Storyboards and Living Documents

Things are crazy right now for me, working with my editor and setting up a new computer — all these foreign keys make me feel like I’ve never used a computer before — but I didn’t want to leave you flat. Hearing my tales of woe, friend and fellow writer Craig Boyack sprang into action. Some of you are familiar with his site Entertaining Stories, where he shares some of the best short stories and flash fiction I’ve ever read, along with various other topics. If you get a chance stop by and say hello. While you’re there browse his Idea Mill — great fodder for creativity.

All yours, Craig!

When Sue asked me if I’d do a guest post I was ecstatic. Then it dawned on me that many of her readers are probably crime writers. I write speculative fiction; what the heck can I bring to crime writers?

Crime happens in speculative fiction too. It’s mostly in paranormal and science fiction, but fantasy isn’t immune. We tend to gloss over it, and build worlds that get more focus.

Then it dawned on me, writer is also part of the title. I can talk about writing. I tend to see things a bit differently than most, so I do things differently too. I’m going to mention some of them in this post.

I’m an unashamed outliner. I like three act structure, but I use a storyboard for my outline. There are index cards for the beginning and end of each act, the rest get filled in as I brainstorm my story. I like this method, because I can add photos, maps, sticky notes and all kinds of things. It’s possible to get pretty elaborate with projected word count, plants and payoffs, pinch points, and more.

I don’t always get that elaborate, but I like the method. A different writer might adopt the heroes journey, or fairy tale structure to a storyboard. To tell the truth, I snipe from these all the time too.

I don’t use a physical storyboard. Turns out there’s an app for that. I can take my storyboard with me on my iPad.

I also use direct feeds like my RSS reader and something called Zite Magazine. These work by subscribing to content I like and the Internet sends me data. A writer has to get ideas from somewhere. Many of my coolest story elements came to me this way.

Zite is particularly fun, because it’s smart. When I first subscribe to a category, it sends me everything it can find. As an example, when I set up a category called “voodoo” I got articles about doughnuts, beer, Jimmy Hendrix, and more. Zite lets me give articles a thumb up or down. It corrects over time and now it’s all about mojo hands and dolls with pins.

I’m sure an enterprising crime writer could do something similar. When I get enough fun ones, I post something I call The Idea Mill. My blog followers seem to really enjoy those posts. I have enough right now for the next one.

The last thing I’ll mention is living documents. I keep living documents for various reasons. Writing advice is everywhere today, and it all gets a bit repetitive. Sometimes there is a real gem posted. When I get these, the data gets summarized in my living documents. My memory isn’t what it used to be.

I keep documents about editing, writing tips, cryptids, and fantasy. There are very brief notes about the villain’s journey, Pixar secrets, and the tidbits that help me in my projects. Most of these are helpful on the editing passes. I have a whole page on suspense tips.

Sue has something similar called “50 ways to murder your fictional character.” If she were to add to it on occasion, it would be a living document. (Note from Sue: I’ve been adding. I’ll send an update once there’s enough new information to make it worthwhile.)

I hope I’ve provided at least one nugget you can take home with you today. Looking at things differently might help you create a major hit one day.

I would be remiss if I didn’t mention that I have book I’m promoting right now. That’s part and parcel for guest posts. It’s called Will O’ the Wisp, and I think it’s my best so far. Here’s a little blurb:

There is something evil up Bergamot Holler, and it’s been targeting the Hall family for generations.

Patty Hall is fifteen years old. She loves stargazing, science fiction, and all things related to space exploration. This leaves her perfectly prepared for the wrong problem.

Patty is afraid her mother will send her to a care facility if she tells her what she’s seen. If she doesn’t figure things out soon, she’s going to join her father in the Hall family cemetery plot.

Patty has to come to grips with her own physical handicap, survive the wilderness, and face an ancient evil all alone if she’s going to survive.

Will O’ the Wisp is suitable for young adults. It involves strong elements of suspense, and is set in the mid 1970s.

Here are the Amazon links:
Northern American Continent http://a-fwd.com/asin-com=B00UPH6BNS

Rest of the world http://a-fwd.com/asin-com=B00UQNDT2C

Thank you, Sue, for having me over today. It’s a real pleasure.

Craig Boyack

No man ever wetted clay and then left it, as if there would be bricks by chance and fortune. – Plutarch

Follow my blog: http://coldhandboyack.wordpress.com

Check out my novels here: http://www.amazon.com/-/e/B00ILXBXUY

Twitter: https://mobile.twitter.com/Virgilante

On Goodreads: http://www.goodreads.com/author/show/9841203.C_S_Boyack

How Story Structure Relates To Our Lives

I’ve become a structure-holic. I see it everywhere: books, TV, movies, and in life. This obsession has now spilled over into my blog. Because I firmly believe knowing how to structure our novels is crucial. It ensures our stories flow properly, shows our character arc, and gives readers satisfaction. When it comes to writing fiction it’s everything. Which, to me, makes it awesome. It’s the magic bullet that can make our dreams come true. I know this for a fact… stay tuned for an upcoming post on how I know this.

Think of it this way…

Human beings have structure — flesh, organs, tissue, arteries, veins, water and muscle all have their place. No matter what race, religion or creed, we are the same. What braces all the stuff that makes up our bodies is our skeleton — structure.

We may look different on the outside… some have big noses, full lips, different skin and eye color… but we all started the same way…

As an egg — story idea.

That egg was fertilized in the womb and grew into something more, but it still hadn’t fully formed into a male or female yet — concept.

We evolved into a living, breathing human being and entered the world — character.

We grew up to think and feel differently, have different worldviews, religions, heart and soul — theme.

And we lived our lives… our story — premise.

Some people are more giving, outwardly loving. Some are not comfortable with affection. But it’s all because of how we were raised or because of something that happened in our past to change us — backstory.

As I tell this story I want you to think back over your life. We’ve all gone through hard times, some worse than others. Humor me, and if you don’t know structure now you will at least start to grasp it by the time you’re done with this post. That’s my hope anyway.

So, we’ve been born and we’re growing up, maturing or have already matured. Whichever applies to that specific time in your life.

We got a job, perhaps married and had children. But kept our inner demons, our flaws — Act I — 1st quartile: Set Up << which begins character arc, introduces characters, sets up FPP, foreshadows future events, etc. 

And then something happened to throw our lives out of balance. This defining moment demanded that we act. We could not hide from it. It forced us to DO something — First Plot Point, at 20-25%.

After this crucial moment occurred an antagonist force entered our lives, or it was there all along and only now revealed itself — 1st Pinch Point, at 3/8th mark or 37.5%.

We reeled, flailed, resisted, and failed — Act II — 2nd quartile: Response 

We either did something to fix the problem or the problem worsened. All the while we kept thinking things could not get much worse. Or, we believed we’d finally solved the problem. But it was a false victory or a false defeat — Midpoint, at 50%.

So we needed to attack the problem head on, because it’s wasn’t going away — Act III — 3rd quartile: Attack << our true character changes again and we become a warrior.

But then, we realized that we hadn’t actually solved anything. We’d only made it worse. Or, the victory we felt was short-lived because we didn’t realize X,Y,Z was around the corner waiting to blow everything up. Things looked bleak. We believed it just couldn’t get any worse — All Is Lost Moment.

But how did we really feel about this? What sort of impact did it have on us? — Dark Night of the Soul.

We stopped our pity party because it wasn’t doing us any good. Besides, we’re stronger now than we were when we started this quest.

Then something else changed. Or, we discovered something that aided us in seeing a glimmer at the end of a very dark road — 2nd Plot Point, at 75%.

And we began to see that there was in fact a way we could fix our lives — Act IV — 4th quartile: Resolution << this act completes character arc

And then we got another peek at the antagonist force. Only now it was more terrifying than ever because it too had upped its game — 2nd Pinch Point, at 5/8th mark. For more on Pinch Points go here.

The only way to defeat this force was to overcome our fears, inner demons, flaws and meet this force head on. And to live with ourselves we knew we were the ones who had to fight this final battle, using everything we’d learned in life thus far, about ourselves and the world around us — Climax.

And then we could live happily ever after, or as happy as we could in our new world. We grew as individuals, faced our fears, and had come out stronger for the effort. We’d settled into our new lives — Resolution.

And that’s it… story structure as it relates to our lives. Obviously you need to start with a great hook. For more on How to Write a Killer Hook go here.

Could you think of a time in your life when this applied to you? Hold on to that and you’ll never forget story structure, at least at its basic level.

Happy writing!

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How To Write A Killer Hook

I was having a conversation about creating a killer hook with my writing coach and friend, critically acclaimed author Larry Brooks, and it got me thinking about how others could benefit from his advice.

We all know how important a great hook is, regardless of genre. This becomes especially important with thrillers. Without a killer hook a reader could close your book before the story takes off, your chance of finding an agent or editor goes right out the window, because most will only give you a few pages to pique their interest, your book could be destined to collect dust on a shelf, virtual or otherwise.

So now that we know why we need a killer hook, let’s talk about how to create one that grabs the reader by the throat and won’t let go.

If anyone knows how to create a killer hook it’s Larry, author of Story Engineering as well as many other craft books — link to his e-bookstore is in my Crime Writer’s Resource. During our conversation I discovered I was doing myself a disservice by not starting my books in the best place for maximum impact. Sure, I started in the middle of the action after I’d made sure to invest the reader in my protagonist. Blah, blah, blah. The internet is chock full of that advice.

But how about starting further along in the story you’re telling?

This is certainly not new advice. Screenwriters are taught this early on. Watch any crime show and you’ll probably see a murder or an intense scene involving the main character in terrible trouble. For some reason, though, novelists don’t always do this. Maybe it’s because no one comes right out and tells us this is a kickass way to write a Hook. For me, I’ve read many bestsellers that use this technique in the Prologue, but because agents/editors frown upon using Prologues I wrote it off as something I couldn’t do until I had proven myself as a writer.

Baloney! That was self-doubt rearing its ugly head and nothing more. Why, oh, why do we listen to that little voice? I’m kicking myself now — and rewriting all my hooks.

For those going traditional, call the hook Chapter One instead of Prologue. Then, in Chapter Two, write your chapter headline as “Five Days Earlier”, or whatever the case may be. This is perfectly acceptable, will meet the standards of what agents/editors are looking for from an unpublished writer, and you’ll have a killer hook that will increase your chances of getting full requests and possibly lead to representation.

Let me show you exactly what I’m talking about.

In the book I’m reading now for example… one of Larry’s fast-paced thrillers, Pressure Points… OMG, what a hook! It nearly knocked me off my couch.

Before I tell you about it I’ll show you what first attracted me to the story. This is the blurb…

The game is a weeklong retreat. It’s located in a remote region of northern California. It’s designed to build teamwork, establish trust, and increase awareness.

The players are three ambitious executives — one woman and two men, each prepared to put his physical, mental, and moral limits to the test. They never dreamed how far they could go.

The rules are simple. First you run. Then you hide. Don’t appear weak, don’t admit to the fear, and don’t react to the pain.

The prize is staying alive. Let the game begin.

You can see why it piqued my interest, right?

All three characters have their inner demons ranging from self-doubt to total control-freak. The goal for each is to be made CEO of this gazillion dollar company. The present CEO told them if they completed the seminar (retreat) he’d sell them the business for way less than market value and appoint one of them CEO in his place, depending on how they did at the seminar. The farther I read the more I realized none of the three executives particularly liked one another, so just deciding whether to go to the retreat was a tense meeting of the minds.

The Hook Larry used was one of the best I’ve ever read. It starts out with a man running for his life through dark woods, cold, terrified, barely dressed. When he finally reaches the road he hears his name whispered in the blackness. But the reader has no idea who he is. And then, the man collapses. Dies right there on a deserted stretch of asphalt.

Bam! I’m in 100%. There’s no getting away from this story now even if I wanted to.

And that, writer peeps, is what a great hook does. It forces the reader to keep flipping pages to answer questions raised in the hook. Now, do you have to use this technique in your hook? No. There are plenty of great stories out there that start at a certain point in time and continue forward. This is just another way of doing it. And one that works remarkably well.

To use this technique correctly you can’t simply take your climax and stick it at the beginning. That will get you nowhere fast. You’ll also ruin a crucial part of your story. The Hook also doesn’t have to be a moment that occurs in the climax. It can set up the First Plot Point, the Midpoint, the Second Plot Point, the Climax, anywhere really. Doesn’t matter. The choice is yours.

For instance, in my WIP the Hook sets up the Midpoint, because at the Midpoint the story does a 180 to the point of no return. It’s the part of the story that raises the most questions and, therefore, the perfect spot for a Hook. And that’s the point you need to find in your story, where the most questions are raised, a tease, a tantalizing peek at what’s to come. But I’ll tell you, when using this technique it’s easy to forget to invest the reader in your protagonist. Which brings me to…

How To Get Readers To Root For Your Hero

Contrary to what many believe readers do not have to like your main character. I hear boos and the shaking of disapproving heads. Stay with me. They don’t have to “like” your hero but they do need to “empathize” with him/her. And that’s the key word… empathy.

How do we do that?

Let’s hear from the man himself, Larry Brooks. This quote is from Storyfix…

“… we readers need to recognize something of ourselves.  We need to empathize. Most of all, we need to get a sense of what the hero’s inner demons are.  What is their backstory, what are the worldviews and attitudes and prejudices and fears that define them and hold them back?  What are their untapped strengths, their unwitting secrets?  These are the things the hero must later, when squaring off with the antagonistic force, be forced to acknowledge in order to step up as the primary catalyst in the story’s conclusion.”

I’m not suggesting you dump a whole lot of information about the protagonist in the opening pages. Kill me now if you think that’s what I’m proposing. Just sprinkle enough inner demons, wants, needs and/or desires to create empathy. The rest of their backstory you can pepper throughout the novel. Especially the first quartile — the first 20%-25% — the set up phase before the First Plot Point — the most important moment in your story, because that’s when your main character begins their quest. I’ve briefly written about this before (and I’m sure I’ll write about it again) in How To Create A One-Page Synopsis Using Story Beats, which you can check out here.

So, what do you think of starting your novel much later in the story? Have you read any good books that use this technique, or are you using it in your novel? Tell me about it in the comments.

I wish those who celebrate a safe and fun Memorial Day weekend.

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How To Craft A One-Page Synopsis Using Story Beats

The dreaded synopsis. Anyone who’s chosen the traditional path into publishing know that these pesky buggers are enough to drive a writer to drink… literally.

I have good news and bad. The good news is I’ve found a solution to help keep your liver in tact. The bad, no matter how much you might hate writing these little darlings a synopsis is the only way of selling your book to a publisher. You will have to learn.

Over the years I’ve read so many posts on this subject it felt like my eyeballs were bleeding. What surprised me most was that very few ever mentioned story beats, never mind using them for a synopsis. Which is why I’ve decided to share my discovery.

When you use story beats to create your synopsis something amazing happens. All that pressure weighing down your shoulders, crushing your literary spirit, while you try to boil your 400 page novel down to one page, immediately eases. Because now you’re only dealing with the beats.

I know this because I wrote my synopsis this way. It took me no time at all, gained me a full request within an hour of sending it, and I actually enjoyed the process. I can hear the shaking of heads in disbelief on that last comment, but stay with me. It does get better; you’ll see.

First you need to know what story beats are. In simple terms, story beats are the milestones you hit when telling your story. The tent poles that hold your story up and keep it from sagging, the foundation on which your story stands. Those of you who plan your novels in advance know exactly what I’m talking about and can skip over the next part. For pantsers without a firm knowledge of structure, this becomes more difficult. You’ll first need to find your beats. Which you should do anyway to make sure they’re placed properly. Without structure your story could sag in the middle, have an early start, reduce tension, or veer totally off course.

Believe me, I have drawers full of novels like this at various stages, written before I learned to plan my stories. Now, however, since I know where my story is going and how to get there, I am less apt to trash a novel half or three-quarters of the way through.

Let’s get down to it.

STORY BEATS

HOOK: A scene meant to introduce the hero and hook the reader, keep them from putting your book down, entice them to read on. The reader must either relate to, or empathize with, the hero. Contrary to what some believe a reader does not have to like a main character. There have been plenty of unlikable heroes that have hooked us for an entire novel. Why? Because we empathize with them. Like them or not, the reader must root for them. And that’s key.

Many new writers start their story too late. Thus, not allowing the reader to care what happens to the protagonist. I’ve done this myself — more than once — and had to go back and rewrite the hook.

INCITING INCIDENT (OPTIONAL): Not every story has to have an inciting incident in the way I use the term. Some call the Inciting Incident the First Plot Point. I refer to it as a foreshadowing of the First Plot Point, placed earlier than 20-25% mark, but without affecting the protagonist. And that’s the difference here. Having an inciting incident, however, does not relieve you of properly placing the First Plot Point. It merely sets it up, foreshadows what’s to come. It can even be an entirely different event, one that relates to the main plot, but is actually a false start.

FIRST PLOT POINT: Here’s where your story really begins, perfectly placed at 20%-25% of the way into the story. For instance, in a 400 page novel this would occur around page 80-100. The First Plot Point is the single most important scene of all the beats because it kicks off the action and sends the hero on a quest, which IS your story. Even if it’s been foreshadowed or hinted at, the first plot point shows the reader how it affects or changes the protagonist. Get this one wrong and your story will fail.

FIRST PINCH POINT: A peek into the antagonist force preventing the hero from reaching her goal. If you missed my post on Pinch Points you can find it here. The First Pinch Point comes about 37.5% into the story, or at the 3/8th mark.

MIDPOINT: Placed smack dab in the middle of the story, or at approximately 50%, this scene changes the protagonist from wanderer to warrior, attacking the problem head on.

ALL IS LOST MOMENT: The title says it all with this one. Here’s where your hero is at her lowest point, believing she’s failed. It occurs right before the second plot point, also known as the second plot point lull.

SECOND PLOT POINT: 75% of the way into your story, this scene launches the final push toward the story’s conclusion. This is the last place where you can add new information, characters, or clues. Everything the hero needs to know, to work with, or someone to work alongside, is now in play by the end of the 2nd Plot Point.

SECOND PINCH POINT: You must devote an entire scene to this pinch point, which comes in around the 5/8th mark, whereas with the first pinch point you don’t. It’s another glimpse of the antagonist force in all his glory, now more frightening than before because, like the hero, he too has upped his game.

CLIMAX: The hero conquers the antagonist force or, in some stories, martyrs herself. Personally, I’ve never read a story where the hero dies, but it is an option. And here’s when it will happen. The main thing to remember is that the protagonist must be the one to thwart the antagonist and not merely be present when it takes place. After all, this is her story you’re telling.

RESOLUTION: Completing the quest, stronger for the effort, the resolution shows the hero in her new life.

Okay, now you have your story beats that show the overall plot of your story. Don’t be concerned with subplots in your synopsis unless you’re allowed more than one page. Which rarely happens. Your one-page synopsis should have three or four paragraphs, depending on whether you use a three or four act structure. One paragraph per act.

Briefly tell what happens in each beat. This is not the time for showing. Use as few words as possible. Don’t worry that your story sounds as dry as burnt toast with no butter. If you’ve done it right — brief being the key word — you should have extra room to spice it up.

Once you’ve got your beats in paragraph form go back to the beginning and look for places where you can tighten, where you’ve used two words instead of one, etc. Refer to a thesaurus, or read the notes you took on your favorite novel and look at how the author condensed his/her words. If you’re not a note-taker check out the mini-synopsis on any book cover. You can bet your favorite author has chosen his/her words carefully.

Now, go back and add a short line of dialogue here and there, and/or sprinkle adjectives that paint a better picture. Be direct when describing your protagonist. For instance, for my latest novel, MARRED, instead of just saying my character’s name, “Sage Quintano”. I could say, “Sage Quintano, a grief-stricken writer.” That’s four extra words, but it gives the reader a better understanding of who she is. Unfortunately, “grief-stricken” is cliché, so I want to change that and see if I can whittle it down further. “A despondent novelist”. That’s only three words, more direct, and it raises a story question: Why is she despondent? Keep in mind that you will have to answer any questions you raise. Nothing irks agents and editors more than a writer teasing them in a synopsis. Save that for your query letter.

Write the synopsis in third person, present tense. It doesn’t matter that the book is in first person or deep third, past tense. This is a rule, and it’s clearly stated on agents and publishers website. Break it at your own peril. Above all, relax and have fun. And don’t forget to breathe. LOL

With writing in general as well as crafting the perfect synopsis…

MAKE EVERY WORD COUNT

If you’ve written a successful synopsis and have any pointers not mentioned here please share in the comments. As always, I wish you huge success. If the synopsis you write using this method aids you in securing representation or a publishing contract please let me know so I can help you celebrate.

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Pinch Points In Fiction Writing

A few people have recently asked me what Pinch Points are, which made me wonder if others are struggling with what they are and how to use them. After a quick Google search I realized there isn’t really much written on the subject, oddly enough. And they are crucial milestones in fiction writing because they show the face of evil in its purest form. The Pinch Points demonstrate what your hero is up against, what causes him/her to jolt straight up in bed, the bogey man in the nightmare.

“We need to see that antagonist form in its purest, most dangerous and intimidating form. Or if it isn’t dangerous then at least we need to feel it for ourselves.” — Larry Brooks

“An example, or a reminder, of the nature and implications of the antagonist force, that is not filtered by the hero’s experience.” — Larry Brooks, Story Engineering

Two pinch points in every story

The main difference between them is the placement. The First Pinch Point comes midway between the First Plot Point and the Midpoint. Since the First Plot Point comes at 20%-25% into the book and the Midpoint comes at 50%, then the First Pinch Point would come at the 3/8th mark, or approximately 37.5%.

With the First Pinch Point the reader needs to see the antagonist form for herself and not merely hear it referenced or discussed. She needs to experience it, either through the hero’s eyes or through the antagonist himself. In crime fiction this can be a murderer planning his next kill or stalking his next victim. Or a kidnapper beating his captor, and enjoying every minute of it. Or even playing the captor’s recorded screams over the phone for the hero.

The simpler and more direct the pinch point the better. The important thing to remember is that the reader must feel it. Even if you choose to use a cutaway scene of the evil the protagonist is facing then you’ve fulfilled the need of the First Pinch Point.

Anyone who’s ever read a James Patterson thriller has seen these many times in all their glory. They stick right out because he uses short chapters that show what the antagonist is doing — planning, scheming, killing. Make no mistake, he knows exactly where to place them to keep the reader flipping pages.

The Second Pinch Point should appear between the Second Plot Point and the Climax. Regardless of whether you use a three or four act structure the Second Pinch Point should appear around 5/8th mark.

This time you need an entire scene devoted to it whereas with the First Pinch Point you don’t. A pinch point is a demonstration of the nature, power and very essence of the antagonist force. And now, it’s more frightening then ever. Because at the Midpoint shift your character changes from wanderer — where he or she is trying and failing — to a real hero attacking the problem head on, your antagonist force will also up his game. And the Second Pinch Point is the time to show just how evil he really is.

The Second Pinch Point could be a discussion between one character and another reminding the reader of what he or she is up against, even if the antagonist force is within your hero, depending on your story.

I love this analogy in Story Engineering…

“The First Plot Point, Midpoint, and Second Plot Point are your big meals. Don’t skip them if your goal is to add dramatic tension and jack the pace to your story. The Pinch Points are like nutritious snacks between those meals — mid-morning and mid-afternoon. They’re good things. They give you energy, they nurture you. You wouldn’t eat them too soon after a big meal, nor would you eat them right before a major meal. No, they’re right smack in the middle of the gaps between those meals. As for any other snacks (moments in which your bad guy does his thing), well, remember that in this analogy you’re trying to gain weight… so go for it. The more calories you stuff down the reader’s throat the better.”

As writers we often concern ourselves with the hook and the big twist ending, perhaps even the Midpoint. Without well-placed pinch points, though, the story will lose its sense of rising action and tension.

For example, in Silence of the Lambs the First Pinch Point comes when Hannibal Lecter gives Clarice the location of a storage facility where she finds a jarred head of one of Buffalo Bill’s victims. In their twisted relationship this is akin to him giving her a dozen long-stemmed red roses. The Second Pinch Point comes when Hannibal gives her the map of Buffalo Bill’s murders, which ultimately helps her break the case and find the killer.

Let’s have a little fun and tell me what the first pinch point is in your story, or an example in your favorite book. Leave it in the comments below.

In my novel, MARRED, the First Pinch Point comes when a killer, responsible for a string of murders, calls Sage and tells her he has her sister Chloe and if she doesn’t obey he’ll kill her, mar her like he did the others — eyes and mouth X’d out with black wire, erased from her ghostly pale face.

Your turn. Go!

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