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.
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
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.
(Photo credit: Mark Perlstein)
Back in 1995 when I first purchased The Artist’s Way by Julia Cameron, I was still very entrenched in the day to day of making a living and surviving in a competitive business world – in other words, living a life based on everyone else’s expectations. The concept of treating my writing like a business or frankly, even respecting it myself, was an indulgent idea I didn’t have the luxury (or foresight) to comprehend. Consequently, my writing remained in the hobby category of my life for those once in awhiles when I could get to it, like a chocolate sundae, a rare and special treat.
But then I read page 23 of Cameron’s book which contains the personal contract, one of the essential tools fromthe Artist’s Way. What I soon learned was (as with anything) that if I didn’t respect my creativity, neither should I expect anyone else to. I also realized that by not valuing my creative spirit, that spirit would soon die.
I started slow, setting aside time on my less busy days and going to a coffee shop to do nothing else but write. All I knew for certain was that if I stayed in my home office I’d be distracted every five minutes, so off I went. And I’ve never looked back.
The contract changed everything for me.
I’ve revisited this idea of having a contract with myself, protecting my creative life, numerous times since then – it never hurts to revisit, revamp and reimagine spiritual agreements now and again. Now, in 2018, my writing time comes first thanks to having this agreement with myself, one that must be honored for me to experience life on my own terms, not everyone elses.
I started actively pursuing this personal and deeply spiritual agreement in 1995, and by 2000 was in Ireland on a month long writer’s residence. And now a couple decades later I’m published in many genres and many vehicles (magazines, newspapers, books, etc.), and working on my 2nd novel and some short stories. I’ve learned that my writing is not some luxurious hobby, no, writing is breath, and writing is who I am. I have the contract to prove it!