amwriting

Structuring Short Stories

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Regardless whether you’re a Plantser (an Outliner) or a Pantser (one who writes by the seat of their pants)—I’m a combo, a PLAN-ANTSER…HA! Did I just coin a term?—Anyway, no matter how you approach your short (or long) story, I recommend a basic story structure, like the classic, 3-Act. Aristotle wrote that a tragedy, (a type of plot) should be divided into parts: a beginning, a middle, and an end. He also believed that the events of the 3-part-plot must somehow relate to one another as being either necessary or credible. And so, we have the 3-Act-Structure.

Click this image to see it on the original site at NowNovel.

The 3-Act Story Structure (Thank you Aristotle)

TIP: Before you design your structure consider first, what is the profound change you want your character to experience by the end? Why? Because the answer to that question should fuel your story through all 3-acts, delivering theme, character arc, and a satisfying resolution.

Act 1: BEGINNING – Set up. Introduce your characters; establish the story world, theme and tone. Here, your protagonist should be called to action, due to some sort of crisis point (inciting incident) that shakes up their ordinary world and launches them into a new one.

Act 2: MIDDLE – Conflict. Avoid saggy middles by plunging the protagonist and allies deeper into even more difficulties and obstacles. Often things get worse and they need to re-group and get back on their feet, before things can get better.

Act 3: END – Resolution. This is where your main character(s) figures things out, and actually develops the courage, or a plan to face their demons, slay their dragons, and solve their problems. As a writer, you should always write towards a satisfying ending. That’s why I started with the TIP of knowing what you want your character to experience, their ARC, by the story’s end.

This is a typical story structure is a good starting point if you want to write short stories. I also do this for novel length stories as well. Smart guy, that Aristotle, he sure knew what he was talking about.

And here’s a little you tube (6 minutes) with additional ideas on structuring short stories, starting with Anne Lamont’s acronym ABDCE 

Short Stories and the CoronaVirus

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Hey Scribes! This video is for you. So sorry we had to cancel our weekly Edmonds writing group today, but we don’t have any protocol or real understanding of the Coronavirus just yet, so, an abundance of caution seemed to be wise. ANYWAY, on to what we were going to cover today; #Shortstories. In this clip that I made in my cozy nook at home, I’ve read a couple examples of the beginning of short stories for things to ponder as you imagine your own. We’ll dig in next week. Meanwhile the stories I’ve chosen as my examples today are Lauren Groff’s Delicate Edible Birds, and Jo Ann Beard’s, The Tomb of Wrestling. I love them both.

SO, hopefully my short message will keep you in the writing groove because next week we’re going to start looking at short stories. And in case you are wondering, a short story is; Traditional, 1500-5000 wds — Flash Fiction, 500-1000 wds — Micro Fiction, 5-350 wds                                                                                                                                                        Remember,

“For sale: baby shoes, never worn.” Maybe by Hemingway, but nobody is sure. 

Anyway, here’s my video, it’s about 10 minutes.

 

 

Good Critiques Are Essential

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Good critique  – the opinion of readers and other writers whom you trust –  is vital to writers who want to improve their craft. Critique helps a writer make that piece of writing they just birthed, even better, and therefore increasing the odds of publication.

However, critiquing another writer’s work is a delicate, potentially hazardous proposition (to friendships and or family relationships) if you forget a few golden rules. I’ve seen writers receiving critique, drop into despair, eyes water, some even storm out of critique groups and never come back. That serves no one. Keep in mind that often writers tie their entire sense of self worth to their writing. A critique can seem like criticism if not handled carefully. In my beginning years critiques were hard for my thin skin to take. These days a critique is just part of the work, a necessary part, and I’m happy to edit, cut and rewrite to make my work what I want it to be. In other words, I now have thick scaly alligator skin.

Conversely, I’ve seen writers who want ONLY praise, who will not and do not read the craft books, understand the art of writing, and have no intention of doing so. To protect yourself, your time and energy keep this golden rule; DO NOT WASTE YOUR TIME AND ENERGY on any writer who is not working on their writing as hard as you do, or more so.

Writer’s Digest even has a Critique Group survival guide you can check it out here. Additional Golden Rules; Be kind. Be brave. Be thoughtful in your feedback.

No one learns anything if you are too kind, not brave enough, and your feedback is done hastily and is not helpful.

In critiquing, remember these golden rules;

  1. Critique the writing, not the writer.
  2. ONLY work with writers who want honest feedback that will genuinely help them improve their work.
  3. Take time and make an effort so you can offer a critique that is thoughtful and helpful; otherwise, just respectfully decline to do a critique for them.
  4. Put yourself in the critique receiver’s shoes. EMPATHY is key here.
  5. Always be brave enough to tell them the truth, in the kindest way possible.
  6. Take time to consider your feedback and how it may be received, then hopefully both parties come out unscathed, wiser and with mutual respect.

And for those receiving critique;

Not letting writing critiques wound you is easy to say. It necessitates a change of perception and a ton of practice to earn my kind of alligator skin. Constantly remember; your writing is not a reflection of your value as a human being. Keep reminding yourself that a critique is an opportunity for evolution. Keep reiterating to yourself; to become a better, stronger writer will take growing pains, as does all transformation. I remind myself of what Hemingway said, “It’s none of their business that you have to learn how to write. Let them think you were born that way.” Then I take every opportunity, including receiving critiques, to become better at my craft.

Bottom line, it’s your work, your words, your story. Don’t let anyone take that away from you.

 

Honor Your Writing Time

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This morning I responded to a woman who is in a writer’s group that I mentor, about establishing and then protecting her writing time. She wrote to let me know she picked up the book, The Artist Way, that I recommended. I thought I’d share my response since it’s important for us all;

One of the hardest things I had to do (some years back) was transition from being a bread-winner-single-mom career woman, into being a writer, whether paid or not – mostly not. Learning to honor my writer’s spirit was tough life work. It took me a decade of feeling guilty if I was not making money, or dealing with everyone else’s problems – always putting my writing last. Not that I still don’t have these issues, but what’s different these days is that my writing comes first. My family knows this now. Well, the family that I am close to. Many of them, like the ‘toxic playmates’ in Julia Cameron’s, The Artist Way, are no longer part of my inner circle. My inner circle shrunk at first – illuminating the shallow-thinking-feeling bankers, mortgage experts, finance guru’s and realtors that had populated my soul-sucking career world.  But then, as time went on and I changed, embracing my artist self, my inner circle expanded in ways I had never imagined – artist, writers, playwrights, screenwriters, and so on.  That was a vital part of honoring myself, of embracing my dreams and transitioning to the other side, to a life I had only ever fantasized about.

Establishing writing time was also a huge part of that. NOW I feel guilty if I don’t write. That’s a complete change.

Remember, as Julia Cameron wrote;

‘Our creative dreams and yearnings come from a divine source. As we move toward our dreams, we move toward our divinity.’

I have lived (and still am living) this journey and am now closer to the other side, the side I NEVER thought I’d transition to. It’s been hard work, but SO worth the journey.  I wish you confidence and a spark of divine spirit as you embark on this journey. It’s your life work now, you’ve chosen it, it has chosen you…you can’t not go down this road, because if you do, that’s the path to regret – nobody wants that.

Set a time each day, as we discussed. Stick to it, even if it’s 20 minutes. That 20 minutes is a seed that will grow. Surround yourself with people who believe in and honor your dreams. No One else is allowed in right now, not till your stronger, with feet firmly planted in making your dream come true. Then, like a good meditation session, outside noise can’t penetrate your dream world.

All my best. Mindy

A BIG THANK YOU to Lydia for reminding me how far I’ve come on this path.

Keep writing you all, even if it’s 20 minutes a day. Write on. Cheers, Mindy

 

 

First Pages are Hard Work – Writers Need Super-Powers

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Writing first pages is hard work. PERIOD.

The expectations of you as a writer are huge, and the expectations of readers is even HUGER (is that a word? Maybe not, okay…) BIG, big reader expectations start on the first page.

Anyway, it takes a lot of work to get it right. One thing to remember, amongst the gazillion other things you need to remember about first pages, is to ground your reader in some details. Which details depend on your story, theme, and your super-powers as a creative genius?

Your first page should, in some way, set up the general question your novel is asking and answering. And hopefully by the last page you will convey an answer to that question.

Meanwhile, the reader should have some idea about the setting right away. For example, what season is it? Where are the characters? What is the time period/special world/era? What is the mood? The elements you convey quickly in the beginning set the stage for the story to follow. And that my writerly friend, is a lofty quest.

Last week in a writing class, I shared the opening to one of Lauren Groff’s stories, Delicate Edible Birds as an example of a great first page/paragraph. This is not only beautiful writing, but also tells us a great deal about; location (Paris) mood (dark), era and conflict (WWII) and weather (rain) all in an imagery filled (wings of dark water…street corners as elbows, etc.) poetic style that seduced me as a reader, to continue on. (Read the pretty words in the image to the right.)

A reader should not have to wonder about fundamental questions while trying to slide effortlessly into your story world. This means you’ll have to provide some answers pretty quickly, like on page one.

If you can capture your reader’s curiosity, tickle their emotions, and deliver a character that does the same, then you’ve created a winning first page — one that will engage and mesmerize your audience.

The perfect first page draws readers in from the beginning and tempts them to keep reading. This is your first impression, your chance to hook readers and get them enthusiastic about the story to come. So take the time, use all your creative senses and get it right on page one. It’s not impossible, I promise, and it’s a challenge that’s SO worth it.

Writer Unboxed has a section called “Flog a Pro” where they ask people to read first pages of works by famous authors and then comment on whether or not they were moved to continue. Many say they were not. Reasons include too much detail about the setting or not interested in the characters, but usually the reason was simple—no tension.  Reading sites like this is a great way to get some ideas for your own work.

Also, read The First Five Pages, by Noah Lukeman for some great advice on writing your first pages. Good luck.

 

 

Did You Know a Denouement is a Literary Device?

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No matter how long you’ve been a writer, how many craft books you’ve read, studied and made part of your writerly DNA, a refresher never hurts. I firmly believe that if you choose to be a writer you’ve chosen a life-long apprenticeship. And if you stop learning, changing and growing, your writing will likely go stale, fall flat on the page and die there unnoticed.

So, I get excited when I learn something new – which in my life is pretty much every day.

Yesterday, at the EPIC Writer’s Group that I often lead, we had a guest speaker, Elena Hartwell author of the Eddie Shoes Mystery Series. Elena spoke to our group about story structure. In her talk she used a term I had heard but didn’t really appreciate. The word was Denouement.

A quick Google search gives us a definition; ‘Denouement is a literary device that can be defined as the resolution of the issue of a complicated plot in fiction. The majority of examples of denouement show the resolution in the final part or chapter, often in an epilogue. Denouement is usually driven by the climax.’

The difference between Resolution and Denouement is that Resolution is when the main problem or conflict is resolved. The Denouement is the very ending.

In class we used the example of one of my favorite ‘I’m home sick today’ movies, Notting Hill. You know, boy (Hugh Grant) gets girl (Julia Roberts), loses girl, girl wants boy back. Boy is an idiot and loses girl again. Then finally BOY GETS GIRL. Anyway, if you know the movie you remember the scene at the very end where Hugh Grant sits on a bench in the park and Julia Roberts lovingly reclines her pregnant self at his side. This revealing of the happy couple in their happy world is the characters in their new world order. This is the Denouement, this is him (our hero) after his hero’s journey, returned to his normal world, but forever changed.

I love learning new writing terms, how to apply them, and where they belong in the story structure.

I’m looking forward to Elena Hartwell’s 4 hour workshop in May. Class description; How to Build Tension with Objectives, Obstacles and Stakes

Stories require tension. From memoir to mystery, sci-fi to romance, comedy or   tragedy, tension keeps readers turning pages with a need to know what happens next. So what can writers do to increase tension? One way is to focus on characters’ wants and needs. Investing each character with something they want, putting something in the way, and having high stakes for the outcome, makes stories compelling. Clear objectives, obstacles, and stakes make your stories the kind readers can’t put down. This workshop will help writers of all levels put these concepts into practice.

WRITERS WORKSHOP

May 18th 2019                                               

EPIC Writer’s Workshop  9am – 1 pm $70.00 for EPIC members   $85.00 for non-members – Frances Anderson Center  700 Main St. Edmonds, WA.

Join Elena Hartwell for a 4 hour writing workshop,  How to Build Tension with Objectives, Obstacles and Stakes. 

Space is limited, so sign up TODAY at www.EpicGroupWriters.com

Elena Hartwell

About Elena; In addition to her work as a novelist, Elena teaches writing workshops. She also does developmental editing, working one-on-one with authors on novels, short stories, and plays. If you’re interested in working with Elena on a project, please contact her.

When she’s not writing or coaching, her favorite place to be is at the farm with her horses, Jasper and Radar, or at her home, on the middle fork of the Snoqualmie River in North Bend, Washington, with her husband, their dog, Polar, and their cats, Coal Train and Luna, aka, “the other cat upstairs.” Elena holds a B.A. from the University of San Diego, a M.Ed. from the University of Washington, Tacoma, and a Ph.D. from the University of Georgia.

https://www.elenahartwell.com/

(Photo credit: Mark Perlstein)

Why Is Storytelling SO Important?

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I’m a storyteller. Most of my friends are storytellers; playwrights, poets, novelist, singers, songwriters, and artists of all mediums.  We all tell stories for different reasons, and yet for the same purpose, storytelling aids us in understanding the world around us.

Storytelling predates writing. The most primitive forms of storytelling were usually oral expressions. Storytellers come in many forms, with many voices and tools, from poetry and literature to graffiti and fine art. We need storytellers, artist and writers, to elicit passion and emotions, especially in dark times when we can so easily avert our eyes from troubling events like a cultural revolution, rebellion, social injustice, corrupt politicians, police brutality, the imprisonment or genocide of an entire people.

Though the ancient origins of storytelling have vanished into the mist of time, the importance of storytelling and those who tell stories has not. From cave dwellings to the recontours of Native Indian lore, families and cultures with strong narratives and passionate tellers, thrive in their collective story.

Think about times spent sitting around the kitchen table with your family – your witnesses on this journey – as they tell and retell all the often cringe-worthy memories of you as a child, or their experiences during the Great Depression, or whatever the family stories are. Think how bonding that is/was, how it informed your sense of who you are and where you come from. At my grandma’s house, all of us crowded into the yellow-vinyl kitchen booth, drank weak Folgers coffee, my aunts’ chain-smoked Salem cigarettes, and talked like ‘mag-pies’ grandma always said. And at that jam-packed table every story started with “I remember that time you….”

Capturing and retelling the stories of our collective history is vital to understanding our existence on this planet – trust me, when grandma is gone, you’re gonna wish you took notes, and you’re gonna remember with heartache and joy, every story she ever told you. Our stories are important.

Storytelling is vital to the human experience. It allows us to digest information with greater ease by more effectively linking that information to our feelings and then our thoughts. Generally, once we’ve felt something, we don’t forget it. I recall years ago, seeing the movie, Dead Man Walking, and how when my friends and I left the theater we talked about the death penalty, I recall feeling very differently about that controversial topic after seeing one man’s poignant story.

One of the reasons I wrote my novel, Return to Sender was to reiterate the history (lest we are doomed to repeat it), and the stories I grew up with as the child of a Korean War veteran, about the atrocities of the brutal North Koreans against their own people, and most especially against their own orphans. A topic as timely today (sadly) as it was in the 1950s. In my novel I paid tribute to the most haunting aspect of the Korean War for both my father and my father-in-law; the slaughter of innocent children by their own people. Having these precious photographs of many of these children made their stories personal to me.

There are certain aspects of history that resonate deeply with all of us. For example, my talented neighbors, Jan and Chris Hopkins, who make a great mead (home-made wine), but who are also internationally recognized, multi-award-winning artists, illustrators and storytellers. Their most recent creative endeavor of depicting the WWII internment of the Japanese in America, was motivated by Jan’s desire to learn more about her cultural identity. As a child of detained Japanese Americans, there was a lack of information about her family legacy and the ordeal of internment that they endured. Jan needed to know her story, so she and Chris have set out on a mission to share their stories through visual arts. Their joint exhibit at Everett’s Shack Center for the Arts starts June 21st thru September 2018.

Chris is a historian through his art. His paintings tell very specific aspects of the American story that resonate with

UNCERTAIN

him on a soulful level. He captures moments that harken back to moments like this young Japanese-American woman who is pregnant, alone and just ‘relocated’ to an internment camp – what does the future hold for her and her unborn child now that her country (America) has turned on her? It is important to humankind to keep those stories alive so they never happen again.

Chris also painted an entire series of over 60 paintings of the Tuskegee Airmen which travels the country in art shows, like locally at the Shack Center in Everett. The Tuskegee Airmen series portrays the adventures of the first African American fighter pilots, their crews, families and legacy.

As an illustrative historian Chris has captured this pivotal moment in time; At the onset of World War II, the segregated US armed forces declined to train African Americans as pilots until a lawsuit opened the door. The Army Air Corps acquiesced to an experiment training pilots at Tuskegee University, Alabama. In March 1942 the first class of African-American aviation cadets earned their silver wings and became the nation’s

TUSKEGEE AIRMEN

first black military pilots. Between 1941 and 1945, Tuskegee trained over 1,000 black aviators for the war effort. Chris started his Tuskegee Airmen series as part of his work for the Northwest chapter of the Air Force Art program. Over the years, the series evolved beyond the Air Force Art program to become a personal mission and passion for him. Every one of these paintings tells us a vital part of our history; who we were, who we are now, how far we’ve come, and sadly how far we have to go.

Or below, this modern-day image, social commentary, where a homeless mother and her child sit starving on the steps of the land of plenty, a posh bakery, where inside, too busy to notice, are two girls on their phones. Just as I tell stories with words, Chris uses images, and is a perceptive storyteller of our times, the good and the bad.

 

Regardless of medium or craft, storytelling is significant because it can illuminate moral, ethical, spiritual lessons in non-preachy ways that people can easily contemplate. Great stories engender empathy by helping people relate to someone they may never have connected with before.

Just as important as our intimate family stories are in reminding us where our faith and courage comes from – be it strong Scottish, Jewish, Irish, or French roots – and what our ancestors overcame, it’s also vital to keep historic stories alive so we never forget what our fears and prejudices can become.

What stories matter to you? Tell them.

“There is no greater agony than bearing an untold story inside you.” – Maya Angelou

And, big kudos to my neighbor; Art Work by Chris Hopkins Selected for Inclusion in Major Traveling Exhibition Organized by Norman Rockwell Museum – Reimagining the Four Freedoms

In 2017, the Norman Rockwell Museum in Stockbridge, Massachusetts, sent out a call to artists to create works that would reimagine President Roosevelt’s Four Freedoms—Freedom of Speech, Freedom of Worship, Freedom from Want, and Freedom from Fear— or explore the meaning of freedom today, for possible inclusion in the major touring exhibition: Enduring Ideals: Rockwell, Roosevelt & the Four Freedoms. From 1000 submissions, 36 artists were accepted—including two works by local artist, Chris Hopkins—for the contemporary section of the exhibition, titled “Reimagining the Four Freedoms.”

In our time of troubling HOMELESSNESS in a country of plenty, this painting is particularly poignant.

 

If you liked this please share, Instagram, Facebook, Pinterest or Tweet it out. Thanks. Mindy