Tag Archives: Fiction

Writing secret: all you need is CURIOSITY and SURPRISE

 

Whether you write novellas about fierce mermaids, magazine stories for Cosmo (insert your own joke here) or speeches about the Austrian school of economics for the IMF — whatever sort of writer you are, two things matter most.

Not correct grammar and spelling. Those things are assumed.

Not pretty paragraphs and sentences that sing. That’s word gravy, while we’re talking about the main course.

What matters most: making your readers curious, then surprising them.

The kitteh is surprised

Surprise Kitteh is surprised.

This is why the inverted pyramid is a terrible structure for any writer. (Click with your mousity mouse to read Why the Inverted Pyramid must DIE.)

The inverted pyramid grabs a heavy rock and smashes the skull of curiosity. Then it takes that same bloody rock and crushes all hope for any surprises.

How does it achieve this epic level of failure? By giving you the answers before you even know the questions. The payoffs have no setups.

Ways to make your audience curious

Create setups by raising interesting questions (a) about real people where there are (b) high public stakes or (c) high private stakes and (d) serious conflict.

WHAT happened? (mystery)

Debates about the past are about facts, and assigning blame.

  • Who really killed JFK?
  • Did aliens really land at Area 51?
  • What caused the Great Depression?

WHY did it happen? (whydunit)

This is often more interesting than the question of who did it.THE BUTLER ALWAYS DOES IT, so tell us why instead.

How do you CHOOSE between two goods or two evils?

Debates about the present are value choices.

Choosing between good and evil is simple and cartoonish. That’s why its for kids. Truly tough choices are between two good or two evils. Does believing in true justice mean setting a killer free? That sort of stuff. These things are deep. They’ll exercise your head.

What WILL happen? (thriller)

Evil cats are planning on taking over the world. Can they be stopped?

Evil cats are planning on taking over the world. Can they be stopped? Nah.

  • Can we stop these evil cats from taking over the earth BEFORE a giant comet destroys it?
  • What might happen if you brought dinosaurs back to life?
  • Will 5.93 gazillion pounds of TNT make a dead whale disappear from a beach — or will something else happen instead?

WHO will get together — or split up? (romance)

  • Will Matthew McConaughy get together with Kate Hudson already or do we have to suffer through all 120 minutes of this stinker?
  • Why is Tommy Lee Jones in some movie with Meryl Streep about lovey-dovey nonsense?
  • What specific drugs were involved when Hollywood executives decided that Sarah Jessica Parker was some kind of sex symbol? (I’m cheating here and inserting a mystery question about the past into a romance setup, and I should be punished by the Storytelling Gods but, to be completely honest, and to use more commas, which is usually against my religion, I JUST DON’T CARE)

What should you do about the FUTURE?

Debates about the future involve costs versus benefits.

  • As a promising high school athlete, should you let your studies suffer to chase the dream of playing in Major League Baseball, when there’s a greater chance of being hit by a logging truck than being drafted?
  • Should we try to go back to the gold standard, to make Ron Paul all happy as he shuffles off into retirement, or does destroying the global economy kinda put a damper on that whole idea?
  • Next year, should you sell all your possessions to build a zombie-proof bunker in Montana for a zombpocalypse that will never come but is fun to think about — or should you focus on that whole “driving to work and paying the bills” thing?

Ways to surprise your audience

It’s unfair to have things happen for no reason, like Anne Hathaway getting smooshed by a truck in ONE DAY.

Also cheating: letting people off the hook via deus ex machina, which is fancy Latin for “the sidekick shows up at the last minute to shoot the bad guy, right before the hero dies” (every action movie known to man) or “it was all a dream!” (an entire season of DALLAS) or “let’s bring in something we never told you about, then run away” (every sci-fi movie you’ve ever seen on cable).

Surprises shatter expectations and stereotypes. Did you expect the scientist handling the landing of Curiosity on Mars to be a young man rocking a mohawk? No. You expected a stereotypical nerdy McNerd, and bam, that little surprise turned Mohawk NASA man into a national phenom.

mohawk nasa scientist

Didn’t expect a NASA scientist to be cool enough to rock this mohawk, did you? SURPRISE.

A good surprise must reveal something:

  • a secret you hinted at before
  • how a person has changed after suffering and sacrificing
  • a subtle setup that they may have noticed, but will remember (PRESUMED INNOCENT does this better than Anything in the History of Stories)
  • how society has changed after suffering and sacrificing
  • a shocking decision (the hero gets what he wants but rejects it, an unhappy ending to a Hollywood movie OR a happy ending to a French existentialist movie, a romantic comedy that doesn’t feature an put-together and ambitious heroine with a loser man she fixes up)

Related posts:

Writers, we are doing it BACKWARDS

Evil storytelling tricks NO ONE SHOULD KNOW

Why critique groups MUST DIE

The secret truth about writing

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Guy - Photo by Suhyoon Cho

Guy – Photo by Suhyoon Cho

Reformed journalist. Scribbler of speeches and whatnot. Wrote a thriller that was a finalist for some award.

Google+

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Filed under 4 Writing Secrets Wednesday, Fiction, Red Pen of Doom, Thrillers and mysteries

3 Mighty MacGuffin Generators

If you’re a writer, you’ll need to use a MacGuffin now and then.

Spy movies need a microfilm containing the real names and identities of every undercover agent employed by the CIA / GRU / MI-6, with the good guys and bad guys both willing to do whatever it takes to find and destroy that MacGuffin, which the hero happens to pick up by accident in the luggage carousel at O’Hare.

Sci-fi novels need some kind of techno-babble MacGuffin, like a repulsive helix inverter, which can tweak your DNA or whatever and create an army of alien super soldiers.

Fantasy movies need a magical ring that turns you invisible but does nothing about your big hairy feet or the fact you’re the size of a Smurf, or maybe an enchanted vorpal sword of inifinite sharpness that can lop off the head of the invincible Dragon of Instant Fiery Death that killed your father, uncle, grandfather, second cousin, first wife, baby sister and that idiot neighbor kid who used to throw rocks at your horse, so your not overly sad about the dragon having that silly fool for brunch.

Alfred Hitchcock was famous for using MacGuffins in his films. If the hero is on a quest, he needs to be questing for something. Really, it doesn’t matter what. It’s the journey that matters.

Alfred Hitchcock

Alfred the Hitchcock was (a) British, (b) brilliant and (c) big. Maybe he liked bacon and ice cream. Who knows. I do know this: he was seven separate types of awesome. Go watch his films. All of them. Netflix those suckers NOW.

Here’s a spiffy MacGuffin generator by Jordan McCollum.

Use it. Then visit her blog and show her some love. That’s how this thing works. Pay it forward.

MacGuffin Generator

Here’s two more MacGuffin generators on the SAME PAGE, for sci-fi MacGuffins and silly ones.

Sci-Fi or Silly McGuffin Generator

(Yes, they spell it wrong, the infidels.)

What is your favorite MacGuffin of all time? And which film, TV show or novel wins the prize for Silliest MacGuffin of All Time?

Let the literary flame wars begin. I believe any random Star Trek episode will have silly and stupid sci-fi MacGuffins like a pressing need to replace every dilithium crystal in warp core of the Enterprise.

Star Trek: The Tour Original Bridge

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Guy - Photo by Suhyoon Cho

Guy – Photo by Suhyoon Cho

Reformed journalist. Scribbler of speeches and whatnot. Wrote a thriller that was a finalist for some award.

Google+

4 Comments

Filed under Fiction

Stretch your editing muscles

Proofing for boo-boos is easy. Line editing is tougher.

Structural editing is the toughest.

So let’s play around with a little flash fiction from Joey’s contest and see what we can do, first with a standard edit job, then with a different kind of big-picture spitballing.

Original flash fiction entry by Mayumi – 196 words

Stone stairs and the blood of Landstanders foolish enough to raise arms against him disappear beneath Fin’s boots, as every step takes him closer to the top of this tall, windowed tower, and to the girl trapped within.

“Wavewalker!” a guard warns, but he’s silenced by metal tines already streaked red; it’s the same for his partner beside. And up Fin runs, never stopping. His muscles ache, his lungs burn, but the door is just ahead, and suddenly he’s crying her name as his spear splinters the heavy wood:

“Cauda!”

He’s barely broken through when she rushes up, arms thrown around him. And though her eyes are wide and frightened, her voice drifts to him with such gentle love, like the dreamy sway of the coral among which they used to swim. “You came.”

Time is short – more Landstanders are surely already racing to reclaim their princess prize – but still he cups her face, so sea-pale and soft, and kisses her, for fear it will be the last thing he ever does.

He draws back at the taste of tears.

“There’s no way out,” she whispers.

The spear creaks in his fist. “There’s always a way.”

# # #

Comments:

Of all the entries, this one had the most action, which is probably why I liked it. Other stories mostly hinted at action to come, or actions in the past.

Edits: switched to past tense instead of present, fixed various things.

Edited version – 178 words

Blood on the stone stairs disappeared beneath Fin’s boots, every step taking him closer to the top of the tower and the girl trapped within.

A guard’s shout was cut off by a blade already streaked with red. And up Fin ran, never stopping. His muscles ached, his lungs burned, but the door was just ahead, and he cried her name as he spear splintered the heavy wood.

“Cauda!”

He’d barely broken through when she rushed to throw her arms around him. Though her eyes are wide and frightened, her voice drifted to him with such gentle love, like the dreamy sway of the coral among which they used to swim.

“You came,” she said.

Time was short – more soldiers were surely racing to reclaim their princess prize – but he cupped her face, so sea-pale and soft, and kissed her despite the fear it would be the last thing he ever did.

Fin drew back at the taste of her tears.

“There’s no way out,” she whispered.

The spear creaked in his fist.

“There is always a way.”

# # #

So, a typical editing job. Nothing fancy.

I’m more interested in the guts of a piece — short story or stump speech, HBO series or Hollywood blockbuster. What’s the structure, the setups and payoffs? How do things change?

So here’s another flash fiction entry. No line editing here. Let’s look at the bones and spitball some options.

# # #

I’ll never forgot that old, mossy stone porch. Johnny and I used to lie there after the dances, enjoying the smooth coldness of the stone against our sweaty skin, and talk about what we would do with a building like this if it were our home.

“First off,” he would say, “I’d kick all these damned people out!”

He used to love to make me laugh. I thought I couldn’t live without him. We were both 17, and it seemed like the perfect life lay before us. Everything in the world was perfect, if only for a moment.

That, was of course, before the booze took hold of him.

It’s hard to believe, only a few short years later, here I stand looking at that porch, with its glorious white columns, standing tall and proud, with the fadings of Johnny’s fists on my face. Oh how life changes so cruelly.

He will wake up soon, in the E.R., and wonder how he got there. He will yell and call out my name. The nurses will not know that “Jenny” means Jessica, because they will not know that in his drunken confusion he often mistakes his mistress for his wife.

# # #

Nice. I like it. There is a difference between the beginning (Love Story by Taylor Swift) and the end (Goodbye Earl by the Dixie Chicks).

How can we pump up the story without adding Michael Bay explosions, robots fighting and Megan Fox randomly running around in short-shorts?

Most of this piece is either remembering the past or predicting the future. So my first crazy idea is to make it all present tense, because there’s instantly more tension if it’s all happening now.

Let’s strip away the pretty words and look at the bones. Boil it all the way down. Right now, the original gets down to something like, “Wife plans revenge on cheaty McCheater.”

How can we change the structure to something happening now, and make it so memorable that it gets down to a sentence that makes your jaw drop. So, let’s spitball here. (Note: theese are not the words, but story / structure / outline.)

# # #

Jessica loves Johnny SOOOO much that she wants to marry him. They’re on a picnic at this amazing stone tower. It’s romantic, and yeah, she actually bought him a gold band and might ask him tonight, if it feels right. It’s a modern world. She wants to be married, and to him. And he seems super polite and nervous today, like he maybe is thinking the same thing. Her entire life could change tonight. It’s beautiful and perfect.

She’s decided to ask him. Why not? But he beats her to the punch. “Jessica, can we talk about us?”

She says, sort of quietly, “I’d like us to be forever.” But he’s starts talking about some new job, in some other city, and some girl named Jenny who he sort of slept with.

So when he stands up to awkwardly hug her goodbye, she sort of pushes him off the tower.

# # #

Now that can boil down to “You would not BELIEVE what happened last night” headline: Woman pushes cheating lover to his doom — on night she hoped to get engaged

Homework: Take a flash fiction entry — this one or one of the others from Joey’s contest – and spitball story edits. No line editing allowed. THAT IS CHEATING.

Pump up the setups and payoffs. Boost the difference between the beginning and the end. Then get it down to a four word headline that would make people snort coffee through their nose in disbelief.

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Guy - Photo by Suhyoon Cho

Guy – Photo by Suhyoon Cho

Reformed journalist. Scribbler of speeches and whatnot. Wrote a thriller that was a finalist for some award.

Google+

4 Comments

Filed under 4 Writing Secrets Wednesday, Fiction, Red Pen of Doom

Writers: enter this 200-word flash fiction contest – DO IT NOW

The writers that I know and love all do the same thing: they write more than they talk.

And to them, 200 words is nothing.

Bam, here you go. Next?

So use your clickity mouse and get your penmonkey behind to this flash-fiction contest, over at the Soul and Sweet Tea blog.

DO IT NOW. Then come back here and I’ll tell you a secret.

Joey the Francisco of Soul and Sweet Tea

Joey the Francisco of Soul and Sweet Tea, a great blog for writers and book lovers. Go visit it.

Why do this?

I’ll tell you why.

  • First, you need a break — something to write with no pressure, no worries. Whether you’re a screenwriter or speechwriter, a newspaper reporter or a novelist, IT IS REQUIRED that you stretch a different writing muscle sometimes. You can’t keep doing the same thing forever. The contest includes a bunch of photos as writing prompts. People of the interwebs, this is easy peasy, lemon squeezy.
  • Second, the person behind this blog, Joey the Francisco, is not only a crazy smart writer (a scientist type, and president of some nuclear medicine shebang). No. She’s also kind, witty and a writer of thrillers. Trifecta, people. Ta-righ-fek-TAH.
  • Third, I am a secret GUEST JUDGE for this contest.

Don’t tell anybody. That would ruin the secret.

Pretend you don’t know or ask Will Smith to wipe out your memory of this post, along with your memories of WILD WEST, BAD BOYS 2 and I AM LEGEND, which put the B in Boring despite featuring mondo zombies. I did not think this was possible.

How can a movie with zombies be Snooze City? Then again, LAYER CAKE is (1) a mob movie, with (2) all kinds of action and violence that (3) starred Daniel 007 Craig, and it was perhaps the most boring movie on the planet until HUGO came out. My God.

Back to the flash fiction shebang: Have I been a judge of literary contests before? Sure. This is not my first rodeo. Have I competed in rodeos before? No. Cage matches to the death against mountain lions and bear? Also no.  They are my neighbors, and as long as they leave me alone — and I consider pooping on my land at 3 a.m., when I’m asleep, as leaving me be — then I’ll leave them alone.

HOWEVER: those were Serious Contests about Serious Things, and what I wrote for comments was seriously tame.

This is pure fun. So go, do it, be wild. Write whatever you want for 200 words. THIS IS AMERICA, unless you are in Canada, the UK, Australia or whatever. Either way, I am pretty damn sure writing flash fiction won’t get you a visit from the secret police, unless you’re in Syria, North Korea and about six other places I can’t remember right off.

While we are at it, and because it’s Friendly Friday, this blog we’re talking about — Soul and Sweet Tea — is good stuff. Go show Joey the Francisco some writerly love by subscribing to the blog and following her tweets . She is not annoying and would never pimp books 25 hours a day, eight days a week, because she has wonderful manners, even on the Series of Tubes.

Note: Some folks have reported TECHNICAL PROBLEMS with posting their brilliant 200 words on Joey’s blog. Do not erase your flash fiction or fall into a steaming vat of despair. Post those 200 words as a comment here and I’ll send minions to get those words to Atlanta in time for the contest deadline (Sunday).

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Filed under 6 Friendly Friday, Barons of the Blogosphere, Worthy citizens of the Twitterverse

Writers, we are doing it BACKWARDS

Oh, it kills me to say this: we are doing it backwards.

Maybe you’re the exception to the rule. Perhaps you’re that rare writer who figured this out 10 years ago.

But I doubt it. Most of the writers that I know — whether they’re novelists or journalists, speechwriters or screenwriters — go about it roughly the same way.

Step 1) Research, whether it’s six months of intense study or six minutes of looking at Wikipedia and playing Angry Birds “to let it all percolate.”

Step 2) Boil down the research into useful nuggets of meaty goodness.

Step 3) Use their secret recipe of writing methods to cook up their piece (outlining first or winging it, 3 x 5 index cards or spiral notebook, Word 2010 or Scrivener, one draft or six drafts, coffee or bourbon).

Step 4) Hand the draft to our spouse / best friend / cousin Joey to get all coffee stained and edited. 

Step 5) Spend five or fifty minutes thinking about how to present and sell the sucker for SUITCASES STUFFED WITH TWENTIES.

Those first four steps, they’re essential, right?

Here’s the thing: We writers are incredibly talented at screwing up Step 5.

Backward is bad

Step 5 is the monster lurking under our typewriters. (Yes, I know most of you use computers. Maybe I have a magic typewriter connected to the Series of Tubes.)

It’s the troll under the bridge, snarfing our lunch and saying, “Whatcha gonna do about it, tough guy?”

Now, boiling down a novel clocking in at 100,000 pages is rough. I have author friends who’d rather leap out of a perfectly good airplane, trusting in the bouncy power of their Nike Air Jordans, than write a three-page synopsis. Tagline? Logline? Forgetaboutit.

Doing Step 5 for anything, long or short, is tough.

Tough for screenwriters, who need to boil it down to an elevator pitch.

Tough for editors in newsrooms, who have to write headlines that fit into tiny nooks and corners of the newspaper layout.

Yet nothing else matters if we botch Step 5. Because nobody will see the fruits of our labors, the hard work that went into Steps 1 through 4, if we can’t condense the whole idea into a killer pitch and hook.

Reversing course

Instead of performing the labors of Hercules before even attempting the torture of Step 5, reverse course.

Start there.

Before you invest hours / days / weeks / months into research. Before you sweat bullets to put words on page after page.

Begin with the shortest and most important words.

The  logline (or pitch, but in a sentence, not a paragraph) — “An alien monster stalks the trapped crew of a spaceship.” Optional second sentence: “Sigourney Weaver also does a short advertisement for Hanes.”

The tagline – “In space, nobody can hear you scream.”

The headline – “Alien devours spaceship crew; heading for Earth?”

Test that out, not with friends and family, who are constrained by the need to live with you, and be liked by you. Try a single sentence on people in line at Safeway or Starbucks, neighbors you barely know, visitors from out of town, tourists, people who won’t wound you forever if they make a face and tell you the idea is stupid.

And to get inspiration, use the series of tubes to check out “movie loglines” and “movie taglines” and “great headlines.” Or head to The Onion and read their headlines, which are seven separate flavors of awesomesauce.

Don’t do a thing until you have a logline, tagline and headline that sing.

Go do it. Throw ideas around on a piece of paper or whatever — and not about whatever you’re working on. Dream up a few crazy ideas and write down loglines, taglines and headlines that are shorter than short. Then kill every word you can to make them shorter.

You’re going to notice a few things.

First, the hero doesn’t matter.

Second, the villain matters a whole bunch. If you remove the villain and threat, it kills the logline / tagline / headline. Because stories — even newspaper stories — are about conflict. No villain, no conflict. But if you take out the hero, it usually makes the logline a lot shorter and a lot better.

Here’s another example I’ve used before and will use again, because it is short and sweet and the logline for about six movies that have already been made: “Asteroid will destroy earth.”

See? We don’t need Bruce Willis and Ben Affleck-whatever (Matt Damon‘s buddy, the one who dates & marries Jennifers) in there at all. Heroes just clutter things up.

Third, shorter is better. If you can get it down to three or four words, you are golden.

A new way to write

Let’s get practical. Here’s a new way to write anything.

New Step 1) Nail the logline, tagline and headline.

One sentence apiece, as few words as possible, and yes, it is cheating to have sentences that go on and on forever, sentences with six different commas and possibly semi-colons, which are a sin against the English language in the first place and should be taken out and shot.

New Step 2) Make it work as a paragraph.

Expand it a little, but not too much. Half a page.

New Step 3) Nail it as an outline on ONE PAGE, treating each side fairly.

Whether you’re writing an oped or an opera, a novel or a speech, figure out the biggest possible difference between the beginning and the end — and do it from both POV’s. The villain / problem and the hero / solution.

So: if it’s a romance where the heroine ends up as a great cook who’s happy and in a great relationship, what’s the greatest possible distance she can travel? On page 1, make her  (a) the worst cook in the world, (b) unhappy and (c) alone. How can you take that up a notch? Make her a nun who’s loses her sense of smell (and therefore taste) in a car accident. You get the idea. Read this for what I’m talking about.  The Red Pen of Doom whips SWITCH by Camryn Rhys

If the ending is happy, the beginning better be sad.

If the ending is sad, the beginning should be happy.

If the hero is a tough guy in the end, the best story shows him start out weak — only after he suffers and sacrifices and paints the fence FIVE THOUSAND HOURS does he become a tough guy and prevail (THE KARATE KID).

And you’ve got to make it a fair fight. Nobody thinks they’re a villain. The other side — whether it’s an speech about taxes or THE EMPIRE STRIKES BACK — has a point. If you don’t give it credence, your writing will be one-sided and weak.

I used ALIEN before. What’s the story for the alien creatures? Maybe they’re a dying race. Maybe that crashed ship contains the last of their kind. The stakes just got a lot higher for the alien, right? You are our only hope, little facehugger. Get in that ship and lay some eggs.

Put yourself in the shoes of Darth Vader and the Emperor, who don’t see themselves as enslaving the galaxy. They’re helping people by establishing law and order. If nobody is in charge, it’s chaos and confusion. A strong empire means safety, security and economic growth. The rebels are violent terrorists who don’t appreciate what they have and will kill whoever it takes to gain power.

Now figure out your turning points. Put in your setups and payoffs. Make it work as an outline before you move on.

New Step 4) Research only what you need.

New Step 5) Write and have a professional editor bleed red ink on the pages until the draft is A SHINY DIAMOND MADE OF WORDS. 

You’ll notice that what used to be an afterthought — Step 5 in the original way of writing — becomes the first three steps.

I did that on purpose.

Say you write a beautiful oped, 700 magnificent words about why the death penalty should be abolished or whatever. Now you’ve got to pick up the phone and pitch an editor at The Willapa Valley Shopper or The New York Times.

The first five seconds (aside from the “hello!” nonsense) will determine if they even look at the piece. Maybe six or seven words, if you talk fast. Part of that will be confidence, tone of voice and other things you can’t learn via a blog post.

Your logline / tagline / headline, though, will matter. A lot. A great speaker with a muddled pitch will lose out to a mumbler with a tremendous idea they can convey in four words.

Hollywood calls this five-second kind of thing “the elevator pitch.” There are websites that devote many, many words to it. Use the powers of the google and check them out. They are useful.

Bottom line: those four words matter more than all 700 words of the oped, all 3,000 of the keynote speech, all 15,000 of the screenplay or all 100,000 of your epic novel about elves with lightsabers riding dinosaurs. Make those four words count.

Related nonsense:

Writing secret: Light as air, strong as whiskey, cheap as dirt

Everything they taught us about stories was WRONG

Quirks and legs matter more than talent and perfection

How to write KILLER headlines and hooks

Evil storytelling tricks NO ONE SHOULD KNOW

Forget the Twitter: free ink and airtime are your MOST DANGEROUS WEAPONS

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Guy - Photo by Suhyoon Cho

Guy – Photo by Suhyoon Cho

Reformed journalist. Scribbler of speeches and whatnot. Wrote a thriller that was a finalist for some award.

Google+

18 Comments

Filed under 4 Writing Secrets Wednesday, Fiction

Friendly Friday: Theresa Stevens, Glowing Mystical Being

Long ago, in a galaxy far, far away … I wrote a love letter to editors.

You can read it here: The evil secret to ALL WRITING – editing is everything

And in that post, I called editor Theresa Stevens “a glowing, mystical being.”

Now, it is true that Theresa the Stevens is a professional editor of novels, and her red pen is wickedly sharp.

HOWEVER, you don’t go straight from “editor of novels and former literary agent” to “glowing, mystical being.” It takes a couple of paragraphs to get that far. In fact, these paragraphs:

If you really want to write for monies, and pay the mortgage doing it, you’ve got to go all in with an editor who wields their Red Pen of Doom for monies, too. Not your husband or wife or best friend. Not a coworker. Not a friend who also writes something sort of close to what you’re doing, even if they write for monies. You need somebody who edits for cash.

It’s an achy breaky big mistakey to use a non-pro as your editor. Friends and family may be great readers of books but horrible at editing. Either way, you’ll take what they say far too personally.

Dreams will be crushed. Friendships will fray. Marriages will sour. DO NOT DO THIS.

Even if you’re friends with somebody who writes for a living, and they say sure, they’ll edit you as a favor, that might be OK for one small piece. A short story. Your first shot at a stump speech. But not anything of length. And not as a habit. When you start cashing checks for what you write, stop being a freeloader. Set your friend free. Better yet, don’t lean on the friend too much in the first place. Because they’re your friend. They won’t tell you if you truly stink up the joint.

Think about how long it takes a human being to write and rewrite and rewrite a novel and synopsis and query letter. Hundreds of hours. Bazillions. Think about paying yourself minimum wage for those hours. Then close your eyes and imagine there’s a glowing mystical being who, for the price of the complete first and second seasons of The Jersey Shore on DVD, could save yourself hundreds of more hours of pain while making you (a) seem incredibly brilliant and (b) have ten times the shot of not only getting the damn thing published, but making decent money at it.

I’ve been writing for monies for a long time, and I’ve had all kinds of editors. Good ones, average ones — and a few amazing ones. Theresa the Stevens is a treasure of an editor.

So, writers of the world: go to Theresa’s blog to soak up her wisdom, and follow her on the Twitter, because she is funny there.

Bloggity blog goodness: http://edittorrent.blogspot.com/

Twitter: @TheresaStevens

Show her that the series of tubes isn’t full of trolls, and that we writers know a good thing — especially a Glowing Mystical Being — when we see it.

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Filed under 6 Friendly Friday, Barons of the Blogosphere, Worthy citizens of the Twitterverse

One man. One romance novel. One bottle of bourbon.

A classic from my old blog. Back by popular demand. Enjoy.

I vowed to read a romance novel, you made suggestions and debated the worthiness of various novels in the comments. And then you voted.

So I journeyed in the Epic Black Car to a local store of books, where you hand them pieces of paper decorated with dead presidents and walk out the door with 3.6 metric tons of books.

Sometimes, I rent a U-Haul.

Jonathan Franzen (literary smugness) and The Spork vs. Janet Evanovich and the Swedish king of mysteries.

My favorite bookstore of all time is Powell’s in Portland, as it is giant and independent and impressively badass. However: Portland is far, far away from my secret lair. I went to Borders, which has apparently decided to lump all books into four categories: Mystery/Thriller, Romance, Sci-Fi/Fantasy and Literature, which means “everything else.”

I couldn’t find the winning book in Romance, but this book did not exactly come out last month, so maybe they didn’t have it in stock. No. They did.

It wasn’t in Mystery/Thriller or in Sci-Fi/Fantasy, though apparently people are writing a helluva lot of novels about Star Wars and video games that really should not have a bunch of novels written about them. Halo novels – seriously? No.

The winning novel was in Literature, near stuff by Hemingway and Heller.

Hemingway still sells books.

The cover was surprisingly normal and boring and literary. You wouldn’t know it was a romance novel. It could be anything.

I expected something typical of the genre, and I wanted it to be crazy and outrageous. I wanted Fabio with a sword and a beautiful woman.

The back cover copy puffed up the author for a bit, then set up the story: combat nurse from WWII is on a second honeymoon with her husband when she touches a mysterious boulder and GOES BACK IN TIME.

What I expected to find.

Then she has to choose: try to get back to hubby in 1940-whatever or stick around 1740-whatever with Captain Kilt in the middle of a war and spies and treachery.

This isn’t a bad setup. I raise my glass of bourbon to war and spies and treachery. Go go go.

Chapter One starts off foreshadowing things in the first sentence, saying this little village is the last place you’d expect for a disappearance.

The housekeeper at the inn is nosy and tends to sweep the floor outside the room where the heroine (Claire) and her husband, Frank, are staying.

Frank is an archeologist who’s traveled all around the world who’s now starting a job at Oxford. He is Indiana Jones: smart, but adventerous. OK. Cool.

The cover of the winning book.

The heroine is a combat nurse who saw a lot of action. OK. Also cool. She does tend to talk about her curly hair a bit much. I could do without that.

The rest of this chapter, they’re hiking around the countryside and meeting villagers, who do speak in dialect. “Kenna have a whiskey, lass?” Think of a village full of Scotties but no Captain Kirk or Mr. Spock and you’ll get the picture.

If I didn’t know from the back cover that the disappearing involved the heroine touching a rock and doing Back to the Future without the use of a DeLorean, then this could easily be the first chapter of a cozy, and it could be that the vicar is the one who does the disappearing — only the heroine finds him later behind the pub, strangled by his own bagpipes, and then Miss Marples shows up.

But this is not a cozy.

The heroine's hubby is Indiana Jones with a British accent.

There’s a lot of foreshadowing about Frank’s ancestors being important back in the day, and of the circle of stones that are sort of like stone henge, but not, being important. She visits them once, then goes back and witnesses a mysterious dance by villagers there.

Verdict so far: It’s fine. A bit talky and slow — this novel clocks in at 830 pages — but the writing does the job and there’s plenty of setups for the payoffs to come.

I have not thrown the novel across the room. This is always a good sign.

The author raises questions that haven’t been answered yet, and there’s enough layering and interweaving already to lay the foundation for a lot of stuff. Let’s see if she can pull it off.

The third time she hikes to the stones, she touches one. Bam. Back to the Future.

The heroine, Claire, is a combat nurse like Juliette Binoche in THE ENGLISH PATIENT, which is a beautifully shot movie with great actors telling a horribly depressing story.

###

Guy - Photo by Suhyoon Cho

Guy – Photo by Suhyoon Cho

Reformed journalist. Scribbler of speeches and whatnot. Wrote a thriller that was a finalist for some award.

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Filed under 4 Writing Secrets Wednesday, Red Pen of Doom, Romances; also, novels with Fabio covers

Why the Inverted Pyramid must DIE

If you are a writer, you know all about the inverted pyramid. It’s one of the first blueprints we get taught: put the most important stuff on top and the least important on the bottom, like an upside-down pyramid.

As a reformed journalist, was I familiar with the inverted pyramid? Nah. I only wrote  5,931 bazillion stories using the damn thing. We were practically married.

Every day, millions of reporters use it to write stories for Papers of News and programs on the radios and the Glowing Tube, so if there was ever a sacred cow in writing and journalism, that cow would be named Inverted Pyramid, and the milk from its udders would contain perfect chocolate-flavored milk decorated with specks of gold.

The technique of journalism writing.

HOWEVER: I want you to know something. Come a little closer so I can whisper it in your ear: “The inverted pyramid MUST DIE.”

As a blueprint, it’s inherently flawed and bores readers. If you wrote novels, screenplays and TV shows using the inverted pyramid, they’d all fail, because all the good stuff would be in the beginning. The middle would be boring and the end would put the entire audience in a coma.

The inverted pyramid is useful for short news bulletins, and there were technical reasons why journalists use it. You want to get the maximum amount of information to the reader in a minimum amount of time, and if a story runs long, you can lop off the end without consequence. These days, however, the inverted pyramid is simply a flashing neon sign that says, “Reader, you can stop reading any time, because it only gets more boring from here on.”

Look at your local Sunday newspaper. I read The Seattle Times here, and they tend to do these big investigative stories that start on page one, jump to page 5, then jump to pages 7, 8, 9 and 12. I mean, these stories never end. Are they important? Sure. Can I finish them? No. Because they’re written using the inverted pyramid, and even a reformed journalist who loves papers — if you cut me, I still bleed newsprint — can’t get through that ocean of words.

However: a 10,000-word newspaper story is nothing compared to a 100,000-word novel, and I have no problem reading novels. Love ‘em.

It’s the structure, the blueprint. The inverted pyramid sucks.

Here, I’ll give you proof.

Years ago, as a cub reporter right out of college, I’d write at least 10 to 20 stories a week. Let’s say  500 a year. And I’d win journalism awards every year. But hey, if I wrote 500 stories, some of those better be good and a few of them better be brilliant, right?

A few years ago, I freelanced a newspaper story, not simply because I still love papers, but because this story happened to a friend of mine.

One story instead of 500. And that story won some journalism award. I went one for one instead of five for 500 or whatever. Hmm.

I wrote this story about 7 years ago. Looking back at this piece, I’m a much better writer today. Parts seem quite clunky. But this piece didn’t win an award because each sentence was poetry. It got an award because I abandoned the inverted pyramid entirely and wrote this piece as narrative non-fiction, which is a fancy way of saying “storytelling.”

If I’d written it using the stupid inverted pyramid, I’d give away the ending in the damn headline, and the last line of the piece — instead of being something you remember — would be something like “The dog was yellow.”

Read this sucker. Look at the structure, the setups and payoffs, instead of the words. And tell me if you think it would be one-tenth as compelling written using the inverted pyramid. Then make a vow to never, never use that obsolete blueprint ever again.

Lost and trapped at 4,500 feet

Special to The Vidette

by Guy Bergstrom

 

MONTESANO – From the top of Colonel Bob Mountain– nearly 4,500 feet high – Adam Pratt and family friend Amy Smith could see the Pacific Ocean to the west, Mount Rainier to the southeast and everything in between.

The one thing they couldn’t see was Lucas, Adam’s golden retriever.

“Luke had been up Colonel Bob four or five times before,” said Adam, a carpentry instructor at Grays Harbor College who lives in Montesano with his wife, Sara.

“He was just there beside me a second ago, and he always stays right next to me on the trail,” Adam said. “So I figured that maybe he went back down toward a stream that we crossed 30 minutes down the mountain.”

Adam and Amy called for Lucas; they whistled and clapped.

“I expected his happy face and wagging tail to come running back, as he always does,” Adam said.

They went back down the trail to the stream and thought maybe Lucas would head back to the car, at the trailhead.

Adam put his sweaty T-shirt and a bowl of water where they’d parked, hoping the familiar smells and fresh water would serve as a homing beacon for Lucas.

The beacon failed; Lucas never showed up.

The search

To prepare for a search of the wilderness, Adam drove back to Montesano for clothes, food and camping gear.

He dropped off Amy, jumped in his wife’s Subaru – which she’d already packed with supplies – and they raced the setting sun back to the trailhead at Pete’s Creek, about 20 miles into the wilderness.

“I strapped on my headlamp and went up the trail by myself about a mile and a half,” he said. “It’s not wise to hike alone in the dark, especially in black bear and cougar country. I was drained and emotional, making bad decisions.”

He returned to the car. He couldn’t eat. He and Sara tried to sleep, but they lay awake most of the night in the Subaru, thinking the worst.

Where was Lucas? Was he wandering the forests? Injured and unable to move? Or a late-night snack for a mountain lion?

To the top again

Just before daybreak, Adam strapped on his backpack, kissed Sara goodbye and headed back up the mountain again.

He decided to reach the top of the Colonel and search. If he didn’t find Lucas, he’d continue down the trail on the other side of the mountain toward Lake Quinault.

Maybe the dog had headed toward the small town near the lake. Since it was Labor Day weekend, there’d be more people and activity.

Sara drove to Lake Quinault and started putting up lost dog posters. She asked people she met if they’d seen a yellow dog. She alerted the park ranger station, in case they’d heard any reports of a lost dog with a collar. No one had seen Lucas.

The cave

Adam clapped, whistled and called for Lucas as he reached the top of the mountain.

Near the top, he heard faint howling.

“I reached the lookout area and looked down,” Adam said. “About seventy-five feet below the summit, there he was, on this tiny ledge a hundred-twenty feet above the next flat spot.”

Lucas looked scared, but he didn’t seem hurt. But how could Adam reach him?

At the summit, Adam’s cell phone had some reception, so he called Sara and left the message that Lucas was alive, but stuck on a cliff.

He pushed through brush and trees on the steep sides of Colonel Bob, traveling through a twenty-foot cave he had to crouch and crawl through. Then he side-shuffled through open-topped crevice and popped out the other side of the mountain.

To reach the ledge, Adam climbed 60 feet up by hanging onto huckleberry roots and scrub brush.

After being alone on the cliff, Lucas was thrilled to see Adam, wagging his tail and licking his face. He checked Lucas for injuries and was amazed to find the dog didn’t have any broken bones from the fall.

Then the thrill of the reunion hit the Cold Wall of Reality.

“I hate heights,” Adam said, “and it was then and there I realized how stupid I had been. My emotions had got the best of me and now I was sitting on a six-foot by three-foot ledge with my buddy, wondering how we were getting of this mountain.”

No help

Adam offered Lucas a dog bone, but he wasn’t interested in eating. After letting Lucas lap some water out of his hands, he knew he had to go before they both were stuck up there another night.

“Without opposable thumbs, he wasn’t able to follow me off the ledge,” Adam said. “I King-Konged it down the cliff, using the shrubs and roots as handholds, like a monkey.”

After making it through the cave again and back to the summit, Adam went down the mountain yet again, his muscles shaking, his mind spinning. He heard voices coming up the trail but had to stop to rest and eat some trail bars.

At the same time, Sara was at the Forest Service headquarters, asking for help. They told her rescue teams were looking for a group of four lost teens, plus another couple of hikers about 150 miles away.

Stranded dogs? Not a priority.

Lost hope

Sara sobbed; they’d worked so hard to find Lucas, and now he’d starve or freeze to death on a cliff.

She left a voice mail with the only person she could think of back in Montesano: Leo Nixon, a 71-year-old retired dentist and they’d met at Friday wine tastings at Savory Faire, a man who shared their love of hiking local mountains.

Adam headed back down the trail toward the voices. He met a father and daughter hiking up Colonel Bob with their chocolate lab. He asked if they had any rope or a cell phone, since his battery was now dead.

“They helped calm me down,” said Adam, “and they actually landed some of their lunch on Luke’s ledge. To them, I must have seemed like a crazy person. It’s good they didn’t have a rope. I wasn’t qualified to use it to climb. Even if I had training, I was in no condition to do it.”

A daring plan

Heading down the trail, Adam saw another couple heading up the hill, and then a face he knew: Leo, who hadn’t gotten Sara’s message.

“He just happened to take that hike, that day,” Adam said.

Leo climbed to the summit to take a look. He said he had all the necessary climbing gear at home in Montesano and that they could rescue Lucas themselves.

They wouldn’t try it from the top of Colonel Bob, but from below, where Adam had reached the ledge in his earlier, impulsive attempt without equipment or backup.

Since it would soon be dark, they needed to wait until Saturday morning, meaning Lucas would spend his second night alone on the freezing ledge.

On the drive back to Montesano, Leo tried to calm the fears of Adam and Sara, to assure them that it wouldn’t rain, that Lucas wouldn’t try to jump, that no bears or cougars roamed the area.

“Lies, but comforting lies,” Adam said.

Leo stopped at Savory Faire, where Adam and Sara would have been that Friday night for wine tasting if they weren’t spending their time climbing and re-climbing the mountain.

Leo walked inside and casually asked the restaurant owner, Randi Bachtel, if he could borrow his climbing equipment. He refused offers of help, saying he’d called two friends of his who were mountaineers.

Randi, a veteran of Vietnam and local high school teacher, said Leo knew what he was doing. If he had to choose anybody to do a rescue, it’d be Leo, 71 years old or not.

The Silver Panther Rescue Team

At 4:30 Saturday morning, Adam and Sara arrived at Leo’s house, where two of his mountain-climbing friends joined them: Mike Riley of Olympia and Rich Irwin of Raymond.

This would be the third climb up to the summit in 36 hours for Adam, who was exhausted and questioning himself. Could he do it again?

On the way to the mountain, they picked up Amy and her husband, Nate, who’d agreed to make the climb with what they’d nicknamed “The Silver Panthers Rescue Team.”

Adam and Sara couldn’t stop thinking about whether Lucas had survived the night, about the cold, the bears, the cougars.

Driving through the rain and the dark, a dark shape – a cougar – leapt in front of the Subaru and Adam jammed both feet on the brakes.

“It was the first time that any of us had ever seen a mountain lion,” Adam said. “Truly an amazing creature. Truly terrible timing. We said nothing to each other, but we all entertained the same thoughts.”

The cougar spun around and sprinted the opposite direction.

They kept driving.

All seven climbed the trail to Colonel Bob’s summit while it was still dark. The Silver Panthers didn’t lose one step to the younger hikers.

As they reached the top, the sun showed up.

Leo led the way as they bushwhacked through the brush and trees on the side of the mountain. On a semi-flat spot, they gathered their gear and prepared for the rescue attempt.

Leo, Mike, Rich and Adam put on climbing harnesses and helmets.

They walked a narrow ledge to the start of the route Leo had picked out.

And then they started climbing.

Do or die

There’s no half-way in mountain climbing. You make it safely or fail spectacularly.

Rich and Leo set a bottom anchor in the cliff to belay Mike as he climbed toward Lucas.

Mike set a second anchor at twenty feet up, then another at forty feet before making the final climb to the tiny ledge and Lucas.

After taking a minute to calm the dog, Mike set up a rope to top-belay Adam up sixty feet to the ledge.

“I have very little climbing experience,” Adam said, “but I had the best chance to calm down Lucas and bring him down.”

Adam made it up. They attached a harness to Lucas, then hooked that harness to Adam, who pulled the dog tight against his chest.

They would make it down – the slow way or a much speedier one – together.

Home

“I stepped off the cliff,” Adam said, “and the guys lowered us down. Then Mike rappelled down and we all made our way to flat ground and safety.”

After giving Lucas some water and food, the seven-member team celebrated and decompressed. They still had four miles to hike out, downhill, but Adam barely felt it.

“We couldn’t feel anything,” he said, “but relief.”

Leo, Rich and Mike peeled away to climb a nearby peak.

Lucas rode home with his friends. And his family.

Epilogue

Sunday afternoon: Lucas is sprinting around the playground at Crait Field, playing with a three-year-old boy who can’t stop laughing. Lucas leaps off the retaining walls as if he’s weightless and happily picks up his leash to get Adam to play tug-of-war with him.

Adam and Sara talk about their ordeal being unreal, a waking nightmare with a fairy tale ending.

“Retired dentist extracts canine from Colonel Bob,” Adam jokes.

Behind the kidding around, there’s a deep sense of gratitude and community. The couple moved here from Michigan and have only lived in Montesano since last November, so they’re amazed and grateful at how people stepped forward to offer their help.

“We couldn’t have possibly rescued him without the help of our friends,” Adam said, “and the kindness of strangers.”

But there’s also an undercurrent of resolve. Of loyalty.

“We couldn’t just leave our little buddy,” said Adam, “on a mountain cliff to die.”

###

Guy - Photo by Suhyoon Cho

Guy – Photo by Suhyoon Cho

Reformed journalist. Scribbler of speeches and whatnot. Wrote a thriller that was a finalist for some award.

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Filed under 7 Media Strategy Saturday, Journalism, publicity and scandals, Old Media, which is still Big and Strong

Page 2 of A BOWL OF WARM MILK AND MURDER

I was floored to learn there’s an entire flipping genre of novels featuring talking cats who help old British ladies solve murders.

They even have a name for this genre: Talking Cat Cozies, apparently a subgenre of the Cozy Mystery shebang, which are the natural enemy of Uncomfortable Mysteries — which I imagine has its own subgenre of Scratchy Wool Sweater Mysteries.

So I did the natural thing and wrote the first page of a parody.

What if the talking cat … is secretly the killer?

Read page 1 by clicking here with your mousy mouse. DO IT NOW.

Before we get to page 2 of the Adventures of Murderous Mr. Whiskers, here are two videos packed full of proof that (1) cats are evil criminals and (2) maybe they can talk a little.

First: the world’s best cat burglar is actually a cat.

Second, this cat seems to talk up a storm, though our evil cat, Mr. Whiskers, technically only knows Words and plans on taking over a small town. He believes in starting small, in proof of concept. Taking over the world is Step 3.

A BOWL OF WARM MILK AND MURDER

Page 2

The Man knows that I have watched him. That I have seen him do bad things.

Riding inside his metal horse, he tried to smash into me. Not because he thinks I know words, or saw what he did in the cave beneath his house. The Man does not like cats. He shoots the birds that sing. He likes to smash and kill, and he does not eat what he kills.

I have seen how he looks at me, and at dogs without owners. He sees prey.

If I could tell the Woman about him, I would. But knowing words and talking are two different things. She wears the clothes of a Person Catcher, with a belt full of tools, and I have sat on her lap as she looked at words and photos of the wounded and the dead.

The Man, though, is the Boss of the Person Catchers, so even if I could talk, and tell her, she would not believe me. She would call the people of science and they would take me away and poke me with needles.

So I watch the Man, and I spend much time thinking.

Because killing a man will not be like killing a mouse or a bird or a mole.

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Filed under 4 Writing Secrets Wednesday, Fiction, Thrillers and mysteries

Everything they taught us about stories was WRONG

Let it be known: Romance authors have a good point when they say, “Romance is NOT a type of story.”

News flash: Westerns are a setting, not a type of story. Now go freak out and have fist-fights with other story geeks in the comment section. I will watch and place bets.

It is not a plot. There are all sorts of different romance stories.

Which brings me to a deep, dark truth that needs to be said: They’ve done us wrong.

I have come to believe that everything they have taught us in creative writing,  and in college, is boneheaded nonsense.

Except for the whole “earth is round” thing, plus the science and the math. That stuff is solid.

My secret lair includes a turret that is a library, full of Every Book on Writing, Rhetoric and Journalism Known to Man, and those books are 99 percent useless claptrap about either (a) the correct placement of semi-colons, which I believe should simply be shot, or (b) finding your happy place while you write at the same time every day.

These books are only good for kindling during the zombie apocalypse.

Aristotle was full of falafel when he told his eager little fanboys that there are only two stories: tragedies and comedies.

Your corduroy-clad creative writing teacher was wrong to say there are only three kinds of stories: man vs. self, man vs. man and man vs. society. Those are three types of conflict. They aren’t stories. Also, there are far too many reference to “man” in there.

George Polti — also European, and just as dead, but not Greek — was making things too complicated when he gave us 36 Dramatic Situations, when what he really did was list 36 complications and conflicts, and if you want to drive down that twisty path, hell, I can write you a list of 532 Dramatic Situations before noon.

If you gave me a pot of coffee, by 5 p.m. we’d get to 3,982 Dramatic Situations.

(Yes, Mr. Internet Smarty Pants, you a genius for using the google to find a Wikepedia thing explaining that Polti was merely following in the footsteps of that literary giant Carlo Guzzi, but hear me know and believe me later in the week: Carlo Guzzi was also an overcomplicated doofus.)

Also: just as there is no romance story type, there is no such thing as a Western, though Clint Eastwood is a manly man, and a studly director these days of impressive subtly and power for an actor who used to specialize in grunting and shooting people, though there was nobody better at doing both with style.

ALIEN is not a "sci-fi" story. FATAL ATTRACTION is not a "domestic drama." They're the same story -- Monster in the House -- in different settings.

There is no finer Man Movie than THE GOOD, THE BAD AND THE UGLY, where you are required by law to take a swig of decent tequila whenever Clint shoots a man and down two shots if he actually speaks a line of dialogue.

For you D & D and World of Warcraft and Lord of the Rings dorks — and I say that lovingly, though I want you to put down the Cheetos and the Playstation controller to go out in the world to kiss a girl, though please make sure she wants to be kissed first, and does not Mace you — there is also no such thing as a sci-fi or fantasy story.

You can set a story a dusty Arizona mining town in 1875, or put the guts of that same story into a space station orbiting the second moon of Zenon or whatever. Either way, it’s the same story.

You can add elves and dragons and trolls. It’s still the same story.

Blake Snyder cut through all this tradition and nonsense with his SAVE THE CAT books.

Blake points out that it’s patently stupid to call FATAL ATTRACTION a domestic drama and ALIEN a sci-fi movie and JAWS a horror flick, because they are all the same basic, primal story: there’s a monster in the house.

Glenn Close with a butcher knife and a thing for boiling bunnies -- she was a Monster, and she definitely was in the House.

I will not summarize Blake’s book here by giving away all his other evil secrets. He’s boiled things down to ten primal stories, and yes, you can insert as many Dramatic Situations as you want into those ten  stories.

Blake has done all writers a great service with his two books, which do have silly titles and a cover that always features a cat. As the writer of a silly blog, I give him slack for that. He is not pompous. He is not arrogant or overly complicated. Blake was  simply a freaking genius when it comes to storytelling, and the world is a poorer place now that he died young.

Go buy his book. DO IT NOW.

###

Guy - Photo by Suhyoon Cho

Guy – Photo by Suhyoon Cho

Reformed journalist. Scribbler of speeches and whatnot. Wrote a thriller that was a finalist for some award.

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Filed under 3 Tinseltown Tuesday, 4 Writing Secrets Wednesday, The Big Screen