Category Archives: Plot Development

Terrific Piece on Working with Critique Groups!

So many books!

This is one of the most thoughtful pieces I’ve read about the critique group process, from guest blogger Kathryn Craft posting at Writers in the Storm. It rings true for me on so many levels.

Are you in a critique group? Is Kathryn speaking to/for you?

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Great New Post from Chuck Wendig (a writer you want to meet if you haven’t)

KnowledgeI’m back from knee surgery and scanning my blogs. Not surprisingly, here’s a keeper. Chuck is a lively writer, so there may be some bad words. Well worth it. Here he tells us what I had to learn the hard way; that character, not plot, creates story. My favorite line from this piece–“Plot is the thing that characters poop.”

 

I learned this in My Failed Novel (here’s one of several posts on How Not to Write a Failed Novel, all of which I’m sure will help you become the Next Big Thing). I forced my characters to do something they most certainly did not want to do. The single good thing about that moment was that I had clearly created characters with lives of their own. I shoved them into action, and they rebelled, and a whole lot of important reviewers saw them rebelling. And said so in the highest venues. The End.

Sad Editing!

Chuck says “give your characters something to do.” I’d add that, if they have come to life, often what they do will not be what just anyone would do. It will often be a choice specific to them, to who they have become as you watched them and listened to them. Not all your readers will admire their choices. But those choices—motivated, yes, by who they are and the context, but at the same time personal, heartfelt, unique—will trigger the next cascade of actions that we think of as plot. So don’t settle for what the latest TV hero would have done. Set loose a character with the voice to tell you what SHE is going to do. Then get out of her way. Plot will be what ensues.

Book open to the stars

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Maybe You Don’t Need that Book on Writing After All . . .

Editing tips for writers. . . If you have a computer and can check out Editing 101 at Chris the Story Reading Ape’s blog. Susan Uttendorfsky of Adirondack Editing provides a host of FREE lessons on everything from “Removing Filter Words” (a must-read) to when to use “which” or “that.” I’ve found Susan’s posts to be accurate, clear, and friendly. Check them out!

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4 Ways to Handle Backstory

Thanks to Andrea Lundgren posting over at A Writer’s Path for addressing an issue of craft I see us all struggling with all the time! I like a variation on number 4: dropping in short fragments of backstory in the course of ongoing narration. For example, when a new character engages with the protagonist, he or she can fill in a line or two to bring readers up to speed on the past relationship: “The last time Mark met Jane, the experience had been traumatic for both. He’d been in the middle of X, she’d been involved in Y, etc.”
Similarly, when a character enters a setting, a few lines of backstory can set up the role of that setting in the character’s life: “The first time she visited New York, she had been young and naive. . . . ”
It doesn’t take an entire flashback to establish histories like these. Simple inclusions in description and dialogue can tell us much about characters’ pasts.
The big caveat, for me, is that our readers don’t need to know EVERYTHING we know about our characters. Just as with all descriptions and exposition, I have to work to find the information that is really relevant to the story, perhaps to what’s happening in a particular moment.
Thanks, Andrea, for touching on a part of craft we all wrestle with in our writing!

A Writer's Path

Four 4

By Andrea Lundgren

Every story has exposition–details of the character and world that you, as the author, need to pass on to the reader. You’ve spent hours fleshing out the world of your story and learning about your characters, and now you have to find some way of getting this information (or at least the essential part) from your head to the readers’. (This is especially true in science fiction and fantasy, where you need to tell how the world of the story differs from our world.)

So what’s an author to do?

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7 Rookie Writing Mistakes (and 7 Ways to Improve)

The “7 Rookie Mistakes” from Phoebe Quinn over at A Writer’s Path ring true. For example, I agree we tend to recycle clichéd characters from other things we’ve read or TV we’ve seen. It’s because we do this that literature in all its forms has such a profound effect on our values. We think “heroes” MUST behave like the hero in a popular book or that people who behave like the villain we just saw on Netflix are also villainous. It’s tough in writing to catch yourself scribbling in these “types.”
What do you think of Quinn’s fixes? I’m still a pantser, and I do pay the price—but I want to be surprised by my own writing, and outlines take that surprise away.

A Writer's Path

pencil-7-writing

by Phoebe Quinn

7 rookie writing mistakes:

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Rewriting: An Overview of the Process

Absolutely one of the best dicussions of story structure I’ve read. Resonates on so many levels for me! I just wrote to a writing group colleague that a story that’s working tells me what it’s about, and I think that sentiment jibes with this discussion. Let me know what you think!

MDellert-dot-Com

“It is perfectly okay to write garbage—as long as you edit brilliantly.”

— C. J. Cherryh

cj-cherryh

The goal of the rewrite is simple, but not easy. You want your story to live. To accomplish this, it’s helpful to have a basic confidence in the arc of your heroine’s journey before getting more specific with character, dialogue, and the refinement of prose. You’re seeking to create a story that amuses and entertains, but also captures some complexity and truth about the human experience.

This is a daunting task because—be honest—there’s a bit of inflexibility in your relationship with your first draft. On the one hand, you fear that if it’s not told as precisely as you imagined it, it won’t work. On the other hand, it feels somewhat unsatisfying as written.

So the biggest challenge in the rewriting is being able to make a thousand little painful paper-cut changes while avoiding…

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Stupid Writing Rules: 12 Dumb Things New Writers Tell Each Other

Fortunately for me, the members of both of the writing groups I belong to don’t traffic in most of these pointless prescriptions and proscriptions. I do, however, agree that too many people have a basic fear of the word “was.” As Allen points out, there’s a big difference between “I was reading when she came in” and “I read when she came in.” Also “had.” Sometimes the past perfect is just necessary. Do you have any “stupid rules” to add, or do you take exception to Allen’s judgment on these?

✨Colleen Chesebro✨The Faery Whisperer ✨

I love Anne R. Allen’s blog. I learn something new every time I visit. This is an excellent piece about bad writing advice. Check it out. Just click on the highlighted link below. ❤

Stupid Writing Rules: 12 dumb things new writers tell each other. Ignore this bad advice from misinformed people in critique groups.

Source: Stupid Writing Rules: 12 Dumb Things New Writers Tell Each Other

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