Tag Archives: craft

It seems every author has at least one book on writing they feel every other writer needs to read. For me, this one rises head and shoulders above all the others. Larry Brooks‘ often blunt and always brilliant exploration of what he calls the physics of storytelling is game changing.

I actually read two of Larry’s e-books that were wrapped up into his final, polished product known as Story Engineering. They were Story Structure – Demystified, and The Three Dimensions of Character. They can be downloaded separately as PDFs from Larry’s site for only $3 each, but just buy the full Story Engineering book. You won’t regret it.

What makes Story Engineering so brilliant? It’s clear, it’s easily understandable, and it works.

I’ve read several other great books on writing, but never did any of them strike me with such power as this one. The journey toward becoming a professional writer is much like climbing a high mountain. We hit peaks in our journey that only reveal another peak rising behind it, a peak we couldn’t see before. We can get stuck on those smaller peaks, not sure how to proceed or to climb higher.

That was where I found myself when I discovered Larry Brooks’ physics of story telling. I had already completed two manuscripts, but I was stuck. I knew there was a problem with my story, even though it was so much better than anything I’d ever written before. Unfortunately, I couldn’t identify the issue, so I couldn’t fix it.

Then I learned about the underlying structure that needs to exist in any successful story. Larry lays it all out: The four-part structure, which I had heard of before, but with the mission and context of each part clearly explained, and the reasons why the story must shift at specific points to maximize its power. I’ve never found another explanation that so clearly lays it all out in a way that any story can be measured against it.

Some things the book answered for me were:

Why can’t we have the first plot point in chapter 1?
What needs to exist after the first plot point, where the hero learns his true mission, the stakes involved, and what force of opposition stands in the way?
What needs to happen at each of the other major milestones of the story to maximize its power?
How do I know if a scene really belongs in the book, and where it should be placed?
And much more.

In his Story Engineering book, Larry adds to the foundational structure, or physics, of a great story, by explaining what he calls the other ‘core competencies’ of writing required to make a story great. These include:

Concept
Character
Theme
Structure
Scene Execution
Writing Voice

If you can’t explain exactly what each of these are, particularly in context to your manuscript, you need this book. As he points out, the first 4 are elements of a great story, the raw material you craft your story with. The final two are the process of execution, where the art meets the physics.

Larry is clearly a proponent of story planning and outlining. I’ve moved in that direction myself and found I can reduce the amount of rewriting substantially. However, for authors who are free-writers or discovery writers or ‘pantsers’, this knowledge is still vital. The early draft(s) for discovery writers are the search for story, just like story planners’ outlines. Only when they know the story they need to write and understand how all these core competencies fit into their story can they finally write a draft that will work.

I can’t recommend this book enough.

Another aspect of craft that Larry explores in his Story Engineering is found in the Three Degrees of Character. I’ve read other great books on character, but again I found Larry’s blunt, clear style incredibly powerful. He drills deep and lays truth bare in a way that authors can use it instantly. Within each of those three degrees of character are seven categories that need to be defined. Once an author understands these, they can be mixed and combined in almost infinite combinations to produce memorable, unique characters.

The three degrees of character are powerful. He explains them as:
1st degree: Surface Affections and Personality – what we show the world externally.
2nd degree: The inner landscape, the reasons why the character chooses to express themselves as they do to the world externally.
3rd degree: The very inner soul of the character, perhaps not known even to them in advance, where they show their true nature under extreme pressure. This is the dimension that ultimately defines character.

For example, if anyone has watched the Firefly SciFi series, the captain of the Serenity is a great example of a complex character.
1st dimension (the face he shows the world): He’s a tough-as-nails, no-nonsense character who will kill without remorse, and engage in illegal activities for a living.
2nd dimension (why): He fought against the empire that rules the galaxy, but his side lost. He does what he does to stay free and gain little victories against an enemy he still hates.
3rd dimension (true character): He will risk his life to save people he could easily justify sacrificing. He’s a man of honor who will risk everything to save those he loves or to fight tyranny. But he’ll punch you out if you say that to his face.

This is powerful stuff, and liberating when an author understands it. I need to review it again since character development is still one of my weaker skills, but the toolchest is there. I just need to train myself to use it.

For any author who really wants to master the toolbox we use to craft great stories, get Larry Brooks’ Story Engineering book and study it carefully. It will open doors of understanding and illuminate the path to the next peak in your writing career.

Inspiration is Nice, But”¦

October 22, 2012

Leigh Galbreath

The Writing Life 4 Comments

Everyone loves those moments of inspiration, when we get that light bulb flashing in our brains like a cop car in a high-speed chase. There’s nothing like those electric moments when it seems like the heavens open for us and the words write themselves. They are epiphanies that make life as a writer so magical. They make us feel gifted and help us believe that we might actually have a shot at this crazy creative enterprise of writing fiction.

But, they don’t happen every day, do they? And you’ve got pages to fill and transitions to make to tie those multiple moments of inspired text come together into a cohesive whole. It’s hard when the muse has taken a coffee break and the fires of inspiration go cold. And to wait for that next inspired spark doesn’t get the words on the page, does it? Call it writer’s block, or a lack of motivation, those dry spells can really put the brakes on our egos and make us wonder if we really have what it takes to make it in the publishing world.

I’ll confess, I’ve been going through that second phase a lot lately. I suffer from periodic bouts of depression, and if you don’t know, that can make it really hard to be creative. Of course, my primary defense mechanism for fighting my depression is to wander off into flights of fancy that, when the bout passes, can make for some pretty cool story ideas. But most of this summer, I didn’t write a single word. Even getting a post up for this blog, at times, was a struggle. I started to wonder if maybe I should just put a cap on the idea of chasing that publishing dream.

But struggle doesn’t always have to be a bad thing. I don’t know about you, but there have been times when writing felt like pulling teeth. It felt forced and flat because the words just didn’t flow the way I thought they should. The prose fought me because I wasn’t in one of those inspired moments, but I had to soldier on to get the work done. The crazy thing is that, on re-reading those difficult patches later on, they tend to be far better than the stuff that flew out of my fingers.

So, here’s what I’ve learned. Maybe those moments of inspiration are just as fantabulous as they seem, and maybe the uninspired ones are hard, but we should never let our writing be guided only by inspiration. Love the gifts when they happen, but never let a reliance on those moments hamper our productivity, or make us doubt that we can or can’t do the thing we love-write a darned good story.

Book Trailers

September 10, 2012

Frank Morin

Frank Morin Publishing The Writing Life 4 Comments

I recently attended the LTUE (Life, The Universe, and Everything) conference in Orem, Utah at the UVU campus. I sat in on the book trailers class more out of curiosity than any real expectation to learn anything useful. After all, I had never heard of book trailers.

This turned out to be an extremely insightful session.

Book trailers are a growing phenomenon. Just like movie trailers, some authors and publishers are now developing book trailers. This was news to me. I had never considered making a trailer for a book. But as was stated in the panel, today’s world is a video-centric world so a book trailer could draw a very wide audience.

What a brilliant idea.

Who doesn’t love a good movie trailer? When done right, they can drive moviegoers into a frenzy to see the movie. Book trailers can do the same thing.

Then again, a bad book trailer can be the stake through the heart of your book.

My first thought was, “Book trailers? That’s great for publishers with a marketing department and deep pockets to pay for expensive graphics design or live actors.”

But, book trailers can be more affordable than you may think. The panel at LTUE gave us some useful tips.

First, for the do-it-yourselfers, there are some great sites to download photos, music, and even video clips royalty-free for very reasonable prices, like iStockPhoto. With a little work, you may be able to piece together an excellent trailer with very little cost. Please remember, no matter where you find your material, make sure you have permission to use it. One author mentioned that they produced a book trailer independently. When they signed with a publisher, they were forced to take the trailer down because they could not guarantee that all of the images they used were royalty free or used with permission.

A couple of points were stressed repeatedly:

Find the right music. Great music can make your trailer. Bad music will kill it. Again, there are lots of resources online for royalty-free music. Or, if you know a musician, they might just let you use their music for free as a way to increase their own presence on the web.
Don’t underestimate the importance of asking. If you want a piece of music, or a photo, or even live actors, ask them. Many people will give permission for their work to be used, or will offer to help free of charge because they see your trailer as a way to highlight their talents.

Another idea is to check with local colleges, or with any college students you might know, particularly those involved in film production or any related field, including acting or modeling. You may be able to get high-quality assistance from students looking for a good project. Again, they want their names out on the net, and this provides a way.

One example of a good book trailer is the one for Dan Wells’ new book, Partials. You can view the trailer here. It had only been out a month when I watched it, and the YouTube link had already received almost 3000 hits, plus all the hits on the official web page.

I also found this one for Sense & Sensibility & Sea Monsters, that was very well done.

Critiques ““ Part 2 ““ What? How?

August 29, 2012

Ace Jordyn

Ace Jordyn Craft & Skills Critiques Making Progress as a Writer Rewriting The Writing Life The Writing Process No Comments

In Part 1, we talked about why critiques are needed and how hard it sometimes is to accept the feedback. But what exactly is a critique? The word itself reminds us of critics – you know, those dreaded experts who review movies, theaters and books, who are known to publicly humiliate artists. It also reminds us of those nasty teachers who rarely said anything positive except how good their red ink looked scribbled across your work.

A critique is about critical analysis but unfortunately, some focus only on the critical part. A critique is about feedback, providing constructive criticism which makes every facet of the unpolished gem shine. Sometimes it means explaining why certain things don’t work well to help the writer see and understand where the writing can be made stronger; plot holes, logic gaps, unsympathetic protagonist, craft issues. Other times it’s about pointing out the things that work well because those are the writer’s strengths and they must be encouraged so the writer doesn’t lose sight of what he does well.

Here are some basic points to remember:

Ask the writer what is wanted? A readers critique that identifies what is and isn’t working in terms of plot and character? Or line by line polishing?

Ask what prevents this work from being salable? Asking helps both the writer and critique approach the work constructively.

Be respectful – DO NOT say – “Lousy writing’ or “You never seem to get it!’ We all have fatal flaws that we repeat. There may be a certain eloquence or lack of, dangling participles, dialogue, plot problems, setting or description issues, flat characters – most of us need to become aware of these things over and over until we get it!

Remind the author that this is your personal opinion and not gospel. Remember that your comments are only suggestions and the author has no obligation to put them into action.

Focus on how to improve the work rather than what’s wrong with it. State the problem. State why is it a problem. Provide example(s) of improvements.

Tell the author what works well (a line, a character, what made you laugh). When I started writing, I went to a workshop and felt like I’d been shredded to death. It was horrible. Yet, one person said that I wrote plot well. That was all the encouragement I needed to continue writing and to constructively use the other comments.

Focus on what is important. If addressing a major problem may cause several small ones to disappear, don’t spend time on the small problems.

Never dismiss the intended story. It can be fun to suggest alternate directions (constructive), but never dismiss an author’s intentions – they have their own story to tell.

Don’t overwhelm the writer. Too many nits can be discouraging rather than helpful. To this end, tailor your comments to the author’s skill level. For example, for new writers, focus on the main thing to improve rather than a laundry list of everything that’s wrong.

I’ve seen critiques which ruined a good story because the author didn’t have enough confidence in what his story was about, didn’t know the good parts, took everyone’s suggestions to heart and ended up with a mish-mash that incorporated everyone’s ideas but ended up pleasing no one. In Part 3, we’ll be talking about how such a disaster can be avoided.

Cheers and happy writing!