starting with a beginner’s mind

Several friends have sent this link my way, knowing I would totally relate. (Click the link! You’ll thank me!) I had much in common with that child, and the mom is like my mom. She used to let me dictate stories to her:

…until I was old enough to write (and self publish) on my own:

another hard day at the office

Next time I have the noive to complain about my job, I hope you will remind me of days like this:

having a serious talk with my editor about the fate of Daisy Bellamy

Coffee on the patio with my editor while her children (including the large one known as a “husband”) are swimming, beachcoming, hiking, biking, harrassing the dog, building fires, eating smores and practicing general mayhem. Later, they will be treated to a scenic flight from our beach to Snoqualmie Falls, Bill Gates’s house and interesting places in between.

We were having some big ideas, along with the French Roast and smoked salmon.

Some days there is more to writing than W-R-I-T-I-N-G.

grumpy old men

totally grumpy

Today’s post is in honor of my wonderful DAD! HAPPY BIRTHDAY DAD! If you click the “favorites” button I set up for you, maybe you even found my blog! Love you!

On to the post…Bad guys come in all shapes and sizes–but on TV, not so much. Not on the shows I watch (or used to watch…my faves always get canceled.  On TV, there’s a preponderence of old scary white guys, have you ever noticed that? There’s the old-scary-white-guy on Prison Break , the old-scary-white-guy on Heroes and Penny’s father Charles on Lost. And Donald Sutherland on the late, great Dirty Sexy Money. It’s not just canceled shows. The new ones feature–wait for it–old scary white guys too, like on NBC’s “Kings.”

Even when you think you’ve spotted the bad guy, you’re probably wrong unless you found the old, white scary guy. 

When I needed a villain for The Summer Hideaway, I defiantly made her a woman named Polly. So there.

learning from myself

meeting with the mentor

So I’m struggling through the story synopsis on the next book, know up until now as “Lakeshore #7.” I have a title I love–The Summer Hideaway–and a fascinating cast of characters (including some long-lost Bellamys) but there are some missing elements. I decided to dig deep into the setting to make sure the setting–a summer on the lake, deep in the Catskills Wilderness–had a psychology of place. I went to some of my favorite texts on writing to remind myself a writer’s techniques in this regard. As always, Janet Burroway illuminated something for me in Writing Fiction, and E.M. Forster’s Aspects of the Novel had a nugget or two. Then I checked the Writing the Breakout Novel workbook by Donald Maass…the index sent me to pp. 178-179. And there was an excerpt–and little writing lesson–from The You I Never Knew, a novel by my favorite writer. Me!

I need to learn to trust myself more. In writing, as in life, you know more than you think you know.

What would you risk…?

My neighbors sent their house away on a barge. There's a metaphor for risk in here somewhere.

What would you risk in order to get the one thing you truly desire? Seriously, what would you risk? When I was an emerging writer in my 20s, trying to sell my first book, I risked a lot. I had a great life–wonderful teaching career, adorable baby, loving husband, cute dogs, nice house in the ‘burbs, good family and friends. Why would I take on the stress and struggle and uncertainty of a career as a novelist? It was a massive risk on lots of levels.

The emotional risk is huge in writing–even in fiction you’re showing people your hidden self. I was also subjecting my family to financial risk, because writing is about as stable as betting on horses. I gave up social time with friends. I had to forego my book-a-day reading habit, entire series on TV (okay, not a huge sacrifice there) and forget sleep. There was at least one night when I stayed up all night working on my novel. I looked out to see the sun coming up, so I combed my hair, put on my lipstick, and staggered off to work that day. (You can do stuff like this when you’re in your 20s.)

The workshop ended with a challenge to writers. FILL IN THIS STATEMENT FOR YOURSELF:

“I’ll do whatever it takes to be a successful writer;

just don’t ask me to ___________________,

because that’s just not me.”  

Common responses to “…just don’t ask me to…” might be:

 

• -quit my day job
• -refuse a bad deal from a publisher
• -tell my family to give me space
• -follow somebody’s writing formula
• -take a writing class
• -reveal my innermost thoughts on paper
• -write about deeply personal matters
• -write about people who might recognize themselves in my book
• -subject myself to criticism and rejection
• -learn to type

(Are we having fun yet?)

Your answer here will reveal what you’re avoiding in order to protect yourself.

Michael’s end-of-the-day pep talk: 

Don’t look for ways to avoid the fear. Be willing to be afraid.

Make yourself the hero of your own story.

Make your goal specific and visible.

Bring reflection characters into your life; surround yourself with people who will encourage you.

Get rid or your nemesis, whatever or whoever that may be.

We got so much good feedback on the workshop–”Fantastic” “life-changing” “aimed at people who really want to write.” You totally owe it to yourself to meet Michael one day. Take a seminar with him! Call him for a consultation. He’s Mr. Inspiration!

[NOTE: Here are the Hauge posts in order, if you want to read them in sequence:

http://susanwiggs.wordpress.com/2008/10/15/mr-inspiration/

http://susanwiggs.wordpress.com/2008/10/16/visible-desire/

http://susanwiggs.wordpress.com/2008/10/17/the-outer-journey/

http://susanwiggs.wordpress.com/2008/10/19/the-hole-in-her-soul/

http://susanwiggs.wordpress.com/2008/10/21/emotional-safety-emotional-risk/

http://susanwiggs.wordpress.com/2008/10/22/donkey-hote/

http://susanwiggs.wordpress.com/2008/10/25/
what-would-you-risk/ ]

visible desire

I’ve decided to post my notes from the Michael Hauge workshop. They are rough, undigested notes on the day, but I thought they might be of interest to the writers out there. Michael is one of the best lecturers I’ve ever heard. If you ever get a chance to see him in action, run don’t walk! My notes include asides about Lakeshore Christmas, my work-in-progress. Doing this always makes the story sound so pedestrian! But it’s a good exercise. It’s lengthy so I’ll post it in parts over the next few days. Here goes:

first draft - not a pretty sight

The hero is the story’s protagonist. It’s a generic term so the gender pronoun doesn’t matter. Briefly, the hero is the one whose goal drives the story. His goal is the finish line the reader wants to see the hero reach.

The ultimate goal of a story (fiction, narrative nonfiction or memoir, film, drama) is to elicit emotion. This is achieved by creating a character who has a powerful desire, facing a conflict that keeps her from fulfilling that desire.

A story’s first audience–agent, editor, first reader, etc.–wants to know how this story is going to sell. Who are we rooting for? The most consistent problem with stories is that they are overcomplicated. The solution? Make it simpler. How? By understanding plot structure.

A story exists on two levels, the outer (visible) journey and the inner (emotional) journey or arc of growth (or deterioration/failure).

In the outer journey, the desire is visible. It’s a journey of achievement or accomplishment. What tangible thing does the hero want? It should be something the reader can see. (In Lakeshore Christmas, Maureen wants to save the library.) There is a visible finish line, and the hero’s outer motivation is also visible.

The conflict must also be visible. (Again in LC, the library lacks the funds to stay open and the facility is going to be sold to a developer.)

There are 4 general types of goal/conflict setups in most commercial stories (including novels, narrative nonfiction and films).

1. To win – a sports contest (Rocky), the love of another character (most romances)

2. To stop something from happening –most thrillers seek to keep a disaster at bay

3. To escape–character must get out of a bad situation (The Count of Monte Cristo, anything with “escape” in the title)

4. To retreat–quest stories in which the character must go and get something and return with it.

 

Michael calls these the 4 basic Hollywood goals.

This is the outer plot. There is also a second level underneath the visible plot–the inner journey. A journey of fulfillment and/or transformation.

The love story is a great tool for developing a character arc.

Who is your character and what does he desire? What sort of plot will your story follow?

(In Lakeshore Christmas, Maureen Davenport is the town librarian who wants to keep the library solvent. She’s also in charge of the annual Christmas pageant, and she has to work with bad-boy Eddie Haven, who has been court-ordered to help her as community service.)

Michael created a chart showing a 6-stage plot structure in 3 acts. There are 5 key turning points in a story. Tomorrow, I’ll post his general structure for the OUTER journey.

Mr. Inspiration

I just love this shot of Michael Hauge. With the light streaming down on him, he looks like Moses! This was taken in my yard this morning. Last Saturday, he was the Bard of Bainbridge as he lectured to a packed house on uniting story structure and character arc. It was such a fine lecture that I will be posting my notes and asides over the next few days. I’ll post the first batch tomorrow. Prepare to roll up your sleeves and get to work on that writing project. 

Michael Hauge, the Bard of Bainbridge

no excuses

If you are ANYWHERE CLOSE to Bainbridge Island, Washington tomorrow, you totally have to come to the Michael Hauge workshop. No excuses–they will take your money (cash or check) at the door. He’s the kind of speaker who will bring out the storyteller in you, even if you don’t think you’re a writer. If you ARE a writer, he will inspire you to push your stories to a new level. I’m not kidding. I’ve written like 30something books, and I plan to eagerly attend, busted arm and all.

October 11 (Saturday)

Special Event. “Uniting Story Structure and Character Arc” with Michael Hauge.
This is a special event for writers of all kinds – authors of fiction, narrative nonfiction, memoir – anyone who has a story to tell. In the best novels, movies and short stories, the heroes must achieve two compelling goals: an outer journey of accomplishment; and a deeper, inner journey of transformation and fulfillment. In this special, all day seminar, Hollywood script and story consultant Michael Hauge, best-selling author of Writing Screenplays That Sell and Selling Your Story in 60 Seconds: The Guaranteed Way to Get Your Screenplay or Novel Read, presents his unique approach to mastering these two essential components of your story. Topics include: the primary goal of all stories; the single key to creating character arc and theme; creating believable and fulfilling love stories; the essential conflict all characters must face; and turning plot structure into a simple, powerful tool you can apply to every story.

MICHAEL HAUGE is a story consultant, author and lecturer who works with writers on their novels, movies, screenplays, and television projects. He has coached writers, producers, stars and directors on projects for Will Smith, Julia Roberts, Jennifer Lopez, Kirsten Dunst, Charlize Theron and Morgan Freeman, as well as for every major studio and network. More than 40,000 writers and filmmakers have attended his writing seminars and lectures throughout the world.
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Bainbridge Pavilion Cinemas, 403 N. Madison, Bainbridge Island
10:00 a.m. to 3:00 p.m., Lunch break from 12:00 noon to 1:30 p.m.

Parking
Two local restaurants have offered us the use of their parking lots should the cinema lot be full. These are Four Swallows, directly to the north of the cinema lot, and San Carlos to the south. Please honor their generosity by being sure your car is moved by the evening hours when these restaurants open for business.

Fee: $75 – September 1 – October 9
Groups of 5 or more registering together: $60
Cancellations: Registrations are refundable up to and including September 12, 2008. After this date, refunds will only be made if the event is sold out and your place can be filled from a waiting list. All refunds are subject to a $10 administration charge.

While pre-registration is preferable, you can register at the door on the day of the event. Please note we can accept cash (exact amount will help) or checks only.