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For the next month, my writing goals for my work-in-progress novel trilogy are clear: conflict, emotion, surprise, enrich.
The trilogy is tentatively called, The Blue Planets, and is an early-teen or YA science fiction. Book 1, The Blue Marble, has a complete draft; for Books 2 and 3, I have complete outlines. I’m happy with all of it, but I know it needs to go much farther before anyone sees it. For the next month, I’ll work simultaneously on revising Book 1 and the outlines, trying to weave them into a more coherent whole.
4 Revision Goals
Conflict. The first goal in revising The Blue Planets is to up the conflict.
No conflict = no story, no readers.
Small conflict = small readership.
Big conflict = bigger readership.
Huge, gut-wrenching, moral-decison-making conflict = huge, engaged readership.
I’ll be looking at conflict globally and in each scene. Man v. nature is built into the story in powerful ways already. But I need to look at man v. man, both overall and in each scene. How can I put people at odds in more ways and in more interesting ways?
Emotion. Always my weakest point, I’ll go scene by scene and ask questions:
What emotional things happened just before this scene? What’s the attitude of each character coming in?
What is the worst thing–emotionally–that could happen to the main character? That’s what I must confront him with.
What is the emotional arc of the scene?
What else can I do to deepen the emotional impact?
Surprise. Readers read for entertainment. If they can predict exactly what happens in a story, they’re bored. I’ll go through–especially the outlines–and ask, “What does the reader expect here?” I’ll look for ways to twist that expectation to fulfill it, but with a twist.
Enrich. I’m excited about enriching the stories, because this part gets past the basic plotting and into fun stuff. Where can I add humor? Here are previous posts on 3 humor techniques and then 5 more. I’m hoping for a running gag, at least. I’ll be working to tie the three books together through scene, character, bits of dialogue, running gags, perhaps a bit of clothing, or a mug of triple-shot venti mocha–something. Enrichment might be adding bits of scientific information artfully, without doing an information dump. Making the characters quirkier and more fun to be around. Loosening up on dialogue.
By the middle to end of July, I expect the BLUES to be in shape to send out. I’m excited.
What are your goals for summer writing?
Hi folks, I'm starting a series that will last for the summer. It's called Publish and is in conjunction with my TEENSPublish workshop at the Ringer Library in College Station, Texas. This is the third week I'm covering plot. I think some of this will relate to any creative life.
Oh, yes, when you tell a story, you must offer a plot.
First up, an exercise, characters writes a letter to the writer about his or her journey. Try this. You might find something out about your character's journey that you did not know before. Plot is related to character. Who you are has a lot to do with what you want. What you want has a lot to do with what you will do. What you do has a lot to with who you are. Put plot and character together to write a compelling story.
Finally we spent some time writing and sharing a section of work with each other. For me, this is essential for creating a plot. Watching for glazed over eyes or riveted eyes while reading your story will tell you much about how you are doing in terms of your plotting.
The toughest thing for me to learn about plot was the mid-point. This is a crucial part of plot. In PLUMB CRAZY (me writing as Cece Barlow), my mid-point comes with the boyfriend fail. My character seeks her concept of the perfect boyfriend, but at the mid-point realizes her concepts are not working. She releases her preconceived notions and this leads her to something better than perfect -- a real boyfriend.
I hope you will come back next week for notes on setting.
Now a doodle. I saw this in a dream: two hats.
A quote for your pocket.
What I dream of is an art of balance, of purity and serenity devoid of troubling or depressing subject matter - a soothing, calming influence on the mind, rather like a good armchair which provides relaxation from physical fatigue. Henri Matisse
Iâve long been a fan of mysteries. Trixie Belden was my BFF as a third and fourth grader. Nancy Drew was another favorite. Veronica Mars updated the teen sleuth idea, bringing the storytelling form to a new generation.
When I got the chance to work on Valynne Maetaniâs Ink and Ashes, our new YA mystery which comes out in June,Â all of those mysteries and more were going through my mind. Claire, the main character, has the spunk and curiosity of Veronica Mars and all of her predecessors, but sheâs also a little different. And to honor those differences in the editing process, I needed to refresh myself on whatâs out there right now in the teen mystery/suspense genre, and the mystery genre in general.
As I was editing Ink and Ashes over the course of about a year and a half (which spans two developmental edits and a line edit), between edits I was reading mystery after mystery. I stocked up on Agatha Christie, I rewatched Miss Fisherâs Murder Mysteries and read the first book of the series itâs based on (Cocaine Blues by Kerry Greenwood), I read multiple YA suspense, spy, and murder mysteries.
That reading reminded me that a great mystery read requires the same elements as any good read: well-paced plotting, characters the reader cares about enough to want to know what happens next; even world-building, though thatâs a term we generally associate with speculative fiction, is tremendously important in setting the stage in a mystery. But my rereading of classic and contemporary mysteries also showed me that more than in any other genre, a sense of suspense and danger must permeate the mystery book, must drive the reader to breathlessly wonder what will happen next.
Ask probing questions
One of the biggest challenges in this editâwith any edit, really, especially with an author youâve never worked with beforeâwas discovering how to bring the authorâs vision of the characters fully to life. An editorâs job is often to just ask questions: Why is this happening right now? Why would that character decide to do this? What is the goal here?
In that way, figuring out the goal allows the editor to ask further probing questions on what the solution might beâfiguring out how current plot points and character decisions hamper the desired effect.
“The plot thickens” turns out to be true
The biggest thing I learned while editing Ink and Ashes and reading all these mysteries is the importance of plot escalation. In the original draft, clues did of course build up into a frenzied final few pages of conflict that were very enjoyableâthatâs one of the reasons the book won our New Visions Award. But comparing the early manuscript to mysteries I enjoyed the most, I realized that there were so many ways that the narrative could be complicated. (Valynne was on the same page. As she waited for the results of the contest, she was also already thinking of ways to improve the manuscript. That kind of editor-writer synergy makes a huge difference in any book project like this.)
We looked at the end goal, and discussed the plot points that got Claire and her friends to that point. In particular, we discussed how the inciting incidentâthe moment that gets Claire to veer her course to investigating whether her father and her stepdad ever knew each otherâmight be complicated and how those complications would have a ripple effect that would improve multiple other plot points, and increase the pacing.
In other words, escalation. If the reader didnât feel the suspense at every page turn, we had work to do.
Valynne worked very hard on making that happen, and Iâm very happy with the results! In answer to all my probing questions, Valynne improved on an already-well written manuscript to bring what was an interesting read to the level of an exciting page-turner thatâs getting readers hooked. Thatâs the end goal for any editor and author: Creating a final book that readers canât put down. Iâm happy to say, we succeeded with Ink and Ashes.
Stacy Whitman is Editorial Director and Publisher ofÂ Tu Books, an imprint of LEE & LOW BOOKS that publishes diverse science fiction and fantasy for middle grade and young adult readers.
Thanks to the computer industry, we no longer have first readers, we have beta readers. Early versions of software that engineers expect to be riddled with problems were called beta versions. Beta is the second letter in the Greek alphabet, so presumably, the alpha versions were kept all in-house. Betas were the first public versions to be released.
The terminology has come over to writing and we now have beta readers. The analogy holds in some ways: the versions we send to outside readers probably isnât the âalphaâ version; instead, itâs a version that is ready for a public audienceâbut not ready to be published. We expect problems: typos, grammar slip-ups (Grammar Queens, I Love You!), plot holes, character inconsistencies, factual errors, and so on.
What do you want from your Beta Readers?
Factual details. My WIP is set on Bainbridge Island, which sits in the middle of Puget Sound near Seattle, WA. Iâve visited a couple times because my brother- and sister-in-law live there. However, Iâve not lived there, and Iâm not grounded in everything BI. Iâve asked them to read through for factual details related to the setting.
To write this story, I drew on my trips to the area, as well as maps, views from Google Earth, historical accounts of the area, writings about the area, information about the local flora and fauna. Iâve done my homework. But thereâs nothing to beat living in the locale for years. I would never have dared to set the story in the area except I knew I had these two gracious beta readers.
Bored. I also asked them to flag places they were bored. Wow! Do I need this one. The overall pacing from chapter-to-chapter, and the local pacing from paragraph-to-paragraph both concern me. I want the story to pull a reader along without a pause. If a beta reader is bored, I need to know. I can fix it, using a variety of tools. I just need to know where to work on it.
Confused. Likewise, if the flow of the story confuses the reader, I need to know. Of course, there may be places you WANT the reader to be confused. Iâm not talking about that. Iâm looking for places where the reader has no idea what is happening. Again, I can fix it: I donât want beta readers to suggest HOW to fix it. I just want to know where to pay attention.
Consistency. In characterization, I find my biggest problem is consistency in portraying emotions, motivations, reactions and so on. Part of the process of writing is to find these deeper issues within your character, and for me, I often find them late in the story. That means I have to go back and make sure Iâve set up a motivation and expressed it consistently across the story. And sometimes, I miss something.
While Beta Readers Read
This time, Iâm trying not to work on the story while the beta readers do their thing. That doesnât mean Iâm not thinking about the story. On the contrary, itâs in the background of my thoughts all the way.
We went to see The Avengers movie last week. If you saw it (SPOILER ALERT), thereâs a huge action scene at the end with all the Avengers protecting the explosive device while robots come at them. Itâs a great moment because the team has come together and they are working in concert. Besides that character moment, itâs also a huge action scene. And I mean huge. I almost turn away these days at the fast-paced fighting because there is moment after moment of continuous fighting. The last Transformer movie struck me this way, too: when thereâs too much action, it deadens the moment for me.
But it also gave me a new perspective on the ending of my story. The hero doesnât take a big enough part in the action. He is there (hurrah!). He is active (hurrah!). But his parents get in the way. I need to get rid of them and pit him directly against the villain.
In other words, I hit the target with the ending, but itâs not a bulls-eye, yet.
Thatâs the sort of thing Iâm thinking about while the beta readers read. Where have I hit the target, but Iâm not hitting the bullâs eye?
I may not be typing words into a program about the story during this time, but Iâm working on it. When I get it back, Iâll have a flurry of revisions to do. Isnât it great?
Oh, my gosh. The Saving the Planet & Stuff storyline involves Michael discovering that a major store chain has been selling insulation with mold. The Earth's Wife, the magazine he's working for, has the opportunity to blow this story sky high, but the new managing editor has kept the story from publisher Nora Blake because he wants to take The Wife in a different direction. Michael finds himself in a dilemma that involves one of the book's major themes--how do we decide what is the right course of action, the right thing to do?
Well, just now I read that Home Depot is phasing out toxic vinyl flooring from its stores! Now moldy insulation that causes hallucinations isn't toxic flooring "linked to a laundry list of ailments." Plus it sounds as if Home Depot is acting pro-actively in requiring the the chemical in question no longer be used in flooring it carries while the company in Saving the Planet & Stuff doesn't. But except for all that, I see a parallel. It's there! I'm not hallucinating. (Well, not much.)
Man, what luck that I republished Saving the Planet & Stuff a mere two years before this happened so everyone can ooh and aah over how prescient I was, huh? Also, what luck that I still haven't replaced the flooring in my kitchen. When I go shopping, I'll be checking out the chemical content of those vinyl squares I'm looking at.
Bestselling author, David Farland is not only a great author, but he's a great writing instructor. If you're an aspiring author and do not subscribe to his writing tips, you should. Today he posted a writing tip on brainstorming obstacles for try-fail cycles that I love. Try-fail cycles play a critical role in creating tension and moving a story's plot forward. But often effectively executing the the try-fail cycle as a writer can have mixed results. David's post gives some great insight for those who struggle with try-fail cycles or just need a little more help coming up with more creative ideas to throw more obstacles in your protagonist's path.
Here’s something I’ve been thinking about a lot recently. In my work with editorial clients, I often see two types of stories. This can extend to the offerings on the shelves. Sometimes there are stories about making fate, and sometimes there are stories about following it. Both are valid and interesting, but there are unique considerations to each.
What is your protagonist setting out to do in the story? Is their future an open book or are they bound by some sort of mechanism to a specific outcome?
In the example of “making fate,” I’d say that your protagonist has something that they absolutely, positively want (objective) and they set out to get it. They are more active throughout, and they drive the events of the story by pursuing whatever it is. They are the tip of the arrow, and the plot follows from them. They will encounter obstacles, certainly, and they will be frustrated in their pursuits, but if I look on the page, I will see someone who is spearheading the story. The character leads the plot, more or less, with usually some wrenches thrown into the mix.
In the example of “following fate,” I’d say you’re writing about a character who may or may not be in charge of dictating where the story is headed. One very common version of this is the “Chosen One” or “prophecy” story style, where the protagonist has something they’re bound to do, whether they like it or not. This is usually sprung upon them at a very inopportune time in their lives, and has dire consequences if they reject the fate or fail at their mission. In this case, the protagonist isn’t as much the leader of their destiny as they are a follower, and in stories like this, the plot leads the character’s development instead of the other way around.
Both story types are valid. But they have a lot to learn from one another. I think that, in the long run, a strong character has more potential than the one that’s simply following orders, training, learning their mission from a dusty piece of parchment or oracle, etc. etc. etc. So when there’s a “Chosen One” plot on my desk, I suggest that the writer find some agency for the character and let them lead certain events, rather than spend the bulk of the plot being groomed by others to fulfill a prophecy.
If you’re worried that this might be describing your plot, here’s a previous post on how to make the character more active, someone who manages to steer, regardless of their circumstances. And take heart, though this story type has the potential to lie flat on the page, and I see it a lot in aspiring manuscripts, two of the most famous heroes in children’s literature have started in this situation. Katniss in The Hunger Games and a little wizard named Harry both had their destinies planned. Katniss was to die as a Tribute in the Hunger Games, and Harry had the double pleasure of first facing the destiny of being forced into an ordinary Muggle life, then being forced into a very extraordinary wizard’s life. While he does end up filling his extraordinary wizard shoes (the prophecy of the Boy Who Lived comes true), he does it in his own way.
While I don’t often see this issue, a “making fate” character can run into trouble as well. When these stories go south, it’s because they can be all personal conflict (internal) without too much plot tension (external), because that decision-making protagonist tends to be the end-all and be-all within a story.
What’s the conclusion to this line of thought? The usual. It’s all about balance. If your plot is driving your character, give your character some moments of choosing her own destiny. If your character is driving your plot, let their relentless drive forward take a few unexpected left turns, courtesy of an enhanced plot.
A cliche is a phrase or expression that has been used so often that it is no longer original or interesting.
A trope is a common or overused theme or device, as in the usual horror movie tropes.
I’m in the middle of plotting a massive 3-book story and I need all the help I can get. Here’s the problem: what happens next?
No, let me rephrase: what could possibly happen next?
Sometimes, I just need to know possibilities, or what a story typically does at a particular stage. What are the possibilities? Is this a place for a murder, a confession, a love scene, or a time to gather information?
Literary folk say that there are only a limited number of stories in the world. Depending on who you talk with, there might be just two stories: a character leaves town, or a stranger comes to town. Others say there are up to 32 plots. I’ve written about 29 plot templates before. And it helps immensely to narrow down the choices.
But that’s on the level of an outline. Now that I’m deep into deciding on scenes, my imagination comes up short.
Enter tropes. A trope is a common theme, something that’s been done before. That doesn’t scare me away, because it’s the same as the variety of themes. Every story is a cliche, trope or template in many ways. It’s all in how you TELL that story. The beauty is in the particulars.
My story needs a romantic subplot. I know the basics.
Act 1: Boy Meets Girl/Girl Meets Boy
Act 2: Boy and Girl Fight or are otherwise kept apart.
Act 3: Boy and Girl get together.
But what else? What is possible at each stage?
I turned to TVTROPES.org for help. Their site is a wiki that list all sorts of tropes. The Romantic Arc Tropes list was helpful because it listed typical things that happen at every stage of a romantic relationship.
For example, a story might start with this trope/subtropes:
Love Before First Sight
Because Destiny Says So
Childhood Marriage Promise
Red String of Fate
Girl of My Dreams
New Old Flame
Each of the tropes listed has its own wiki page, which explains the trope in detail. Particularly valuable are the examples drawn from traditional literature, manga, comic books, fanfics, films, live-action TV, professional wrestling, table top games, theater, video games, webcomics, western animation, real life and more. It’s a treasure trove of examples of the POSSIBILITIES of a particular stage of a relationship.
In fact, I used this romance arc by choosing one trope from each stage of a relationship and slotting that into my story.
Are you afraid that my story will be trite and boring? I’m not. I know that this is a trope and therefore, I must transform it in the storytelling phase of the project. Right now, though, this trope acts as a place holder, something that indicates approximately what will happen in this spot of the story, but not exactly. The nuances that make it fresh await the actual writing.
Using tropes to hold a place with something reasonable makes the plotting easier. I’m loving this help in plotting.
Here are some Arcs to get you started. Be warned: this is a massive wiki and it’s easy to get lost in it. Know what you are looking for and get it/get out.
One of my favorite things to talk about these days is character buy-in. It’s the idea of committing to the story, and when your character decides, “Screw it, I’m all in, let’s see where this crazy adventure takes me.” It’s very important, especially in fantasy, action, paranormal, etc. stories where there’s a certain amount of disbelief or world-building that needs to be overcome. I mean, Percy Jackson didn’t exactly imagine his life as a demi-god when he was just starting out. It took him a little while to get on the roller coaster and strap himself into the seat.
Fiction is built, ideally, in layers. We have the basic foundation of a story, then we layer something on as the plot advances or a relationship changes, then we layer the next development onto what exists already, then the next, then the next. It’s important, then, to solidify each layer before building on. We are, in essence, creating something out of nothing when writing fiction. The world doesn’t exist until you establish it. The relationships don’t come to life until you define them. The plot doesn’t mean anything until we combine the events with your protagonist’s objectives, motivations, and development.
Done right, this delicious fiction layer cake will be very satisfying. But the whole thing sort of tends to fall apart if each layer isn’t solidified properly before the next one is poured on. An instance where I notice this issue is when a character flip-flops in their opinions about a plot point or character. It’s one thing to consider one issue with multiple layers: that’s called building complexity. But when a protagonist can’t decide whether they can trust Character A, and this goes on for five chapters, I say it’s flip-flopping.
Let’s extrapolate on this a bit more. The protagonist wants to trust A, but A just told one of their secrets to the antagonist. Your character is really pissed off at A, but they also believe that A is the only person who can help them along in the story. So, with some nagging doubt in their mind, they decide to trust A because the benefits outweigh the risks.
What I’ve described above is a complex situation. The trust is established, but there’s something going on below the surface that colors it a certain shade of wariness. The most important part, though, is that the protagonist has decided to commit to trusting A. They have bought in.
Compare this to the same scenario. And let’s say the decision is made in chapter one to trust A. But then in chapter two, the protagonist avoids A’s phone calls, saying “I just can’t trust them.” In chapter three, your character crawls back to A to ask a favor, acting for all the world like there’s an intact relationship. In chapter four, the protagonist spurns A’s friendly advances, vowing to go through the rest of the plot alone.
But didn’t we say we trusted A in chapter one? Why does the tide keep shifting? To go back and forth on a commitment sends the reader for a loop. “I thought we agreed on A, and now the rules have been rewritten!” I’ll say as I’m reading a manuscript where flip-flopping is an issue.
The bigger problem here is that flip-flopping isn’t an action. Taking one step forward and one step back doesn’t advance either the plot or the relationship (in this case, the protagonist and A). There’s a slight distinction between committing to conflicting viewpoints about a character because of advances in the plot. For example, the protagonist can fully buy-in to trusting A, and only after some deep betrayal will they make up their mind to forge ahead alone. That’s complexity, and it’s the evolution of a fraught relationship. But the key is commitment. Buying in. Without it, the protagonist changes their mind without investing, resulting in flip-flopping and leaving the plot and relationship development stuck.
Some writers think that flip-flopping is complex, and in some ways, safer. Their characters have angst, but they don’t actually go down any wrong paths. They just keep changing their minds. I don’t find that this is beneficial in the long run, in fact, it’s maybe even a bit shallow. Instead of flip-flopping, commit! Buy in!
Short, practical instruction from Darcy on a specific topic
A simple “Walk the Talk” action to take
Over the course of the month, you’ll receive the entire text of Darcy’s book, 30 Days to a Stronger Novel (November, 2014 release).
We can’t guarantee that you’ll end the month with a publishable novel; but we can guarantee it will be a STRONGER novel.
We can’t guarantee a publishable novel; but we can guarantee a STRONGER NOVEL!
Today I'm pleased to share with you a guest Wednesday Writing Workouton creating tension in fiction from award-winning author Maureen McQuerry. Before I tell you about Maureen, a quick reminder that it's not too late to enter for a chance to win a copy of the 2015 Children's Writer's and Illustrator's Market (CWIM) edited by Chuck Sambuchino and published by Writer's Digest Books. See the link at the end of today's post.
Now, about Maureen McQuerry: I was recently introduced to Maureen (via email) through a mutual friend. Her first YA novel, The Peculiars (Abrams/Amulet) was an ALA Best Book for Young Adult Readers 2013, Bank Street and Horn Book recommended book, and a winner of the Westchester Award. Her most recent novel Beyond the Door (Abrams/Amulet), has been named a Booklist top Ten Fantasy/SciFi for Youth. The second book in the series, The Telling Stone, releases May 2015. Maureen has taught writing to children and adults and loves giving author talks in schools and at conferences.
Before I share Maureen's WWW on tension, here's a little about her newest novel, Beyond the Door:
Between his love of learning and his passion for Scrabble, Timothy James has always felt like an outsider. The only person who really understands him is his older sister, Sarah, and heâs also fairly certain nothing interesting will ever happen to him. But one dark spring night, everything changes. A mystery of unparalleled proportions begins to unfold, revealing Timothy's role in an ancient prophecy and an age-old battle of Light against Dark. Together with Sarah and the school bully, Jessica, Timothy must embark on a quest to prevent the Dark from controlling the futureâand changing the past. Can the trio work together in order to fight the ancient evil that threatens our world? The first book in the Time Out of Time series, Beyond the Door, is a fast-paced adventure that combines Celtic myth, shapeshifters, and a secret code in a coming of age story.
VOYA described the novel as "jam-packed with twists and turns," a sure sign that Maureen knows a thing or two about creating tension. Here's her Wednesday Writing Workouton the topic:
Wednesday Writing Workout: The Stakes Should Always Be Death by Maureen McQuerry
Story isn't about plot. It isn't about character or setting or a great idea. It's about how events change people. We keep reading because we want to find out how a character navigates all the struggles that come her way. In fact the most critical component in reader satisfaction is the protagonist's arc. And notice I used the word struggle, because struggle is what changes characters. It's what changes us.
Struggle implies conflict and tension. Tension keeps us turning the pages. But how do you add conflict and tension to a story without an explosion or battle scene on every page, maybe without explosions or battles in your book at all? Tension begins with the stakes. If you've ever been told your novel is too quiet, it may be that your stakes aren't high enough. The greater the stakes, the greater the risk, the greater the tension and the more pages turned.
What do I mean by stakes? Stakes are what your protagonist has on the line. In a dystopian world like Hunger Games, the stakes are personal survival, survival of people you love, of a community, of the world. But not every story will or should be dystopian or apocalyptic. The stakes may be the risk of emotional death. In my MG novel Beyond the Door, Timothy finds himself in physical danger, the type of danger that might result in death, but he fears failing to complete his challenge almost as much. He believes it's his one chance to prove himself in the eyes of his friends. His self-worth is on the line.
For the reader to be concerned, risk has to be real and the protagonists' motivation worthy. Worthy motivations involve noble concepts like: forgiveness, love, redemption, self-worth. For example, a character who wants a part in the school play engages us when the stakes are based on a motivation that is worthy. She wants a part in the play because she sees it as a way to connect with her estranged father who was once an actor, but has rejected her or because she's never once fit in anywhere, been bullied or is handicapped and it's her one chance to find a community. If she fails here, she may never try again. Hope and worry for the protagonist create tension.
A good beginning question to ask is what are the stakes for my protagonist? What is at risk? What will die?
Because a story is about how events change characters, you must have a clear idea of your character's arcs. In Beyond the Door, Timothy needed to evolve from an insecure observer to a confident leader.
Ask: What is my protagonist like at the start of this adventure? What do I want her to be like at the end of the story?
What will it take to get her there? What kind of gut-wrenching decisions, public humiliations, dark nights of the soul? What antagonists will she have to face?
Does each turning point create change? That's what moving a story forward means.
Below are some considerations for assessing your story for tension. Assessing the risk in your story:
The risk of failure must be real and must be devastatingâbig consequences.
Conflict must be external and internalâyour protagonist must struggle in her mind and heart and with external forces.
Tension must be relentless.
A clear antagonist strengthens the conflict.
The solution must require everything the protagonist hasâthe greater the risk, the more we worry.
The solution should be inevitable, but surprising (Aristotle).
A few time honored techniques to increase tension, such as those below, will keep readers turning the pages.
Techniques to increase tension:
Increase the stakesâas mentioned above
Withhold info from protagonistâmystery novels are a great example of how one missing piece of information can put your protagonist at risk.
Introduce doubtâWho can she trust? Were her assumptions faulty?
Limit timeâthe ticking clock.
Give and take awayâjust as your protagonist has everything she needs, the bottom falls out.
Whatever struggles your character faces, remember they are the engines of transformation and tension is the fuel.
Thanks for this, Maureen. I've already used your questions to assess (and up!) the level of risk in my current work-in-progress. Readers, if you try any of these techniques, let us know how they work for you.
Writing Instruction Video for Teachers and Aspiring Writers
Want to know the basics of plot? Need a simple and entertaining way to learn or teach plot development? This short video can supplement teacher's lesson plans on plot basics. It provides step-by-step instruction and examples of plot diagram elements, including plot introduction, rising action, climax, falling action and resolution. Enjoy!
We talk a lot about the importance of writing characters that readers like or can relate toâand by “we” I mean anyone who feels strongly about books, regardless of profession. It’s nice to know when the good guy is good and when the bad guy is bad. That’s what you expect from a story. You want a hero, right?
Nope. Not this reader.
I love unlikable characters. It’s fair toÂ say that if there’s a no-good, dirty, rotten scoundrelÂ in the lead, I am 100 percent on board. But it seems incongruous, doesn’t it, that a character who is whollyÂ unappealingârepulsive, evenâshould be something readersÂ might seek out. And one step further, it seems counterintuitiveÂ to recommend that you writeÂ characters that readers willÂ rightfullyÂ dislike.Â And here, I think, is where unlikable and uninteresting are confused.
Be they bad apples or good eggs, a character needs to exhibit enough agency to earn a reader’s attentionâregardless of whether that attention is positive or negative.Â And herein lies the key: You can make your protagonist as low-down and dirty or as mindful and generous as you please, but she has to be the engineer of her own conflict to earn readers’ interest. A characterâgood or badâmust be an active participant in her own story. And if you want a character with a built-in conflict machine, you should go low-down and dirty.
Some characters are difficult to connect to simply because they do little to engage a reader. A character who lets the world act upon her and doesn’t influence a change in her situation could be unlikable or lovable, but either way she’s uninteresting. Sheâs too passive to warrant concern. You can’t care about this character, and as a result you can’t care about her story. You’ll lay the book aside and tell your reader-friends that the character isÂ unlikable. But a more accurate sentiment might be that the character isn’t interesting or compellingâall things that even a good-girl character needs to be if she wants readers to care about her enough to finish the story.
But the oppositeâa character who sets himself up for conflict and consequences through the dastardliness of his doingâis surely unlikable, yes, butÂ also magnetic. YouÂ wantÂ to watch him ruin his life. He repulses you in the same way a car accident is simultaneously disturbing and hard to look away from.Â This character is a train wreck, and it is glorious to behold.Â Every time he doesÂ something unwholesome, immoral, felonious or just, like, super-rude, he creates a conflict. TheÂ anticipation andÂ delivery of that consequence is deeply satisfyingÂ for a reader, and by their very nature, not-nice characters create these conflicts almost constantly.Â Â In the words of Oscar Wilde, âThe suspense is terrible; I hope it will last.â
Think about this: You have an idea for a novel. You’ve been working on it for quite a while now, but something isn’t clicking. Your protagonist is a woman who’s down on her luck. She is now in a bind and needs some help. She’s lost everything: her boyfriend, her house, her job. Even her cat disappeared. Man, what a mess.
In Scenario A, your protagonist asks her parents for money, but they can’t give her that. So Instead, they let her stay in their homeÂ until she can get back on her feet. Maybe she doesn’t love living with her mother. Maybe she never finds a job. Maybe she’s camping out in the basement for so long that her parents leave and tell her to keep the house. Win-win, and your character is still a nice girl. That was easy, right? Yep, and honestly, pretty boring.
In Scenario B, no one can (or will) help her out. Your protagonist is living in her car andÂ yetÂ no one is there to lend a hand.Â Why not?, you’re asking. Good question. If she’s a good person and her circumstances truly are outside of her control, then surely someone can give this nice lady a hand.Â But lets pretend she’s not a nice lady. Maybe she kicks puppies on her lunch break. Cheats on her taxes. Kidnaps kids for ransom. Kills her boss in a fit of rage and frames her coworker (the nice guy, of course). What if we find out, for example, that her house and boyfriend and even her cat are gone because she’s a manipulative sociopath who tied theÂ guyÂ to the bed and then burned the place down so he couldn’t leave her? That is much more interesting than a girl who needs to sofa-surf at Mom’s until that next job interview.
The character from Scenario A may well be the sweetest, kindest woman who ever existed in print. In fact, I’d put money on it. Poor girl just had a bad week. But the protagonist from Scenario B is going to beÂ infamous, and even if we hate her (and we will, that murderous wretch), we’ll still think about her after the book is back on the shelf. (Both Senarios were made up on the fly as I typed this; if they resemble actual works of fiction, my apologies. If not, those ideas are free to use.)
Let’s look at some fictional characters who are generally considered unlikable.
Rabbit Angstrom, the protagonist of John Updike’s Rabbit, Run and its sequels, is a (slightly) less sadistic character who manages to ruin the lives of every woman he meets. And as often as he isn’t doing the hard work of being gainfully employedÂ or staying faithful to his wife, Rabbit is no slouch when it comes to creatingÂ an avalanche of consequences for himself. He’s an aimless, unkind, jealous cheat, and watching him scramble to avoid the falling walls of his life is as entertaining as a story gets.
Lolita‘sÂ Humbert Humbert is a monster by every definition, aÂ “detestable, abominable, criminal fraud” according to his wife (and Dolores’ mother), and a “vain and cruel wretch” inÂ Nabokov’s own words.Â The reader understands that he’s both human and inhumane, and because he chooses to give in to his baser instincts, he earns both the consequences of such andÂ the dislike of readers.
Frank and April Wheeler, the lead characters in Richard Yates’Â Revolutionary Road areÂ unbearable, connivingÂ snobs. TheirÂ shortcomings and pettiness and self-righteousness and backstabbing create every major plot point in the story. Yates’ debut novelÂ remains amongÂ my favorite becauseÂ I’d never want to know them, but it’s not very difficult to imagine the Wheelers living next door, driving each other insane.
Gillian Flynn’sÂ Gone Girl features two of the most despicable characters to ever grace the page. I stayed awake reading through theÂ night to find out who I was supposed to be rooting for, and in the end I hated Nick and Amy Dunne equally and fully and I loved every word of it. Unlikable? Absolutely. Uninteresting? Not for a second. The novel could accurately be retitled Two Cats, One Bag.
The compelling unlikable character exists in every medium. Books, film, TV, plays, you name it. Add Joffrey Lannister (Game of Thrones),Â Javert (Les Miserables), Yvonne “Vee” Parker (Orange Is the New Black),Â Alonso Harris (Denzel Washington’s character in Training Day), Ignatius J. Reilly (A Confederacy of Dunces),Â the NarratorÂ in Fight ClubÂ (or more broadly, possibly every character in every Palahniuk novel), Holden Caulfield, Jack Torrance … there’s no end to this list.
But in every case, the unlikable character who earns our attention is generating problems that require resolutionâproblems that carry the plot forward in a logical, organic way. The unlikable character is a one-man plot-building machine, and I wholeheartedly encourage you all to try it at least once.
Adrienne Crezo is the managing editor of Writer’s Digest magazine and a freelance writer and editor. Follow her on Twitter @a_crezo.
One of the problems with regular blogging is that you sometimes feel like every single post should be breathtaking, new, insightful, and most of all exciting. But, truly, none of us has anything new or exciting to say. Maybe different ways to say the same thing. Or new-to-us insights into the same old material. Disclaimer: this is one of those mundane posts that may not have anything new to say, but perhaps it at least offers a new twist on the same old stuff.
Random Thought #1: Strategies for first draft writing come in all different sizes. Some like outlines, some prefer complete plot diagrams, some are pantsers (writing by the seat of your pants). I'm usually a pantser. I frequently know where I'm starting and where I'd like to end up, and maybe a few scenes in the middle, but beyond that, my first drafts are where I discover how I'm going to get from start to finish. I have a lot of fun with rough drafts, even though it's agonizing to create something out of nothing. Here's one thing I've discovered that helps me keep the momentum going--I stop writing before the scene or chapter is over. I send the character into the midst of the problem of the moment, build the tension, and then leave the character there while I go make dinner or whatever. A lot of my writing takes place in the synapses of my brain while I'm doing other stuff, so I let the character be in trouble for a day or two or three and when I come back to the writing, often the character has figured out a great maneuver or solution. I can write that scene, which moves me into the next one, and then I leave the character hanging off the edge of the cliff for a while again.
Random Thought #2: Things not to say to writers. Most of you reading this are writers, so if you'd like to cut and paste this section into an email to all your family and friends, you have my blessing.
"That's cute." No, cute isn't what I was going for. I don't do cute. So "cute" to me just means you're not getting what I'm writing. Or else you're illiterate and have no idea what you read. Or maybe you didn't really read it at all. Typically for me, the people who describe what I've written as cute are, in this order: 1) my mother, and 2) any of my mother's friends. So I don't show them my writing anymore. It is now my policy that anyone who calls my writing "cute" will never again have the privilege of reading it.
"How's your great American novel coming?" I hate this for several reasons. First, it implies that I am ignorant of the publishing industry and I think my novel is the ONE and ONLY important piece of literature of my age. Second, it assumes that I have only one novel in me, ignoring the many others I have already written. Also, it suggests that I'm never really going to finish this thing (despite the fact that I have already completed others), because I'm not really working at it, nor do I really have any serious intent of writing professionally.
"I like it." Okay, I know, we all like to hear this--once the thing is published and public. But until then, if I'm sharing my writing with you, it's because I want your feedback, your critique. When you have nothing useful to say, I know you aren't a helpful critiquer, which means, again, that I probably won't be sharing with you anymore. I need critique, by golly, not admiration. I'll call you when the book is for sale, since I know you'll "like it."
Random Thought #3: Why do others want characters to act consistently? People aren't consistent, are we? Nobody I know is consistent. Sure, someone might highly value honesty, say, but they sometimes fudge the truth or tell a "white lie," rationalizing it by saying it spares the feelings of others. I know some people who are definitely one persona when out in public and quite another when they're at home. I think the secret of writing characters who aren't consistent is to make sure the inconsistency doesn't appear just at the moment of highest tension or just jump up when it suits the situation. You have to build the character's inconsistency into the persona and voice of that character from the beginning of the book, so that when the moment comes for that inconsistency to rear its ugly head, it is not a surprise to the reader. Plus, most of us here are children's writers, and kids are constantly changing--sometimes for the better, but not always. So the characters in kid lit should be, I think, inconsistent too. It's a way for them to learn about themselves, see ways that the characters grow, and contemplate their own path.
There you have it--all the wisdom floating around in my brain today. Well, I do have lots of other wisdom about all kinds of other things, but I don't think you want to here that right now.
Happy Poetry Friday! A poem by Paul Bennett and the link to Tabatha's Poetry Friday post are below.
In TeachingAuthors' opening round for 2015, we are each asking ourselves, "What Are We 'Plotting' for 2015?"
Mary Ann started us out, sharing how she does or does not plot."Planning and plotting are not the same thing," she writes. "Plotting is knowing what happens first, then next, then next and at the end. I never know more than one of those things before I start writing. I've stopped worrying about it."
Thank you, Mary Ann. I haven't a clue how to plot. When I sit down to write, I'm never sure if I'm starting a poem, a song, a verse novel or a picture book. I might be inspired by a color or a phrase from the news. Of course I knew not everyone plots their stories methodically, but it's great relief to be reminded of this!
A group photo of the TeachingAuthors. from morguefile.com
We are each snowflakes in the way we approach writing and life; and beyond this, I think that we are different from moment to moment, year to year, in crisis and celebration.
For example, until recently, I would say I'm fairly disciplined. I've been writing a poem every day since April 1, 2010 (1,743 poems), I brawl with L.A. traffic every two weeks to meet with my marvelous critique group, I write in amiable silence with three or four other writers weekly, and I have a goal or two tucked away in my writer's smock--a couple of picture books, a novel in verse, a collection of poetry, a Pulitzer Prize.
But when my mother began to fade, particularly this last year, it was all I could do to hold onto my writer's smock. Why? Partly because of the increased responsibility, and partly because of the foggy lethargy which set in.
Yeah...kinda like this. from morguefile.com
There is so much to do, now that Mom has died. So, I've stopped attending my critique group, stopped writing books, stopped meeting with other authors at my friend's sunny kitchen table.
I still write a poem a day, though.
So, What am I Plotting in 2015? Nothing.
Well, writing a poem a day. But beyond that? I haven't a clue.
I'm reading Loving Grief by Paul Bennett, a book in brief chapters, each of which ends in a poem, written after the death of his wife. In the chapter, Coming to a Stop, he writes that the three times over a period of months his legs would no longer carry him forward. He stopped. On a street, in an airport, on a hiking trail. Later, he wrote, "those incidents of coming to a stop, those moments of stillness, struck me as early invitations from deep within myself to start new."
Here is the poem which ends that chapter:
Well. I was going to post the poem, until I read the copyright page (oops) which states that I cannot post it without permission. So I won't.
What I will do is to post my own poem about stopping in my life. Please note that each person experiences a death uniquely. I don't feel as if I'm in deep grief right now. Still:
STOPPING BY THE WOODS by April Halprin Wayland No snow. No woods. But I pause. To hear the hawk. To breathe my breath. To hold this stone.
Alone. poem (c) 2015 April Halprin Wayland. All rights reserved. I think I'm listening for the music to cue my next step.
Before I ventured into publishing, I was a Theatre major in college. (Well, I was concurrently an English major, but I thought about theatre before I thought about publishing.) As part of my thoroughly impractical training, I bought and read the Complete Works of William Shakespeare, which was wonderful but, at times, definitely not fun. The historical tragedies were my favorite sleeping pill after a late night performing, you know? And as much fun as it was to be a student of the thea-tah (!), I was simply terrible at it. It wouldn’t be until I started public speaking at conferences that I realized something: I am pretty good at writing and delivering my own material, but when it comes to pretending to be anybody else, with anybody else’s words, I’m pretty hopeless. That didn’t stop me from trying, but that’s another story for another day. But Hamlet was one of my absolute favorite Shakespeare works. And I’ve recently found myself citing the following quote in editorial notes:
It has been used as a figure of speech, in various phrasings, to indicate that a person’s overly frequent or vehement attempts to convince others of something have ironically helped to convince others that the opposite is true, by making the person look insincere and defensive.
When I give this note, it usually goes hand-in-hand with my thoughts on characters in denial, another idea that I cite a lot in my editorial work. I’m also not trying to be sexist, because both male and female characters can “protest too much,” but admittedly it does happen more often with female POV manuscripts, especially when it comes to romance. It can apply to all manner of things where the writer wants the character to stay in disbelief just a liiiiiittle while longer, but the reader is already catching on. But yes, overwhelmingly, this applies to crushes and chemistry.
Writer, please. We have all read enough romantic subplots in fiction to know that the main character and the cute new guy are going to get together at some point. That’s what makes this event so difficult to render believably and genuinely. Because we’re all waiting for it, especially if there’s a girl and a dude on the cover with their lips hovering inches apart. The challenge then becomes acknowledging reader expectation while at the same time giving your character a full experience.
My piece of advice here would be: We know where you’re going, so get there sooner. Don’t rush through the establishing parts of your plot, but don’t also dwell in the time before character buy-in by employing denial. Often, writers put off giving a certain plot component the green light until other parts of the story have caught up. This often happens with romance. They really can’t hook up until chapter seven, but the guy has been around (and brooding) since chapter one because he had to make a grand entrance to hook the reader in the first ten pages. So how do we bridge the gap?
There are two options. The first is to have your protagonist “protest too much” that there’s an attraction:
A limo has been picking me up from school every morning, my locker is stuffed with a new dozen of red roses every day, and Garrett wrote “Will you go out with me? Love, Garrett” in skywriting, but I just don’t know how he feels about me because he’s so popular, and I’m not. Plus, I have way too many freckles for anyone to find me attractive.
I don’t know about you, but I want to take a chainsaw to this particular piece of writing. It’s overly obvious to communicate a point, but even in its subtler incarnations, this type of “protest too much” rhetoric really does sound this fake to me. It’s right there in the Wikipedia definition…this sort of breathless denial manages to sound incredibly insincere, which distances us from the protagonist. We don’t want to know more or guess more about the story than s/he knows (or is willing to admit). And once we do find out something the protagonist doesn’t know, we’re just waiting for him or her to figure it out so we can be in harmony as reader/character once again.
The second option is to allow the character to admit there’s a spark but use internal and external conflict to keep the characters apart…for probably less time than you’re comfortable with. Internal conflict can go like this:
The truth is, I’d love nothing more than to date Garrett. To give in and say “yes.” But I just can’t. He’s new here. He doesn’t yet realize that he’s made a horrible mistake. It’ll be social suicide for him to be seen with me, and he’s just too nice to realize it. For his own good, I need to stay away.
There we’re layering in some self-confidence issues where she ADMITS that there’s an obvious romantic desire between them, but blocks it. Then plot can come into play as well to keep them apart. For example, she can do something really embarrassing at an assembly and this, for her, confirms how “awful” she is. So she distances herself even further.
But if the two characters are hovering around one another with steamy dialogue, nearly kissing the entire time, and then the girl is like, “Nope. He can’t POSSIBLY be into me…” Well, I find that a little hard to swallow. If there are any instances of characters protesting too much in your work, they are probably even more obvious to your potential readers than they are to you. Writers tend to over-explain a lot to make sure readers get it (they do), and especially when it’s something a writer wants to keep hidden, the tendency to deny deny deny is magnified.
If you have a writing group (and you should), and you’re worried about this issue, ask them to read your manuscript with an eye toward what was so glaringly obvious that it was frustrating until you addressed it. That might help you tighten up your work.
Join Leslie Helakoski and Darcy Pattison in Honesdale PA for a spring workshop, April 23-26, 2015. Full info here.
COMMENTS FROM THE 2014 WORKSHOP:
"This conference was great! A perfect mix of learning and practicing our craft."Peggy Campbell-Rush, 2014 attendee, Washington, NJ
"Darcy and Leslie were extremely accessible for advice, critique and casual conversation."Perri Hogan, 2014 attendee, Syracuse,NY
You’re a human being: you can stand up, sit down, or do a somersault. That’s because you have a skeleton that gives your soft tissue a structure.
Likewise, it’s important to give your novel a structure that will hold all the soft murmurings about characters, places and events. It begins with understanding the structure of a scene. First, let’s answer the question: do you have to write in scenes? No. There’s a continuum from those who write strictly in scenes to those who don’t. However, for beginning to intermediate writers, you’ll see more improvement in your writing if you move closer to the strictly writing in scenes end of that continuum. Early in a career, writers need discipline to add structure that may come more easily with experience.
External Action. A scene is a unit or section of a story that hangs together because of the action or event. Scenes are not internal, but external. Something must physically happen.
Something Changes. Something important must happen in a scene; after the scene is over, the situation must be different for the character’s lives. The definition of “important” and “different,” of course, will change with the genre, but still, we recognize that something important has created a difference.
Goal Oriented. The strongest scenes begin with a character wanting something and encountering difficulties in achieving his/her goal. The goal can change or develop over the course of a story, but it must be there.
Conflict. If your character wants something (Goal), and they have instant gratification (Result), that’s not a scene. Every Goal must meet with obstacles that prevent the character from achieving the goal. This is the basic promise of all fiction, that life will encounter problems that won’t be solved till the last page.
Beyond these requirement, strong scenes add a deeper structure. It’s not required, for those who only write loosely in scenes, but it helps.
Scenes can be divided into three or four sections: beginning, middle, turning point or pivot, ending.
Beginning: This sets up the situation, setting, characters and the goal. Middle: Conflict piles on conflict as the goal gets farther and farther away. Turning point/Pivot: Something happens to spin the story in a different direction. Scenes without a pivot are possible, but scenes WITH a pivot are more interesting. Ending: What has changed?
Good Will Hunting: Bar Scene Analyzed
A good way to see the structure of a scene is to watch the “Bar Scene” from the movie, Good Will Hunting. If you can’t see this video, click here.
Beginning: Will and his friends enter the bar, choose a table, order a beer. Goal: These “Southies” want to experience a Harvard Bar and maybe pick up a girl.
Middle: Chuckie goes over to check out a girl. But a Harvard man steps in to put him down.
Pivot point: Will takes over the conversation with his superior intellect.
Ending: Will meets the love interest. The conversation with the Harvard man is a win/lose: Will wins because he manages to make his point that a college education isn’t everything; however, listen carefully to the deeper conversation about class distinctions and you’ll see that Will still faces challenges.
We TeachingAuthors have been posting about our intended plotlines for 2015. I so appreciate my fellow bloggersâ insights and their willingness to share their experiences, smarts and intentions for this coming year.
Like JoAnn, Iâve been walking a dog too this past week - my GrandDoggieDaughter Maggie, in the soul-freeing coatless-bootless-hatless-gloveless-scarfless clime of warm and sunny mountain-surrounded Phoenix.
Iâve been thinking on what I need/want/wish to share in this post and it is this: when it comes to plotlines, the characterâs in the driverâs seat.
It took me forever - as in countless rejected manuscripts showcasing countless puppet-like characters - to understand this truth.
And not just as it applies to the plotline of a story Iâm writingâŠbut also to the writerâs plotline Iâm living every day. I need to know my characterâs need/want/wish âŠ and I need to know mine. Otherwise neither of us can act, re-act, grow and triumph as we drive the twists and turns of our storiesâ highways. Digging deep within â my characters and myself - reveals the answer, always.
Fortunately, weâre but 19 days into our new year.
So as I work on my own writerâs story, Iâm digging away, hoping to uncover my need/want/wish, helped by the following three insights I came upon the first week of January.
Marketing guru Seth Godinâs January 1 post â âUSED TO BEâ â set off non-stop sparks in my mind and heart.
The phrase âused to be,â it turns out, connotes neither failure nor obsolescence.Instead, it signals bravery and progress. âIf you were brave enough to leap,â Godin posited, âwho would you choose to 'used to be'?â HmmmmmâŠ..I pondered. The possibilities intrigued me.
In her January 4 Chicago Tribune column, writer Heidi Stevens suggested we skip declaring New Yearâs resolutions and instead write a mission statement. A mission statement, she wrote, âwas less about what she should tackle and more about the shape she wanted her life to take.â I liked that insight.What struck me most was her own mission statement: to focus on what she knows to be true. HmmmmmâŠ.I pondered further. More possibilities to consider.
Finally, Stevensâ fellow Chicago Tribune writer Mary Schmich shared an idea in her January 7 column that April Halprin Wayland echoed in her January 9 post:choose one word to live by in the coming year. Having to select that one word that would guide your new year was akin to âbeing dropped inside a Super Target,â Schmich wrote, âand asked to pick one object, and only one, that you would carry with you for the next 12 months.â Once again, I pondered intriguing possibilities. Embrace?Flow? Risk? Grow?Leap?Simply, be?
What and who I used to be.My mission statement.My one word for the coming year.
I believe knowing all of the above will help me finally nail my need/want/wish for 2015.
Just like that, Iâll be traveling my plotline, both hands on the wheel, eyes open and focused.
Happy Driving to our TeachingAuthorsâ readers!
Saturday, January 24, from noon to 4 pm (in respective time zones) is the first-ever National Readathon Day, a nation-wide reading session that allows you to promote reading while pledging and fundraising to support the National Book Foundation. Think of it like âa walk-a-thon charity drive, only youâre turning pages instead of walking laps.â Add a Comment
I had such a fortunate Teachable Moment while brainstorming my picture book FANCY THAT with my Holiday House Editor Mary Cash.
I knew the setting â Berks County, Pennsylvania; I knew the time â 1841; and I knew my storyâs Hero â young Pippin Biddle, orphaned without warning, the son of a limner - an itinerant portrait painter.
Mary agreed with me that such a picture book would be ripe with historical and arts curriculum connections.
My sketchy plotline was just that â i.e. sketchy: accompanied by his dog Biscuit, (whom I pictured to be lap-size), Pip would travel the Pennsylvania/New York area through the first 3 seasons of the year unsuccessfully earning his keep painting peopleâs portraits, returning at Thanksgiving with an empty purse and heart.
âBut why would young readers care about such a boy on such a journey?â I asked my editor.
âWell,â Mary began, âcould he have a few sisters who needed Pip to earn his keep?â she asked.
Orphans, Mary shared, can be lovely in a story. âAnd, maybe,â she suggested, âPipâs dog could be part of the resolution?â And then she paused, her gaze meeting mine. âYou know, Christmas books do so much better than Thankgiving titles,â she commented.âWhat if Pip returned at Christmas?â
Driven to tell this singular story, I back-burnered Maryâs 3 delicious suggestions with an open mind, even though Iâm a nice Jewish girl from West Philadelphia and writing a Christmas picture book was not in my wheelhouse, as they say.
But guess what?
Fast forward to the stacks of the Wilmette Public Library, one week later, when I discovered (1) there wasno Thanksgiving to celebrate in the U.S. in 1841 and (2) few Americans celebrated Christmas at that time!
And OOPSÂČâŠ except...the German immigrants, whoâd just happened to settle in Berks County in central Pennsylvania, had brought along their Christmas tradition of making evergreen wreaths and decorating their fir trees!
while Pipâs dog Biscuit gathers the greenery of each season, and Pip paints his portrait to send home to his Poor House-ensconced sisters Emma, Lyddie and Martha,
efore too long,
Pipâs sisters themselves, inspired by Pipâs portraits, create a livelihood that builds them their home
and Pip discovers his hidden talent.
Lucky Pip and his sisters! Lucky me and my readers!
And all quite by accident.
P.S. Jennifer T won the SKIN AND BONES giveaway!
P.P.S. A writer with whom I corresponded this past week shared the following Dalai Lama quote benath her name.I thought it relevant.
"Remember that not getting what you want is sometimes a wonderful stroke of luck."