Showing posts with label plot. Show all posts
Showing posts with label plot. Show all posts

23 March 2019

But Do You Have a Plot? Bad Girl whittles Popular Fiction Bootcamp down to 10 minutes…

By Melodie Campbell (Bad Girl) 

Last month, I wrote about Endings, and reader expectations for each of the main genres.  The response was positive, and some people have asked that I bring more stuff from class onto these pages.  So here are some notes from the very beginning, class 1, hour 1.

People often ask what comes first: character or plot?

Do you start with a character?  Or do you start with a plot?
This is too simplistic.

Here’s what you need for a novel:
A main character
With a problem or goal
Obstacles to that goal, which are resolved by the end.


PLOT is essential for all novels.  It’s not as easy as just sitting down and just starting to write 80,000 words.  Ask yourself:
What does your main character want?  Why can’t he get it?

Your character wants something.  It could be safety, money, love, revenge…

There are obstacles in the way of her getting what she wants.  THAT PROVIDES CONFLICT.

So…you need a character, with a problem or goal, and obstacles to reaching that goal.  Believable obstacles that matter.  Even in a literary novel.

There must be RISK.  Your character must stand to lose a lot, if they don’t overcome those obstacles.  In crime books, it’s usually their life.

So…you may think you have a nice story of a man and woman meeting and falling in love, and deciding to make a commitment.  Awfully nice for the man and woman, but dead boring for the reader.  Even in a romance, there must be obstacles to the man and woman getting together.  If you don’t have obstacles, you don’t have conflict, you don’t have a plot, and you don’t have a novel.

Put another way:
When X happens, Y must do Z, otherwise ABCD will happen.
That’s what you need for a novel.

GIVE YOUR CHARACTER GOALS

1. Readers must know what each character’s goals are so they can keep score.

2. Goals must be clearly defined, and they must be evident from the beginning.

3. There must be opposition, which creates the possibility of losing.
   >>this conflict makes up your plot<<
4. Will the character achieve his goal?  Readers will keep turning pages to find out.

If you don’t provide goals, readers will get bored. 
They won’t know the significance of the ‘actions’ the hero takes.

To Conclude:
Until we know what your character wants, we don’t know what the story is about.
Until we know what’s at stake, we don’t care.

Melodie Campbell writes fast-moving crime fiction that leans toward zany.  If you like capers like the Pink Panther and Oceans 11, check out her many series at www.melodiecampbell.com

Lastest up:








22 December 2018

Why I could never be a Modern Fiction Novel Heroine
(back to humour for Bad Girl. Tis the season for frivolity, after all)


by Melodie Campbell

Let’s call her Tiffany.  Nah, too twee.  How about Jen.  Meet our fiction heroine, Jen.  She’s a modern girl. Has her own condo. Drives a car. Lives in the city. Has a meaningful job.  All in all, a typical    
modern heroine of a fiction novel.

Sounds reasonable, but I couldn’t be her.  I’m all for ‘suspension of disbelief’ in fantasy, but my world requires more human elements.  To wit:

THINGS THAT BUG ME ABOUT MODERN FICTIONAL HEROINES

1.  They look great all the time.
By this I mean: she gets up in the morning, perfect coiffed.  (Not quaffed. Except maybe in my loopy Goddaughter books.)  She dons clothes for her work day.  Maybe goes for a jog.  And spends absolutely no time in front of the mirror swabbing on makeup or doing her hair.  Did you ever notice fiction novel heroines look great in the morning without doing anything?  They may have a shit-load of angst about their personal lives, but apparently, they have Barbie doll hair.

As of immediately, name of heroine is changed to Barbie.

2.  They never eat.
Oh, they got out to dinner a lot.  You may even hear them order food.  But when it comes, do they ever eat it?  No! Barbie is far too busy arguing with her dinner companion, and then getting upset.

So many books, so many meals where our intrepid plucky heroine says, “oh my, I’m so upset, I couldn’t eat a thing.”

What is it with these feeble women who can’t eat?  Who the hell are they?  What do they exist on? 
When I’m upset, I eat, dammit.  Gotta fuel up for the famine that’s going to come sometime in the next 400 years.

If I hear another TSTL (too stupid to live) heroine say she’s too upset to eat, I’m going to shove the virtual dinner in her vapid virtual face and watch her choke to death.  Oh.  But then someone would have to rescue her.

EAT THE DAMN MEAL.

3.  They never go to the bathroom.
Twenty-four hours a day, we’re with this dame.  Does she ever go to the loo?  I mean, for other than a quick swipe of lipstick and a gabfest with friends?

Do none of these women have periods?
Do they not have to offload some by-products?  EVER?

Oh right.  Barbie is always too upset to eat a thing.  Therefore, nothing to offload. What was I thinking?


4.  They run into the haunted house.

“Oh, a haunted house!” says our plucky heroine. (Note use of the word ‘plucky’ to demonstrate she’s not a chicken <sic>)  “I’ll just pop in there and see what the fuss is all about, shall I?”
WHOMP
(Plucky heroines taste good with ketchup, in my parodies.)

Listen up, modern day heroines! Do NOT be so stupid as to walk into an abandoned place where you know someone was murdered, or even stupider, confront the murderer, all by your little selves! 

Let it be known: when I am pretty sure I know who the killer is, I do NOT confront him all on my own in an isolated location.  Instead, I pretty much run like hell in the opposite direction.  ‘Cause experience has taught me (apparently, I do this a lot) that if someone has killed once, they won’t hesitate to bop my bean.  Even Barbie with half a brain can figure out it ain’t a smart move. 

Modern day heroines, rise up! Rebel against these tired tropes!  Fight back against the lazy mucks who make you appear as dumb as dough.

GO ON STRIKE AGAINST YOUR AUTHORS!  Or alternatively, strike your authors.
I’ll leave now.

Author disclosure:  Just so you know, Gina Gallo of The Goddaughter series loves her food.  You’ll see her eat it.  She sneaks off to the bathroom (offstage, so don’t freak.)  She looks like shit in the morning. Just like me.  Even Rowena of my fantasy books goes to the outhouse and enjoys her meals.  (Not at the same time.)

HAPPY HOLIDAYS EVERYONE!

15 October 2018

The Invisible Engine

by Steve Liskow

Saturday, I led a workshop on developing plot. It was the second half of my program on preparing for National Novel Writing Month, and I'll do a slightly expanded version (I have an extra fifteen minutes) at the same venue next week.

I know several people who do decent workshops on plot, and I can name more good books about building your plot than any other facet of writing fiction, but there's one idea almost everyone has trouble grasping. In fact, only two of the eight or nine books I often cite even mention it.

Concept and Premise.

Almost everyone understands that a plot is the stuff that happens to or around your protagonist, and most of them understand the idea of cause and effect. Most of them grasp structure and increasing tension, too. But making someone see that his or her premise needs more focus or oomph is hard. Maybe that's because everyone knows it when he sees it, but it's hard to define except by example.

Every story has a concept and premise, but unless it captures the reader's attention, the story won't sell. In fact, it won't even be read.

A concept is simply an idea. It can be a setting, a character, a story line, an imaginary world or practically anything else. But it has to develop into a premise, and that's tricky. The premise usually involves the "what if..." idea, the thing that "goes wrong." Michael Crichton's concept for Jurassic Park is that you can use the DNA from fossils to clone prehistoric dinosaurs. His premise builds on that: What if those dinosaurs get out of control and start eating people?

From that simple but specific foundation, you can build your plot because you have a conflict, setting and characters. You also have the beginning of your elevator pitch to an agent or editor. It even gives you a head start on your cover copy, which I always find hard to write.

I tell my classes that if you can put your premise into language a fairly bright ten-year-old can understand, you've got it.

Two of my books use Roller Derby as a loose concept. The premise of one of them is that a disgraced police officer finds redemption by protecting a group of women who help victims of domestic abuse, and, by extension, help themselves. That's more specific. More importantly, it helps me determine what will happen in the story. There will be roller derby and there will be at least one character who is being abused. The cop will help her. Sure, other things will happen, too, but that's the foundation.

Here is the back cover copy of The Whammer Jammers, which grew out of that concept and premise:

Chicks on wheels, dirty deals, and everything you never dared ask about roller derby. Suspended after a "questionable" shooting, Hartford cop Tracy "Trash" Hendrix hires on to protect the local skaters from vandals while they prepare for a match to fund a women's shelter. He suspects a skater's ex-boyfriend, but the guy has an alibi when that shelter gets torched--and an even better one when he turns up dead. Then a skater is killed in a drive-by, and Hendrix knows someone plays rougher than the roller girls. Unless he can figure out who it is before the match begins, the wheels really will come off.

The fire and the drive-by aren't in the original idea, but they grew out of it and raise the stakes.

Your premise has to generate conflict, and this one does. In my case, that matters because my thought process is far from linear. I can come up with dialogue or character traits on demand, but plot is hard. That's why I need a concrete--but flexible--concept I can turn into a premise. And it needs to promise the reader something she or he hasn't seen before.

Most people stare at me when I tell them there are currently seven women's roller derby teams in Connecticut, but it works. I self-published The Whammer Jammers in 2011. Two weeks ago, I sold out every copy I brought with me to an event because people still want to hear about it.

That's your ultimate test.

26 May 2018

Top Ten Peeves of Writing Teachers

by Melodie Campbell (Bad Girl) 

Recently, a jovial colleague asked me if I was a good teacher or an evil one.
I'm definitely on the kind side of the equation.  The last thing I want to be is a Dream Killer.  But even the kindest, most dedicated writing teachers can get frustrated.  So when a colleague suggested I rant on these pages, I gracefully accepted.  (With the sort of grace that might be associated with a herd of stampeding mastodons.)

So here are my top ten peeves as a writing teacher:

THE OBVIOUS

1.  "I don't need no stinkin' genre" - aka Students who turn their noses up at the genres.

In addition to basic and advanced writing skills, I teach the genres in my Crafting a Novel course.  Meaning, we deconstruct each of the main genres of fiction (mystery, thriller, romance, sci-fi, fantasy, western, literary...) to see what publishers expect.  This is particularly important when it comes to endings.  Mickey Spillane said those famous words:  "Your first page sells this book.  Your last page sells the next."

Most publishers categorize the books they accept into genres.  Most readers stick to a few genres they like best for their reading pleasure.  So it stands to reason that if you can slot your work into an already active genre, you have a better chance of getting published and read.

Many students refuse to classify their work.  They feel it is 'selling out' to do so.  (Yes, I've heard this frequently.)  They don't want to conform or be associated with a genre that has a formula.  (One day, I hope to discover that formula.  I'll be rich.)

So I often start out with half a class that claims to be writing literary fiction,  even though not a single student can name a contemporary literary book they've actually read.  *pass the scotch*

2.  The memoir disguised as fiction.

These students have no interest in writing fiction. They really only want to write one book ever, and that is the story of their life.  (Ironically, many of these students are only twenty years old...sigh.)  But they know that memoirs of unknown people don't sell well, so they're going to write it as a novel.  Because then it will be a bestseller.

Here's what I tell them:  What happens to you in real life - no matter how dramatic and emotional it is for you - usually doesn't make a good novel.  Novels are stories.  Stories have endings, and readers expect satisfactory endings.  Real life rarely gives you those endings, and so you will have to make something up.

If you want to write your life story, go for it.  Take a memoir writing class.

3.  "My editor will fix this" - Students who think grammar and punctuation are not important.

Someone else will fix that.  They even expect me - the teacher - to copy edit their work.  Or at least to ignore all seventeen errors on the first page when I am marking.  *hits head against desk*

I should really put this under the 'baffling' category.  If you are an artist or craftsman, you need to learn the tools of your trade.  Writers deal in words;  our most important tools are grammar, punctuation and diction.  How could you expect to become a writer without mastering the tools of our trade?

4.  The Hunger Games clone.

I can't tell you how many times students in my classes have come determined to rewrite The Hunger Games with different character names on a different planet.  Yes, I'm picking on Hunger Games, because it seems to be an endemic obsession with my younger students.

What I'm really talking about here is  the sheer number of people who want to be writers but really can't come up with a new way to say things.  Yes, you can write a new spin on an old plot.  But it has to be something we haven't seen before.

There are just some plots we are absolutely sick of seeing.  For me, it's the 'harvesting organs' plot.  Almost every class I've taught has someone in it who is writing a story about killing people to sell their organs.  It's been done, I tell them.  I can't think of a new angle that hasn't been done and done well.  Enough, already.  Write something else.  Please, leave the poor organs where they are.

THE BAFFLING

5.  The Preachers:  Students who really want to teach other people lessons.

And that's all they want to do.  Akin to the memoir, these students come to class with a cause, often an environmental one.  They want to write a novel that teaches the rest of us the importance of reuse and recycle.  Or the evils of eating meat.

Recently, I had a woman join my fiction class for the express purpose of teaching people how to manage their finances better.  She thought if she wrote novels about people going down the tubes financially, and they being bailed out by lessons from a friendly banker (like herself) it would get her message across.

All noble.  But the problem is:  people read fiction to be entertained.  They don't want to be lectured.  If your entire goal is to teach people a lesson, probably you should take a nonfiction course.  Maybe a PR one.  Or here's a novel <sic> idea: become a teacher.

6.  Literary Snowflakes - Students who ignore publisher guidelines.

"A typical publisher guideline for novels is 70,000-80,000 words?  Well my book is 150,000, and I don't need to worry about that because they will love it.  Too bad if it doesn't fit their print run and genre guidelines.  They'll make an exception for me."

I don't want to make this a generational thing. Okay, hell yes - maybe I should come clean.  I come from a generation that was booted out of the house at 18 and told to make a living.  'Special' wasn't a concept back when we used slide rules instead of calculators.

Thing is, these students don't believe me.  They simply don't believe that they can't write exactly what they want and not get published.  And I'm breaking their hearts when I tell them this:  Publishers buy what readers want to read.  Not what writers want to write.

7.  Students who set out to deliberately break the rules in order to become famous.

There are many ways to tell a story.  We have some rules on viewpoint, and we discuss what they are, the reasons for them, and why you don't want to break them.  The we discuss why you might WANT to break them.  Apparently this isn't enough.  *sobs into sleeve*

I have some students who set out to break every rule they can think of because they want to be different.  "To hell with the readers.  I'll head-hop if I want.  And if Gone Girl has two first person viewpoints, my book is going to have seventeen!  No one will have seen anything like it before.  They will think I'm brilliant."

Never mind that the prose is unreadable.  Or that we don't have a clear protagonist, and thus don't know whom to root for.  e.e.cummings did it.  Why can't they?

8.  Students who come to class every week but don't write anything.

They love the class.  Never miss a week.  But struggle to complete one chapter by the end of term.  Not only that, this isn't the first fiction writing class they've taken. They specialize in writers' workshops and retreats.

It seems baffling, but some people like to hobby as aspiring writers.  They learn all about writing but never actually write.  Of course, we veterans can get that part.  Writing is work - hard work.  Writing is done alone in a room.  In contrast, learning about writing can be fun.  Especially when done in a social environment with other people.

THE 'I COULDN'T MAKE THIS UP'

9.  Other writing teachers who take our classes to steal material for their own classes and workshops. *removes gun from stocking*

Not kidding.  I actually had an adult student come clean about this.  By class seven, he hadn't done any of the assignments and admitted he was collecting material to use for the high school creative writing class he taught.  I'm still not sure how I feel about that.

10.  Students who don't read.

This is the one that gets me the most.  Last term I did a survey.  I asked each student to write the number of books they had read last year on a small piece of paper and hand it in.  I begged them to be honest.  They didn't have to write their names on the paper, so I would never know who had written what total.  Here's the tally of number of books read:

Highest number by one person:  26

Lowest number by one person:  0-1

Average:  7

Yup, I'm still shaking my head over that low.  He couldn't remember if he'd actually read a book or not.  (How can you not KNOW?)

And these people want to be writers.  *collective groan*

To be clear here:  I read 101 novels last year.  I read for one hour every night before bed and have done so for years.  That's seven hours a week, assuming I don't sneak other time to read.  Two books a week.  And that doesn't include the hours I spend reading student manuscripts over three terms.


If reading isn't your hobby, how can you possibly think you can write?  Why would you want to??


FINAL THOUGHTS

Here's what I've learned:  Students take writing courses for all sorts of reasons.  Some take it for college credit course.  Some take it for interest, as they might take photography or cooking classes.  Some need an escape from dreary jobs, and a writing class can provide that escape, if only temporarily.  But many actually do hope to become authors like I am.  When I connect with one of them, and can help them on their way, it is magic.

There is no greater high.

Melodie Campbell writes capers in between marking assignments.  Or maybe to avoid marking.
The B-Team is her latest.  You can get it at all the usual suspects.

on AMAZON