • The writer can introduce her work briefly, explaining what she’s trying to accomplish, whether her draft is rough or finished, and what kind of feedback she wants.
  • Readers should begin with the strengths of the piece (‘What works for me is…’) and move to questions and weaknesses (‘What doesn’t work for me,’ or ‘What I don’t understand is…’) afterwards.
  • Readers should speak to the writing, not the writer, pinning comments to specific passages in the text. This bears repeating! Find the specific words that trigger your reactions.
  • During the readers’ comments, the writer should remain silent, listen carefully, and save questions or explanations for the general discussion period.
  • Everyone should bear in mind that personal preferences are not aesthetic absolutes. Readers are only offering their subjective reactions and opinions. Writers should remember that, too.

DON’Ts:

  • Writers should resist the urge to disparage or apologize for their own writing.
  • Readers should resist the urge to rewrite or copyedit during group critiques.
  • Writers should try not to become defensive.

Professor Green advised that higher order concerns (plot, structure, character, voice, point of view, telling/showing) are appropriate for early drafts. Lower order concerns (dialogue, scene/setting, word choice, sentence management) are more likely to be useful for advanced drafts.

Most critique groups eventually settle on a routine that works for them, but for planning purposes, you could consider the following guidelines:

  • Four to six people is a good size for a critique group.
  • Ten pages is a reasonable length for submissions.
  • One or two minutes should suffice for the writer’s introductory remarks.
  • Allow about five minutes for each reader’s comments.

At this rate, you would expect to spend a half-hour or more on each submission. If everyone submits every time, you might need to allow as much as three hours for your sessions. Timekeeping can help ensure that each writer gets her fair share of attention.

Depending on where you live and what you write, you may have a hard time finding a local group that works in your genre or niche and meets at a convenient time and place. In that case, you could consider joining Authonomy, a website run by Harper Collins where thousands of authors post their work and exchange critiques online.

Elizabeth Buhmann

Elizabeth Buhmann is author of Lay Death at Her Door (Red Adept Publishing, May 2013)

Everyone agreed on the importance of keeping the comments positive. Praise for what works should come first to balance criticism. It may be necessary to curb or even remove a person who dominates discussion or persists in harsh criticism.

As writers, we learn and improve from criticism, but praise is the oxygen we breathe. Your critique group should not leave you feeling discouraged. If it does, drop out.

You should run home from your critique group sessions eager to reread the comments on your work and inspired to make the revisions that will take it to the next level.

A Christmas Pomodori

River Bluff Writers' Retreat 020Star Date: December 13, 2014

It all started with a weekend retreat. Don’t mysteries always start  like that? (Well, some of them.)

It’s like the beginning of a typical forties noir film. Think of a battered private dick, his face wrapped in bandages, trapped in a blindingly bright spotlight at the Hollywood police station. All in black and white with lots of shadows. The police want to know about a murder. When he starts talking, the scene dissolves into a flashback.

Except in my case, everything was in color, in the twenty-first century, and by the San Marcos River in Central Texas–not Hollywood.

What on earth are you talking about? I hear someone mutter. Why, I’m flashing back to how I wrote my fast-paced, hard-pulsing, heart-stopping crime melodrama, Holly Through the Heart, a live radio play done in person for an enthusiastic (I hope) audience (captive) of Sisters in Crime: Heart of Texas members.

I had come up with a daring (hare-brained) scheme in September. Why not have an old-fashioned live radio murder mystery play for our Christmas party on December 14? Then I proceeded to ask (beg, cajole) people to be in the cast. I had everything set up. But there was just a tiny, wee problem.

I was having trouble with the play itself. As in, writing it. There were three lovely paragraphs, almost a whole first page done. It was very promising. But I was stuck.

To myself, I said, “Self, you have asked all these folks to be in your play, and we are going to have to rehearse before the show debuts on December 14, so what are you going to do?”

Then fellow AMW critique partner Kathy Waller said we should have a writing retreat the first weekend in October, so we did, at a cabin on the San Marcos River. The cabin was lovely and rustic, surrounded by giant pecan trees and nestled in rural obscurity—except for the eleventy-million trucks hauling monster barbecue smokers in and out of the property next door. There was a barbecue cooking contest being held in close proximity to our cabin on Friday and Saturday. I thought there would be lots of noise and craziness going on next door, but perhaps we might be invited over to partake of delicious delicacies.

But no. There was no offer of succulent meat, but the noise level was kept to a decorous level down by the river. So I couldn’t use loud music and barbecue overdose to excuse my almost nonexistent radio play.

What did I do, you might ask. On Friday night, we went to the Sac ’n Pac on the highway and purchased delicious burgers for our supper. Then we sat around and talked and talked and talked and finally went to sleep.

On Saturday, some troublemaker brought up the fact that we were technically on a writing retreat and that maybe we should write. If I remember correctly, fellow AMW critique partner Valerie Chandler said we should use the Pomodoro technique to write something. We limbered up our laptops and did the Pomodoro. What is the Pomodoro, you may ask? Here’s the word from Wikipedia:

“The Pomodoro Technique is a time management method developed by Francesco Cirillo in the late 1980s. The technique uses a timer to break down work into intervals traditionally 25 minutes in length, separated by short breaks. These intervals are known as “pomodori”, the plural of the Italian word pomodoro for “tomato.” The method is based on the idea that frequent breaks can improve mental agility.” Taken from http://en.wikipedia.org/wiki/Pomodoro_Technique

I knew I was not motivated. But I sat there, hands poised over the keyboard, the timer went off, and I pounded away for twenty-five minutes. Took a break and then pounded for another twenty-five minutes.

And guess what?

I wrote the whole script.

That Saturday night, after we had gone back to the Sac ’n Pac to get pizza for dinner, we sat around and talked and talked and talked some more. One of the subjects we covered was my anguish over my current book plot. It needed help. So we all brainstormed, lying on couches, eating Goldfish (the baked cheese kind) and cookies and solved my plot problem.

That’s my story, coppers, and no matter how much you grill me, I won’t change my tune. That’s how it all went down.

So now, as I write this blog post on the evening of December 13, waiting for my pot roast to get almost done before I put in the potatoes (battered private dicks sometimes cook), and anticipating putting on the play tomorrow at 2 p.m. at the Book Spot in Round Rock, I think it’s going to be great.

We’ve rehearsed, given feedback, and worked on sound effects. I’ve had directorial angst, but I feel good about the whole thing.

Kudos to Kathy for setting up the writing retreat and for Valerie’s and Kathy’s help with Pomodoro sprints and book plot brainstorming.

Tomorrow Holly Through the Heart has its debut performance far from Broadway, at the Book Spot in Round Rock, Texas. But the journey begins with a single Pomodori, does it not?

I only wish, Valerie, that you had not gotten me addicted to Goldfish, but then artists must suffer, I suppose.

Star Date: December 14, 2014

Book Spot Dec. 14 SINC 028

From left to right: Alex Ferraro, Kathy Waller, David Ciambrone, Gale Albright, and Valerie Chandler, cast of Holly Through the Heart, an old-time radio mystery drama performed live at its debut at the Book Spot on December 14, in Round Rock, TexasBook Spot Dec. 14 SINC 030A  cookie script of Holly Through the Heart, created by culinary genius Valerie Chandler.

By Gale Albright

Serial’s Strange Embrace: A 15-Year-Old Murder Mystery Captivates Millions

Have you been listening to Serial? Each week, millions of people anticipate the next episode of Serial, a podcast-turned-obsession produced by This American Life (TAL), which covers the investigation of a 15-year-old murder case. Serial has done a masterful job of pulling people into a real-life murder mystery, and I am one of those waiting for a new episode each Thursday. serial_logo

Serial is hosted by Sarah Koenig, a journalist and  executive producer working for TAL, who spent a year studying the case of Hae Min Lee, a well-liked Baltimore high school student who was murdered in 1999 at the age of eighteen. Lee’s body was discovered six weeks after she was murdered, buried in a shallow grave in Leakin Park (often pronounced as Linkin Park). Leakin Park has a reputation as a hiding place for the dead. It has been said, “If you’re going to bury a body in Leakin Park, you’re going to find someone else’s.”   It is no place for anyone’s child.

Detectives investigated Hae Min Lee’s murder and her ex-boyfriend, Adnan Syed, found himself at the center of the inquiry. Before long, Adnan Syed, was tried, convicted and sentenced to life in prison. Many believe he was wrongly convicted while others say justice has been served.

The question remains, “Did Adnan Syed kill Hae Min Lee?”

Sarah Koenig’s storytelling skills are impressive and on full display each week. Her recorded telephone conversations with Adnan Syed from prison, as well as interviews with his friends and others who knew him, bring us close to the investigation. Koenig’s analysis helps us realize that she isn’t sure about the truth, either. Each week moves us back and forth on the pendulum swing between guilt and reasonable doubt, even innocence. Each week’s episode has caused controversy, discussion and a broader conversation regarding what should be used to prosecute capital murder cases.

Serial includes a number of discoveries and twists, which I won’t spoil in this post. For those of us who are interested in studying skilled storytelling, consider enrolling in Koenig’s class by listening to this podcast. While many have proclaimed podcasts a medium with little growth potential, Serial has proven otherwise. QuestionsKoenig is clear that she isn’t too far ahead of us in her weekly recordings. They didn’t have the entire season ‘in the can’ before Episode 1 aired, and we can feel the uncertainty as she discusses the case with experts and others involved, including a juror who served on Adnan Syed’s trial.

Koenig reads from Hae Min Lee’s diary and re-traces routes and timelines testified to in court. In her hands, the story unfolds in such a way that even some who feel they know the case are surprised by what she finds. The one thing that has stayed with me throughout my listening journey, apart from the horrific reality that a young woman was murdered and her family forever damaged by living with unfair reality, is that the way in which Adnan Syed was convicted. While I haven’t read the court transcripts, what we have learned so far is concerning. Did Syed commit the crime? Was the evidence used to convict him sufficient?  The issue is being hotly debated at water coolers and cafes across the country.

And with good reason.

Serial achieves a quality of storytelling rarely found in the true crime genre, and the result is a podcast that has broken iTunes records, becoming the fastest downloaded podcast to reach 5 million listeners. It’s a nod to old-style crime radio but with the contemporary twist. Its success has brought new attention to the case as well as some backlash criticism that a murder case should not be used for the public’s entertainment. These are curious waters to navigate but the exploration of true crime stories has been an industry for some time. Serial has simply found a way to connect with listeners in a compelling manner. As mystery writers, while we may be inspired by certain events, our work is fiction. No people or animals are harmed in the process of creating our stories. However, in Serial’s world, we are listening to an investigation involving real lives and real suffering, a viscerally violent foundation upon which this new American obsession rests.

The victim, Hae Min Lee, as reported by friends, was smart, funny and full of promise. She left this world far too soon and the space she has left open in her family’s hearts will never be filled. Yes, Serial is compelling, in large part, because of the real lives affected, because the stakes are high, because so much mystery remains in this case. Let us remember those people at the center of this reality. They are not characters–they are real people carrying this burden, long after each episode has ended.

To learn more about Serial, visit www.serialpodcast.org

Serial logo property of This American Life.

–Laura Oles

Writing, Thinking, Pantsing, and Miracles

Pantsing, when successful, lets you create a story closely resembling the spark that ignited it. ~Janalyn Voigt, Live, Write, Breathe

The first step in starting a blog is finding the perfect name. I wanted to call mine Contrariwise, as an homage to Lewis Carroll and to my ability to locate an argument in nearly any issue I come across.

Contrariwise was already in use, however, several times over, and I couldn’t find another literary allusion that satisfied, so I named it Whiskertips. It was my own invention, an homage to the two whiskered beasts with whom I share living quarters.

The next step is thinking of something to blog about. For most people, determining a theme would be Step #1. Reversing the steps led to a series of posts I like to think of as eclectic. In other words, I wrote about whatever came to mind. I also hosted guest bloggers. Mark Twain and Emily Dickinson appeared often. But after a while, nothing came to mind, and I began to fall back on the beasts. When they IMG_0832.1assumed complete control of content, I withdrew and created another blog. I took its name from Gertrude Stein: To Write Is to Write Is to Write.* In a note in the sidebar, I stated the purpose: I would write about the experience of becoming a writer. I would write about writing.

It seemed like a good idea at the time.

But the best-laid plans of mice and men, etc. In only weeks–days–I had another eclectic blog on my hands. Why? Because I didn’t know anything about writing.

Or, to qualify that, I didn’t know anything writers–or anyone else–would want to read.

I know the basics: grammar, usage, mechanics, various elements of fiction, methods and techniques learned from reading, attending workshops, taking classes, reading articles, books, and blogs. But I had nothing to add.  Other people had gotten there first. And who wants to read another article about where the commas go?

The worst part was that most of the authorities claimed to have the One True Way:

Write fast. Don’t revise as you go. Outline–you have to outline every scene. Use index cards. Use colored pens. Tape butcher paper to the wall. Never share your work before you’ve completed it. Find a critique group. Write 1,000 words a day, and in ninety days you’ll have a completed manuscript. Write every day. Write morning pages. Keep a writing journal. Keep a bible for your manuscript. Query early. Query later. Have a platform. Establish a brand.

All good advice, I was sure. And frustrating, because I couldn’t seem to follow the rules.

Finally, I gave up. The experts were great at explaining how they write, but they weren’t so good at telling me how to write.

I had to struggle for a while, find my own way, develop my own process, set my own rules, and deviate from rules I’d outgrown.

Now, after years of wrangling with the experts, and with myself, I finally have something to say about how I write:

I don’t start with an outline. I start with a character and a line and go from there. I can’t construct a decent plot until I understand the characters, and I can’t understand the characters until I know their backstories. The only way I can know backstories is to write them, not in a separate document, but as part of the manuscript itself. Afterward, I go back and start putting the material in order. I may have to scrap some of the best parts–the darlings–but they go in a Darlings file so I can use them later if I find a place they fit.

This method is called pantsing–as in flying by the seat of your pants. Some plotters look down on pantsers. That used to make me feel like a failure. Then I read Writing Mysteries, a collection of essays edited by Sue Grafton, in which Tony Hillerman tells about his own pantsing. He said it takes longer, but in the end, he gets there. Since reading that, I’ve stopped apologizing for pantsing. What’s good for Tony Hillerman is good enough for me.

Let me make one thing clear: I revise. The condition of my first manuscript dictates that I revise a lot. The end product looks very different from the original.

Because I’m a pantser, the NanoWriMo program of writing a 50,000-word novel in thirty days doesn’t bring out the best in me. I write more slowly, and I can’t pound out a book on someone else’s timetable. For years I registered for NaNo and then wrote perhaps ten words. That’s called losing Nano.  Now I register and write whatever I want on my own timetable. I lose nothing, NaNo loses nothing.

(There’s another reason I don’t do well with NaNoWriMo. I don’t like to talk about it. But if you want to read about it, check Wikipedia under Passive-Aggressive behavior.)

The exception to my pantsing process occurs when a story comes to me already outlined. One such blessed event happened one night just after I’d gotten into bed and turned out the light: a story appeared, beginning, middle and end. I thought it would take about 600 words, but the final version turned out to be nearly 5,000 words. It included a little pantsing.

When I began this post, I knew only two or three things about writing, but now I realize I know more. Having already run on at length, I will leave the rest for another time. After I’ve pointed out one more thing:

Some writers, myself included, know (There’s another one!)–that writing is  a form of thinking, a way to generate ideas, to learn what we already know.

But I also subscribe to Gertrude Stein’s description:

One of the pleasant things that those of us who write or paint do
is to have the daily miracle. It does come.

I depend on the daily miracle. When I write, and keep on writing, it does come.

 *

*The entire quotation is “To write is to write is to write is to write is to write is to write is to write.” I presume it was not already in use because no one wanted it.

*

Posted by Kathy Waller 0kathy-blog

Kathy blogs at To Write Is to Write Is to Write and at  the group blog Writing Wranglers and Warriors.

Find her on Facebook at https://www.facebook.com/kathy.waller68.

 

 

Hawking Books at the TBF

Every year, Texas author Russ Hall rents a booth at the Texas Book Festival, a downtown event that draws more than 40,000 readers from all over Central Texas.  This year, Russ shared his booth with my romance-writer friend Claire Ashby and me.

Russ Hall, Claire Ashby and Elizabeth Buhmann at the 2014 Texas Book Festival

Russ Hall, Claire Ashby and Elizabeth Buhmann at the 2014 Texas Book Festival

Nowadays, whether you are traditionally, indie or self-published, you have to sell your own books. Claire and I learned a lot about that from Russ over the weekend.

The three of us all have books out with Red Adept Publishing—Claire’s and my first books and Russ’s most recent. We all prepared for the book festival by having posters made of our cover images. The posters are good to have; they’ll come in handy at nearly any local event.

tohell

whenyoulaydeath

 

 

 

 

 

 

A good cover can play a major role in the success of your book. The three of us are happy with ours by Streetlight Graphics, cover designers who subcontract with Red Adept. Consider using them if you are choosing your own cover. And just for laughs, check out these Nine Cover Mistakes to Avoid from Book Bub Unbound.

Hawking to the Crowd

At the book festival every year, Russ shifts into what he calls his extrovert-for-a-day mode. It’s not the most natural state for the average writer, but it’s not that hard to cultivate, either. Russ taught us to greet people and make friendly conversation about the weather (it was HOT in that tent!), the crowds (BIG!), and the festival in general (so much to see).

TBF

Be ready with a quick, catchy description of your book—its genre and its hook. Claire and I struggled on this learning curve. Ask yourself: how would you describe your book in one or two sentences to make it sound like a great read? Practice your pitch!

  • Russ often quoted a line from the Kirkus review when selling his mystery, Goodbye, She Lied: “Cartloads of down-home humor, amusing characters and a hint of romance.”
  • Claire’s book is a “love story about a pregnant woman and a man who lost his leg in Afghanistan.”
  • I learned to throw out the fact that I used to work at the Attorney General’s Office. It gave me and my mystery credibility.

Russ also taught us to make sure people realized we were the authors, not just vendors. It made a difference! We ended up signing every book we sold.

Cover to Title to Blurb

It was fascinating to see the cover-title-blurb progression in action. The cover is the first thing that sells your book to a casually browsing shopper. We could see people’s eyes get caught by a cover, then they would read the title, then pick up the book and turn it over to read the back cover.

Be sure to take bookmarks! Mine included the graphics from the cover, the title and the hook paragraph from my back cover. I found I could easily pull people over by reaching out and offering a bookmark.

bookmark

One woman took the bookmark from me without pausing or even really looking at me. We watched her walk past us, glance down, then slow down, reading. Then she stopped and stood there. She turned around, came back, picked up the book, and read the back cover. Sold!

I went through 200 bookmarks and could have used more. Who knows? Maybe some people went home and read the bookmark later. If they like mysteries, maybe they’ll look it up on Amazon.

Will you have a book out next year? Get your poster and bookmarks and sign up to hawk your wares at next year’s Texas Book Festival! Where a good time is had by all.

THE GARDINER CHRONICLES: PART TWO

SINC August Meg Gardiner 003Or who let the deus ex machina out, what’s a plot, and is this about cannibalism?

hutto oct. 1 2014 023 (2)By Gale Albright

“Plot is soylent green. It’s made up of people!”
Is Edgar award-winning thriller writer Meg Gardiner talking about cannibalism?

http://en.wikipedia.org/wiki/Soylent_Green

No, she did not advocate turning people into crackers in a malnourished dystopian future. She talked about plotting novels during her August 10 presentation at the Sisters in Crime: Heart of Texas chapter monthly meeting.

“Plot or characters are largely the same thing. The story is all about what the characters do. You should know what the ending is. The seeds of the ending must be sown at the beginning of the book.”

She used Jaws as an example. “The first chapter shows what needs to happen at the end of the story. There’s a set up there. The protagonist must defeat the antagonist.” You know from the beginning that somebody has to do something about that shark—pronto! That shark can’t be washed ashore six months later on a beach in South Carolina and die of indigestion. The protagonist and antagonist must engage in hand to hand combat, or hand to fin, as it were.

According to Gardiner, thrillers have a fairly linear, straightforward plot. There’s an “inciting incident” that throws life out of whack for the protagonist, which in turn causes complications. It sets off a chain of events. The essence of plotting is “thwarting desire.”

The protagonist desires something and the job of the antagonist is to throw a monkey wrench into the works. The antagonist is a critical character who keeps the protagonist from getting what she wants.
You need a strong, active protagonist. If everything happens easily for a protagonist, it’s not a story. She doesn’t need to be Sylvester Stallone, but she’s not going to fold when the going gets tough. The protagonist doesn’t go with the flow, she’s willing to put herself out there and take action.SINC August Meg Gardiner 007

Is the heroine an amateur sleuth? Why does she feel compelled to look for answers? Is the villain a murderer? The villain has strong motivations and feels he is the hero of his own story. They must have compelling characteristics. Gardiner likes Moriarty as a villain as he clashes with Sherlock Holmes. Both men are obviously the heroes of their own stories.

Even if you don’t know who the killer is until the end of the novel, you know there is someone out there doing bad things, perhaps a minion of the main villain. In Gardiner’s Dirty Secrets Club, someone is committing murder by forcing the victims to kill themselves. Forensic psychiatrist Jo Beckett, one of Gardiner’s serial heroines, has to track down the killer.

The story must build bigger and bigger with plot twists and escalating pressure. There is continual revelation and shock. The characters have to make decisions under pressure.

The key to the plot is action. Figure out what the chase is and cut to it. Start with action, not a lot of back story–no dream sequences. The plot has to be emotionally coherent or the reader will feel cheated and put the book down.

To prevent that “sag in middle,” keep the tension up, develop the story, and build in progressive complications with big scenes, time pressure, and a ticking clock of some kind.

The ending must be surprising, yet inevitable. You need some surprise, otherwise the result might be vaguely dissatisfying. Create a dilemma at the ending, forcing the protagonist to choose the lesser of two evils by making a difficult decision.

Always make sure the protagonist is the one who takes action to resolve the issues. The hero/heroine has to take active steps at the end of the novel. Don’t try to pull a deus ex machina out of the bag at the end.

http://en.wikipedia.org/wiki/Deus_ex_machina

What is a deus ex machina, you ask? In ancient Greek plays, an actor playing a god was literally cranked out from the wings onto the stage to resolve the ending of the story. He was sitting in a “god machine” made by ancient Greek stage hands, no doubt. This form of achieving a satisfying ending to the story is frowned upon in modern times. The protagonist must defeat the antagonist with her own smarts and heroism.

Meg Gardiner is an Edgar award-winning American crime writer who lives in Austin, Texas. Her best-known books are the Evan Delaney novels. In June 2008, she published the first novel in a new series, featuring forensic psychiatrist Jo Beckett. More recently she has published three stand-alone novels: Ransom River (June 2012), The Shadow Tracer (June 2013), and Phantom Instinct (June 2014).SINC August Meg Gardiner 005

 

Procrastination and the Perfect Writer’s Guide

There’s something alluring about reference books for writers. You know the ones, lining the shelves at your favorite local bookstore. They beckon, encouraging us to come closer, to flip through their pages to discover their secrets. They promise to teach us everything we need to know about creating compelling characters, powerful plots and revealing dialogue. They offer to give us a glimpse into the writing life as experienced by those who have earned some modicum of success. These guides are filled with information, tips, anecdotes and motivation. They are filled with promise.

They get me every time.

StevenKingCoverI’ve always been a bit of a research geek. When I want to learn something new, I tend to go all in, diving into the topic quickly and deeply. Some would claim this fascination serves as a distraction, a way to procrastinate from the hard work of putting words to paper. I’ve read many blog posts cautioning us to abstain from the allure of the writer’s reference book. You must practice the craft, not read about it. “These books are yet another way to put off the actual work. Research isn’t writing.” And I agree with this sentiment.

To a point.

I believe that any activity that lures us away from honing our skills falls in this category. My weakness is weeding out closets. When I’m stuck–or afraid to tackle a project–I tackle a drawer instead. I’m a master at this method of delay. If I’m engaged in de-cluttering the closet, it’s probably because my mind is too cluttered to move my story forward.

It is the writing reference guide that actually draws me back to the page. These books become the bridge that helps me return to the work at hand.

My current favorite is Alexandra Sokoloff’s Screenwriting Tricks for Authors. I keep Anne Lamott’s Bird by Bird, Stephen King’s On Writing and Stephen Pressfield’s War on Art on my desk, close enough to guide me through a tough stretch of writing. They keep me pushing forward when dealing with the messy middle of my manuscript. I confess to sometimes spending too much time searching for that perfect  formula when I should be discovering the path through my own practice. Still, I rationalize this habit as one that encourages me to come back to the work rather than giving up on it entirely. And isn’t that what these books really offer? The hope, the gentle push to continue our efforts. And if they serve as a crutch now and again, well, that’s okay.

I just call it research.

What are your experiences? Which writer’s guides are your favorites, and do they help or hinder your daily word count?

–Laura Oles

Morning Pages: Don’t Speak. Don’t Judge. Don’t Fall Asleep.

Karleen Koen

Karleen Koen

The first day of last summer’s Writer’s League of Texas retreat, author-instructor Karleen Koen told students that every morning before class, we must do Morning Pages: Wake up, don’t speak, take pen and paper–not computer–and, while still drowsy, write “three pages of anything.” Don’t judge. Keep the pen moving. In her course notebook, Karleen listed the following:

Stream of consciousness, complain, whine, just move your hand across the page writing whatever crosses your mind until you get to the end of page three.

Karleen stressed that she didn’t invent Morning Pages. The technique, minus the name, came from the book Becoming a Writer by teacher Dorothea Brande, published in 1934 and reissued in 1981. Author John Gardner, in his foreword to the reprinted edition, states it was “astonishing” that the book had ever gone out of print.

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Becoming a Writer by Dorothea Brande

Ms Brande advises aspiring writers to “rise half an hour, or a full hour, before you customarily rise.” She continues,

Write anything that comes into your head: last night’s dream, if you are able to remember it; the activities of the day before; a conversation, real or imaginary; an examination of conscience. Write any sort of early morning reverie, rapidly and uncritically. (Brande, p. 72)

Julia Cameron, in her bestselling The Artist’s Way, published in 1992, named the process Brande advocated Morning Pages and made them the cornerstone of her Artist’s Way program. Cameron considers them a form of meditation.

Why do Morning Pages? To quiet the internal critic; to tap into the subconscious; to discover what you know; to remember and to capture the present; to build fluency, the ability to “write smoothly and easily when the unconscious is in the ascendant.” (Brande, p. 72) And, as Koen notes, to whine and complain.

When I do Morning Pages, I like to focus on whining and complaining. Words of discontent virtually flow from my pen when I follow Brande’s instruction to rise early. To wit:

The morning after Karleen assigned Morning Pages, my roommate and I woke to my cell phone alarm at seven rather than the previous day’s eight. (I think that was the morning the phone flew from the nightstand and landed on the concrete floor.) I propped myself up on a couple of pillows, gathered the pen and the notebook I’d placed on the nightstand before retiring the night before, and started to write.

While I wrote, my roommate sat on the side of her bed. Instead of picking up her notebook, she spoke. I reminded her we weren’t supposed to talk. She told me she didn’t care what we weren’t supposed to do. After violating the rules once or twice more, she started on her Morning Pages.

Roommate drinking tea and smiling

Roommate drinking tea and smiling

In my usual all-or-nothing fashion (a tiny bit of OCD), I wrote through hand cramp and shifting pillows. Halfway through, I fell asleep. When I woke about a half-hour later, I resumed scribbling.

My roommate had already finished her Pages. She had dressed. She had sat on the porch and drunk a cup of hot tea. She was smiling.

Sometimes it is better to bend the rules.

At break time, I quoted to Karleen the first sentence of my Morning Pages: I don’t like Karleen any more. (I said it in bold font.) She laughed uproariously and asked if I knew how funny I was. I didn’t tell her I was dead serious. Before the end of the day I would like her again, and if I told the truth now, I would have to apologize later, and I just didn’t have the energy.

Since I’m confessing, I might as well admit that, while I was scribbling, I figured out a fool-proof way to make Morning Pages a positive experience: Use a notebook with little tiny pages. They fill up faster.

Looking back, I’m ashamed of the thought, but at the time it seemed a darned good idea.

Anyway. Having griped about that miserable experience, I’ll also admit that Morning Pages work. I’ve done them off and on since 1998, when I heard Julia Cameron speak at the Austin Whole Life Festival. A small group of young men stood outside Palmer Auditorium holding placards and begging attendees to abandon chakras and crystals and choose reason instead, while inside, Cameron shared the most reasonable ideas on stimulating creativity.

So I read The Artist’s Way and, although a 17-cent spiral notebook would have sufficed, I bought a copy of The Artist’s Way Journal. (The Journal had enormous, narrow-ruled pages that took forever to cover, but having the proper tools is important to OCDs.)

Then I wrote. And whined. And complained. As I did, the garbage in my head moved down my arm, through my hand, and onto the page. By the time I got to page three, my mood had lightened. When I turned to other writing, the garbage stayed trapped inside the Journal.

Once the brain has been cleared of debris, words can flow.

That’s my experience. Others have their own reasons for writing those three pages per day. But those who engage in the practice swear by it.

Adequate sleep

Adequate sleep

As I said, I’m not consistent. I’ve done Morning Pages for months at a time, then skipped one day and failed to resume the habit.* Nearly every time I’ve given up,  fatigue has been the cause. A long commute before and after an extra-long day makes rising early unpleasant if not impossible. The same thing goes for getting to bed too late. Morning Pages require adequate sleep. But so does good health. So does good writing of any kind.**

Before leaving the retreat, I bought a special notebook for my return to Morning Pages. The signature on the cover looked like Dickens but turned out to be Darwin. No matter. Darwin and I are friends, too, and I wanted the green one. I’ve not yet made peace with going to bed at a decent hour. I’m trying. But when I stay up into the wee hours working on a blog post, my morning edges toward afternoon.

Oh–I’ve just remembered: A situation unrelated to fatigue once interfered with Morning Pages. It involved the repaving of twenty miles of FM20, a wintry cold house, and a new box of cat litter.

But that’s a story for another post.

Charles Darwin's signature on elegant green notebook

Charles Darwin’s signature on elegant green notebook

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*Morning Pages is about the only habit I’ve ever managed to break.

** I’m not sure about sleep being necessary for good writing of all kinds. I suspect Hemingway, Faulkner, and Fitzgerald might have stayed up past bedtime. But I bet Willa Cather kept regular hours. And, as people with any discernment at all recognize, Cather is at the very top of the American novelist pecking order.

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Kathy Waller blogs at To Write Is to Write Is to Write (http://kathywaller1.com) and at the group blog Writing Wranglers and Warriors. She’s set aside her novel manuscript for a while to concentrate on writing short stories.

The Pomodoro Technique: Writing a Novel 25 Minutes at a Time

OLYMPUS DIGITAL CAMERACan a technique named after a tomato serve as the answer to your time management woes?

For those writers who dream of having several uninterrupted hours to write a novel but find those hours never arrive, maybe it’s time to consider another approach. It’s that fantasy that often keeps us from ever getting started–the common but sometimes detrimental belief that writing a novel will only happen if we have six hours a day of quiet time. I know that particular expectation derailed my own efforts more often than I’d like to admit. Between my work, my husband’s demanding schedule, and three kids who all play sports, the chance that I will have several interrupted hours in a row will only happen if I catch the flu and wind up in bed. This is true for most of us, isn’t it? The fantasy of writing all day colliding with the reality of a jam-packed schedule with the result being a persistent frustration surrounding why we can’t get this novel finished?

Why can’t we get to THE END?

I finally realized that I would need to figure out a method that would best work within the structure of my own life. For me, that meant searching for successful authors who juggled day jobs, kids and other demands. I’m a bit of a time management and organization geek anyway, so I used the opportunity to seek guidance. When I came across the Pomodoro Technique, I felt it might be just the tool to push my project along.

Francisco Cirillo created the Pomodoro Technique in the 1980s and it has since become one of the most popular time management techniques used today. The word ‘pomodoro’ means tomato in Italian and the name came about because Cirillo used a kitchen timer shaped like a tomato when developing the concept. Here’s how it works: you simply write in a 25 minute block of time, called a pomodoro, and then you take a five minute break before starting the next pomodoro. After four completed pomodoros, you then take a 15-20 minute break. To keep your motivation up, mark each pomodoro on your calendar with an X or a circle. As you see these marks add up, they 1) help build momentum for your project and 2) show you just how much work you can do in short blocks of time.

I found this strategy has helped me move my own work forward. In times past, I would discount even a fifteen minute block of time for fear that it wouldn’t make a difference. I realize now that I was wrong. I actually convert my pomodoros into 15-minute blocks because it keeps me from disregarding any small block of time. It often leads to 25 minutes of work, but only expecting 15 minutes means I’m more likely to give it a shot.

This approach has changed my entire mindset when writing fiction. I no longer believe I need an eight-hour day of solitude to be effective (although I still dream about it). It does require some advance preparation on my part–keeping papers together, taking notes regarding the next scene to be written–but I am now working with my editor on my first book while writing my second. I am moving forward with my fiction, and if it happens 25 minutes at a time, that’s just fine with me.

What about you? How do you balance your writing projects with your daily demands?

–Laura Oles