Category Archives: Ace Jordyn

I hate conflict. Okay, arguments can be constructive, I’ll give them that. I hate it when they turn nasty. And I really hate fighting. I’ve seen it and it sickens me. Yet conflict, confrontation and fighting are staple tools in storytelling.

So what happens when you’re a passive, a person who tries to avoid conflict, but you know you have to write it, to face it so you can tell a good story? There are five things you can do to overcome your fear of writing conflict:

1) Don’t be afraid of yourself
If you’re really honest about it, it’s emotionally painful to feel what your characters feel and most of us don’t like experiencing the dark side of ourselves. Writing coaches, like Donald Maass, ask questions that force you to dig deep into your own psyche and then they ask you to apply that to your character. It can be freaky and unnerving but it’s definitely worth it. When I do this, I’m always aware that I’m doing this to extrapolate information, and that fiction is fiction and not real life.

2) Don’t be afraid of your readers
We’re all told “write what you know”. Does that mean that if we write about a cruel character that we’re cruel people? Or, that if we write about a weird aunt in conflict that we’re making a statement about a relative? Certainly not, although you may hear “so that’s what you think of me!”

“Write what you know” doesn’t mean having personal experience on the matter or that a character is a direct reflection of someone we know (although it could be). It means that we do our research well so that we don’t resort to stereotypes. Just think, if we had to write by that rule, then there wouldn’t be any historically based fiction. This adage can also get you into trouble. A writer friend confided that she understands parental conflict when it comes to a males but not females. She had a great relationship with her mother and fought with her step-father. Hence, she has to take great care to ensure that all her stories aren’t about females in conflict with males and that females in conflict appear genuine.

3) Know that it’s okay to cause trouble
Throw out the socialization, normalization rules you’ve learned. It’s okay to be mean and it’s necessary to cause trouble, get people (your characters) into trouble. It’s important for your characters to feel pain, experience anguish, fight hard for what they want. As readers, we want someone to cheer for, a way to safely experience conflict, and experience the catharsis of conflict overcome. Readers want that and as writers, it’s our responsibility to provide that. The greatest gift I received when I started writing was permission to be cruel to my characters.

4) Overcome your lack of experience with conflict
You’re a nice person and have avoided conflict all your life. What does it look like? What is it like? How does a person in conflict feel? Why would they react that way instead of hiding? The trouble is, that when we don’t understand conflict or the ramifications of being in conflict, it’s too easy to fall into stereotype cliché’s about a situation.

Avoid the stereotypes by realizing that conflict arises from different people wanting different things, and doing things differently. People are NEVER in perfect agreement. Know your characters well enough (their history, perspective and motivation) to take on their persona . Know how they’d respond in certain situations and why. Research the effects of stressful situations on the body and people’s reactions, research martial arts, fighting, war and its effects on people. Talk to people – other writers, people with direct experience, or experts. Read historical accounts, biographies, blogs and forums where people discuss their situation. Understand how life stages affect goals, motivations and responsibilities. For example, parents may perceive potential harm if a teen goes to a party whereas the teen may be oblivious to that and desperately wants wo be with her friends. Research will help you get a feel for the issues and how people have reacted in similar circumstances.

5) Know why you’re telling the story
There must be a reason for telling the story. The character must be overcoming something for some reason, otherwise, there isn’t a story only a vignette. If you have an audience for vignettes without conflict, that’s great because not everyone likes conflict. Otherwise, give your character a chance to learn and grow, to fight for something important. Conflict is about overcoming a problem. It’s not about taking the easy way out which can be done in one paragraph. Are you going to dash through the poison ivy or leisurely walk around it?

Conflict is a part of story structure. Who is the protagonist? What does he want? What is he willing to do to overcome the obstacles to get what he wants? What are the consequences of his actions because not everyone wants him to get what he wants? What is he willing to do? What will he actually do? Is he doing the right thing for himself or for other people? Doing the right thing is very hard to do.

We all strive for happy, peaceful, fulfilling lives yet we all experience conflict every day whether it be with a stranger, a loved one, a friend, or if we are troubled by something. How do we get through conflict? How can we write our character through it? Motivation. Your character, just like you in real life, has to be motivated to stand up for what’s right, to fight for the goal, to change his world so he can become who he wants to be and to live the life he wants. Writers are motivated to write the story, to overcome the internal and external conflicts and challenges we face in order to tell a tale. We must give our characters the same opportunity to face the challenges, to live their story so they can experience and overcome the conflicts no matter how big or small they are.

Now that I understand the role of conflict in story, I look forward to creating the situations and seeing how characters handle them. Doing the research, delving deeper, thinking it through – I love that process and the resultant richness it adds to the story. Conflict is its own character with its own personality, twists and depth.

The best way to write conflict when you’re afraid of it is to throw yourself into its path and find a creative way out of the situation. After all, that’s what we make our characters do!

Happy writing.

Head Hopping – the Forbidden POV

March 27, 2015

Ace Jordyn

Ace Jordyn Character Craft & Skills Narrative Voice POV Writing Tools 7 Comments

Want to start a passionate debate? Just mention head hopping.

When I started writing, I bravely went to my first writing workshop. I was berated for head hopping between two characters in one scene. I was devastated. What had I done wrong? More importantly, why had I thought I could do this? I was too scared, too naive to defend the ‘rule’ I had broken.

But, what exactly, is head hopping?

It’s about using multiple points of view. It isn’t third person omniscient point of view (POV) where the omniscient narrator can peer into anyone’s head anytime. An omniscient narrator maintains a god-like distance, giving a more objective rather than a subjective telling. The story is told in the narrator’s voice who doesn’t word thoughts and feelings in the characters’ voices. It isn’t a story told in close third person which has multiple viewpoints where the view point changes only when scenes change. When this happens, the scene is written using that character’s voice.

Head Hopping occurs when the POV within a scene skips from one character to another within that scene. Unlike the omniscient narrator, the voice changes and is unique to each character. Let’s look at an example:

Stuart swirled the wine in his glass, sniffed it then set it on the table. He loved Rothchild’s Merlot but it was impossible to enjoy when Carrie was in the midst of a mood. He’d have to settle the matter, then they could enjoy their evening.
“We don’t need a dog yet,” he said. Darned nuisance they are, always needing to be walked, he thought.
“But they’re so cute,” Carrie insisted. She was tired of going for walks alone when Stuart worked late at the office. A puppy would get her out of the house and she’d meet more people. “And don’t you want to be happy?”
The waiter hesitated before coming to the table. He hated serving arguing couples because they tended not to tip well.

Three heads in one scene. If you don’t mind head hopping, you’ll find the different points of view entertaining. If you don’t like it, you’d likely prefer a root canal.

Handled clumsily (as in this example), it looks like the Stuart is psychic, for how can he know what everyone else sees or thinks? That’s the main problem with it for the point of view character loses the ability to read the other character’s cues such as body language and actions.

Do we need to know what everyone thinks? If the information isn’t germane to moving the plot along, is it important? In the example, do we need to know what the waiter thinks? It may be important if it compels Stuart to react in the moment, but how can Stuart react when he hasn’t been allowed to see the waiter’s reaction? Here’s a version staying in Stuart’s point of view:

Stuart swirled the wine in his glass, sniffed it then set it on the table. He loved Rothchild’s Merlot but it was impossible to enjoy when Carrie was in a mood. He’d have to settle the matter and then they could enjoy their evening.
“We don’t need a dog yet Carrie,” he said. “Maybe later?” He glanced toward the waiter and caught his eye. Maybe Carrie would be more reasonable once they ordered.
“But they’re so cute,” Carrie insisted.
Stuart shook his head, saw the waiter hesitate and glared at him. What was it with this fellow? The waiter hurried to the table with a cheat sheet in hand while fumbling for the pen in his pocket.
“What would you like, sir?” he asked.
“Ladies first,” Stuart snapped.
Carrie’s eyes danced and before she looked to her menu, a slight grin appeared. Why did she find shoddy service so amusing? Stuart tapped his fingers on the white linen signaling for her to order.
“Ma’am?”
“Oh yes,” Carrie ran her finger down the page of entrees while Stuart drummed his fingers into the table. The waiter’s eyes darted to Stuart and back to Carrie. “The Chicken Kiev,” she finally said.
The waiter’s Adam’s apple bobbed, sweat formed on his brow. “We’re out of that,” he squeaked.
Stuart’s fingers drummed louder.
“Chicken Marsala?”
“I’m afraid–”
Stuart snorted. “What kind of a place is this if you can’t give a lady what she wants?”
“I want a puppy.”
The spilled Merlot was a sea of red flowing toward Carrie.

By choosing not to head hop, I found the scene easier to write, to escalate tension using the simple formula of action-reaction-action. This is the key difference: head hopping doesn’t allow a reader to get fully submerged in the story. By and large, stories with head hopping tend to feel more shallow because the author can’t go deep into any character’s head beyond a thought about something. Yet, the technique is used and very successfully by a few authors such as MC Beaton, Nora Roberts, Alexander McCall Smith and others. Sometimes we don’t want to be or need to be fully submerged in a point of view. Sometimes, we just want the story told, the clues laid out, to know the entire landscape without feeling the grass tickle our toes.

Those who love head hopping know to expect it. If you chose to write this way, ask yourself if you can build a following who will love and expect it. If it works for you – do it! But do it well or you’ll be dismissed as an amateur who doesn’t know the craft.

Doing it well means making sure that the signals as to whose head we’re in are clear, that the emotional experience for the reader is retained as is suspension of disbelief. If the reader is jarred out of the story and forced to reread to get their bearings, the writing has failed. Drama and tension must continue to build. Provide seamless transitions and ensure the head hopping moves the scene along.

As it turns out, I’m not a head hopping writer and it isn’t employed in the YA fantasy writing I do. But I read a lot of mystery and when I find it, I’m willing to head hop for the sake of the story. It’s fun, amusing and even an easy read when done well. It’s a cinematic way of telling a story where I don’t need to or even want to get deeply involved with the characters. I enjoy the clues and the bird’s eye view while the sleuth solves the mystery.

I Would Do Anything for Love…

February 27, 2015

Kristin Luna

Ace Jordyn Clancy Metzger Colette Black Conflict Craft & Skills Failures Frank Morin Gregory D. Little Jace Killan Joshua Essoe Kim May Kristin Luna Leigh Galbreath Mary Pletsch Matt Jones Reading Storyline The Writing Life Tropes & Archetypes Writing Tools 1 Comment

But I won’t do that. You know what I’m talkin’ about, Meatloaf.

Instead, we did all of this:

Victoria Morris Threaded the Tapestry

Gregory D. Little Subverted the Meet Cute

Ace Jordan did the Science of Love to Explain the Murky Middle

Mary reminded us that All You Need is Love

Joshua Essoe gave us advice about Writing Sex Scenes… In two posts!

Clancy showed us the Flip Side: Bad Girls and Anti-Heroes and Why the Guys Love them

Travis Heermann Examined and Bound

Kim May Pleasured us with Pain

Stephan McLeroy no longer Struggles to Define Love

Leigh Galbreath Drew us in with Dysfunctional Relations

Tracy Mangum gave us a master class in Love in Screenplays

Jace Killian showed us the Try and Fail in Love

Matt Jones made Ignorant Secret Troubled Love to us

Tracy Mangum followed up with Sex in Screenplays

Lisa Mangum reminded us that First Comes Like

Frank Morin pushed A Life of Passion

Colette advised us to Let Love Simmer

And RJ Terrell wrote On Love

Sure, this month is over, but we know you’ll be back. If you fall we will catch you, and we’ll be waiting. Time after time.

Can the Science of Love Explain Love’s Murky Middle?

February 6, 2015

Ace Jordyn

Ace Jordyn Character Craft & Skills Storyline The Writing Process Writing Tools 1 Comment

Love has a murky middle? Of course! It’s the part that happens after the first euphoria of new love and before contentment or divorce. It’s the part people ask about, “What’s your secret to a long and happy marriage?” or “How did it end this way?”

It’s the no-man’s land of relationships and in a novel it’s the murky no-man’s land of plot and character development. The stages of love are just as complex, with 3, 5, 7, 9 or 10 stages depending on who you read. Then there is the life stages perspective (adolescence, young adult, family, etc.).

What’s a writer to do? I mean, you want to make the love relationships genuine and not everyone can be at the same point or have the same experience at any given stage. The answer is to be aware of the stages, put each character in a stage and then mix it up with life’s curve balls.

There are many sources and websites on all these topics, but here’s a quick run-down.

There are three stages (source here) in which our hormones affect how we react.
1. Lust – gets you out looking for a mate. Testosterone and estrogen levels are high.
2. Attraction – the ‘love struck’ phase. High levels of hormones influence how we act during this stage. Surging levels of dopamine has the same effect as taking cocaine by triggering an intense rush of pleasure. There is less need for sleep or food, increased energy and the rose colored glasses which make every detail a delight. Adrenaline rushes make you sweat, your heart race and your mouth go dry. Increased serotonin keeps the new lover popping into your head. This is the love sick stage. The rejection of love however, can have disastrous consequences too such as depression.
3. Attachment – Vasopressin and oxytocin are hormones released after sex and helps keep people together for long term commitments. Serotonin keeps those warm and fuzzy feelings necessary for long term relationships.

Other factors, some of which are triggered by other hormones, affect how we fall in love and choose a mate. There are physical features such as face shape, height, voice timbre, as well as emotional stability, smarts, status and friendliness. Add to that body language, smell (love those pheromones!), touch and even taste (kissing). These are present in all stages from falling in love to being in love.

From a psychological perspective, there are nine stages of love. For more information, read here.
1. infatuation
2. understanding
3. disturbances
4. the opinion maker
5. the moulding stage
6. the happy stage
7. doubts
8. when sex life plays a pivotal role
9. complete trust

As a story teller, it’s important to know what the stages of love are because that allows us to add details to make the situation authentic and allows the reader to relate to the character. Mix it up with background experiences that affect the failure or success, add her determination to fail or succeed and you’ve created scenarios for us to sympathize with, be repulsed by, or even laugh at.

Choose your character’s stage of love and an aspect of that stage and use it to show us who she is and how she perceives her current situation. Do you remember falling in love and noticing how good that person smelled, how it excited you? Then when you lived together and when that person went away on a trip, how you missed him and took comfort by smelling his clothes? In the attraction stage, it might be wonderful to smell the dirty shirt when you pick it off the floor. Oh the euphoria! But what happens in the attachment or happiness stage? Is the contentment still there when you carry the load of laundry to the washer? Is there passion, resignation or even disgust? That reaction tells us reams about your character, the stage of love she’s in and the dynamics of her relationship.

To understand what triggers your character, consider the science, hormones and the traits we subconsciously use to assess potential mates. Add in the life stage (adolescence, young adult, raising a family, middle age, old age) and a back story and that smooth scientific explanation suddenly gets clouded and twisted by life’s experiences. This is where back story is really important. Will your character go beyond the lust or infatuation stage? Why or why not? What is attractive or repulsive (such as physical features or attitudes) and why? Who does the person remind them of? What happened in their past to form their world view about love and what a relationship should be like? No matter the stage, is he happy, content, discontent, resigned or resentful to be there?

It’s the twists and turns in a character’s back story (and sometimes the current situation) which form a worldview and determines how a character handles each of love’s stages. The steps are the same for all of us but what makes us unique is our previous experiences, our childhood (experiences and role models), and successful and failed adult relationships. It’s also about those walls we all build and the subtle ways we keep our deepest yearnings from being met. That’s who we are and who our characters need to be – a complex of hormones and life experiences, of wishes and dreams fulfilled, sabotaged and failed. Love is what we strive for, biologically and emotionally, and what we aspire to – and if we don’t, that’s another story, isn’t it?

Science can provide the foundation for love’s murky middle, but we, as story tellers, need to mix those hormones with back story, expectations and life stages to make the murky middle a most interesting muddle.