Chapter Breaks: Where Should They Go?

"Stairwell, Annecy" by Alex Brown under the Creative Commons Attribution 2.0 license.

A couple of days ago a friend mentioned she had trouble deciding where to insert chapter breaks. I said something blithe about breaking in the middle of tension, but it got me thinking. Where should we put chapter breaks? Are there rules of thumb?

As I was surfing the web this morning I happened across, not one but two, articles about where to insert chapter breaks. I love it when things like that happen!

The first article is Writing a Novel: Chapter Breaks by Courtney Carpenter and the second is 3 Ways to Know When to End Your Chapters by Aaron Elkins. I summarize their points, below.

Where To Insert Chapter Breaks

The Goal

You want your readers to continue past the chapter break. Or, since it's unlikely someone will read your book in one huge eye-reddening gasp, you want them to be interested enough in your story that they will come back after laying the book aside.

1. Use a chapter break to mark a change or transition

When you do your outline you'll map out scenes and sequels and then, as you write your first draft, indicate where you feel a good place is for a chapter break.

But that's the question, isn't it? What IS a good place for a chapter break! Aaron Elkins advises that "Changes of place, changes of time and changes of point of view are all excellent places for chapter breaks. (3 Ways to Know When to End Your Chapters)"

For instance, does your main character have to take a flight somewhere? End one chapter with him getting into the plane and start the next with him landing. Do you want to shift your point of view from one character to another? This usually happens at a chapter break.

2. Put a chapter break where the action is most dramatic.

Courtney Carpenter in Writing A Novel: Chapter Breaks writes:

The most important thing is that at the end of each chapter the reader should be craving the next chapter. Make the reader want to turn the next page. An old-fashioned cliffhanger is not required (though they still work), but tension of some kind is essential. End not where the action lulls but where it is the most dynamic. Give the reader new information right before you cut him off.

When you want to increase tension and make it impossible for your poor reader to put down the book--even at 3 in the morning when he has a 7 o'clock meeting--you can use one of the oldest tricks in the book: the good old-fashioned cliffhanger. You want to put your main character in peril, it seems almost certain he's going to die, he has only one small, teensy, improbable chance to live. It would take an incredible amount of skill/courage/brilliance on his/her part to pull it off.

You get the idea.

Use this ending sparingly. If your hero is in mortal peril at the end of every chapter and manages to save himself at beginning of the next chapter the trick will stop working.

Keep in mind that, as Aaron Elkins mentions, the cliffhanger doesn't always have to be about putting your hero in physical peril. It could be she has a deep dark secret she has decided to tell right at the end of the chapter. She reveals the secret at the beginning of the next chapter. Nice!

I hope you found something of value here to help with chapter endings and beginnings. As with most things there's no clear-cut answer. But I suppose that's why, at it's core, writing is an art not a science.

Best of luck!

Other articles you might like:
- Mary Robinette Kowal and The Mysteries of Outlining
- Book Review Blogs That Accept Self-Published Work
- What to do if your book isn't selling: Tips from Johanna Penn
- Dialogue: 7 Ways of Adding Variety

How To Attribute Artwork Licensed Under The Creative Commons

"grulla" by Emre Ayaroglu used under the Creative Commons Attribution license 2.0

What would a blog be without artwork? Boring!

But artwork, like blog posts, is copyrighted. Unless the copyright holder gives permission, their artwork is off limits.

Fortunately, a wonderful group of people have set up the Creative Commons and given artists an easy way to license their work so that it can be used, free of charge, as long as certain conditions are met.

How To Attribute Art That Has Been Licensed Under The Creative Commons

List the:

1. Name of the work (keep intact any copyright notices for the work)
2. List the author of the work (If it's not obvious, look for it)
3. List the license under which you are using the work.

It isn't strictly required, but it's nice and best practices to:

a) link to the page where the artist is displaying the work, to
b) link to the creator of the work (e.g., her Flickr page) and to
c) link to the web page that describes the license the artist released his/her work under.

Also, it's nice to let the artist know you've used their work and thank them for making it available.

Unsure whether your attribution is correct? Here's the advice of the folks over at the Creative Commons:

Ask yourself whether an interested viewer/reader/listener/other user is able to easily discern who gets credit (attribution) for the original work, and the freedoms associated with that work (license notice). If they can, great! If not, consider whether you are making a good faith effort to use the licensed work according to its terms. (Is Your Attribution Good Enough?)

Examples

Example 1: Attribution Only

Let's suppose we find a gorgeous work of art like "Morning Fog Emerging From Trees" by A Guy Taking Pictures on Flickr. How would we attribute it?

"Morning Fog Emerging From Trees" by A Guy Taking Pictures. CC BY 2.0

You can see my attribution in the caption under the picture. That's how I did it because I didn't have a lot of space. Here is another attribution which would be just as good:

"Morning Fog Emerging From Trees" by Flickr user A Guy Taking Pictures. Used under the Creative Commons Attribution 2.0 license.

Example 2: Attribution-NoDerivs (CC BY-ND)

Here's a photo, "Playing with the ball 3", by the same artist I used in my first post today: Tambako the Jaguar. I love his work. The one I used this morning, "Roaring Lion" was under an Attribution Only license, but this one is Attribution No Derivatives.

No derivatives means if I wanted to tweak the oranges and blues in Photoshop I'd be out of luck. I can use it whole and complete, commercially or non-commercially, but it has to be attributed (of course!) and it has to be left unaltered.

"Playing with the ball 3" by Tambako the Jaguar under CC BY-ND 2.0

I did the attribution for Playing with the ball 3 a little different than Morning Fog Emerging From Trees, but this one contains the same information, it's a stylistic difference. Also, I was, again, trying to get all the necessary information into a small space.

If I had more room I would have done this:

"Playing with the ball 3" by Flickr user Tambako the Jaguar under Creative Commons Attribution-No Derivs 2.0.

(In the above I underlined where I would put the relevant links.)

Example 3: Attribution of an piece you altered

Sometimes I like to alter a photograph in a way that makes a certain color 'pop'. Or a photo might seem washed out and I want to make the colors more vivid.

Naturally I need to attribute the underlying work to the artist who created it but I also have to indicate that it has been altered. Additionally, even though I don't have to credit myself as being the one who altered it, it's probably a good idea.

I've looked for examples of how to do this but didn't find anything matching the situation, so this is my interpretation. In other words, I'm winging it! This is probably a good place to state that what I have written here in no way constitutes legal advice. I'm not a lawyer nor am I dating one. :-)

"~~LoVe nEvEr SToPs~~" by Vinoth Chandar altered by Karen Woodward
Both works CC BY 2.0

This is how I would word the attribution:

This work is based on "~~LoVe nEvEr SToPs~~" by "Vinoth Chandar" under the Creative Commons Attribution 2.0 license. The above work is "Sapphire Night" by Karen Woodward and is also licensed under the Creative Commons Attribution 2.0 license.

That's a mouthful! (Underlining indicates the relevant links) I don't have room to put all that in the caption so I am hoping my shorter version is fine:

"~~LoVe nEvEr SToPs~~" by Vinoth Chandar altered by Karen Woodward Both works CC BY 2.0

I wanted to put Vinoth Chandar's name first because all I did was make the water blue. If I had extensively altered Vinoth's photo I would likely have put my name first.

Clear as mud?

I don't want to lead anyone down the garden path so if you notice I've done something wrong, or you're wondering why I did something one way instead of another, please do leave a comment.

What the folks at Creative Commons say about proper attribution

I wanted to make available to everyone what the folks over at the Creative Commons have to say about proper attribution, but I didn't want to copy and paste it here. So I'll give you the link: Best Practices for Marking Content with CC Licenses.

The licenses available under a Creative Commons copyright

This page describes the various kinds of licenses available from the Creative Commons: About The Licenses. Scroll down to the bottom of the page to see them.

Links: Places to get creative commons content

There are many places to get creative commons content, here are just a few:

- Flickr: Creative Commons
- Creative Commons Search
- FlickrStorm

I just found FlickrStorm and, hands down, I'm finding it the best, easiest way to search for creative commons content. Highly recommended!

- Want to display your licensing information as an image? Or make sure it's machine readable? Select your Creative Commons license here.

- A good article that discusses proper attribution is Best Practices for Creative Commons attributions - how to attribute works you reuse under a Creative Commons license.

Other articles you might like:
- Making A Scene: Using Conflicts And Setbacks To Create Narrative Drive
- NaNoWriMo: How To Reach Your Daily Wordcount
- Dialogue: 7 Ways of Adding Variety

Doing What's Right: How To Get The Rights To Your Books Reverted

"Roaring Lion" by Tambako the Jaguar used under CC by 2.0.

Awesome business post from Kris Rusch today! She talks about rights reversion and how you can get the rights to a book back from your publisher.

Rights Reversion

First, though, what is rights reversion? Kris writes:

When a writer signs a contract with a publisher to have a book published, that contract includes which rights the publisher is licensing and at what cost/percentage of that cost. All of this is based on the copyright, which can be sliced down to minute fractions, and each fraction licensed.

Essentially, you're asking your publisher to give you back all the rights you licensed to them.

Out of print = not available for sale

You might be wondering why an author should have to ask for their rights back. It seems as though the publisher should just give them back after some point. The question is, what point? It used to be that if a book was out of print--you couldn't buy it in any bookstore--then you got your rights back.

Nowadays we have Amazon and (to a lesser extent) Barnes & Noble and Kobo and Smashwords and ... you get the idea. Books never really go out of print, they continue life as ebooks or as print-on-demand paper books. Kris has experienced this herself:

[O]nly recently [writers and their agents] started adding the phrase along the lines of “the availability of a print-on-demand edition of the book does not count toward the in-print definition in this contract.”

The only reason I can’t get my rights back on my last remaining title with Simon and Schuster is because my very old contract with them does not have that line, and S&S counts the POD availability as “in-print.”

If contract terms can be bent or stretched to the publishing house’s favor, the publishing house will do so.

Out of print = sales velocity

It's a problem! How do we, as authors, determine when our publisher(s) should give us the rights back to our work? Some writers have used sales velocity. This is the idea that if your book sells less than X amount of copies in Y amount of time that it's out of print. For instance,

If a book sold fewer than 500 copies in a six-month period (for example), then that book would be considered out of print, and would, for the sake of the contract, be eligible for reversion.

The first time I read about using sales velocity as the criterion for rights reversion I thought it was a great idea, but I'd forgotten about something: Freebies!

You wouldn't think it, but free copies of books given away on, say, Amazon, can count toward copies 'sold'. Under this model all a publisher would have to do to keep the rights to your book from reverting to you would be to offer it every six months or so as a freebie on Amazon.

Out of print = limited term

Your publisher would like to hang onto your book forever, they don't want to give you the rights to it because they think they'll be able to make money on it down the road. And you know what? They probably will if they manage to keep it. After all, that's part of the reason you want the rights back!

What should you do? Never sign with a traditional publisher again? No, just make sure that your contract has a limited term. Kris writes:

... I’ve started recommending to writers that if they want to have a traditional publishing contract for their book, that contract has to have a limited term. The contract can exist for ten years from the date of the contract (or seven from the date of publication, which may not be unreasonably delayed), and can be renewed at the same or more favorable terms.

So just include in your contract that, regardless of where the book is being sold, and regardless of how many copies are being sold, the rights to the book will revert to you 10 years after you sign it.

That's a simple, clear criterion. So, problem solved. Right? Not so fast. Kris writes:

That’s how all of my foreign contracts work [they have a limited term] and most of my Hollywood contracts have worked. In fact, all of my subsidiary rights contracts work like that. But my former traditional book publishers in the United States have all balked at that suggestion—so I walked.

The problem: book publishers might say no.

Out of print: Which criterion should I use?

Whichever criterion you end up using in your next contract remember to plug the loopholes. Make sure that:

- Print-on-demand books and ebooks don't count toward sales.
- Free books and deeply discounted books don't count as sales.

How to get the rights to your book back: Getting a release letter from your publisher

Okay, let's say you've pulled out your contract, read it, and determined that according to it's terms your book is out of print and you should be able to get your rights back. Now what? How do you go about doing that, putting the legal wheels in motion?

Kris writes:

So it might look like your rights have reverted, but you don’t have full legal title to those rights until you have a release letter from your publisher.

Be sure to check your contract and make sure that, according to its terms, your rights really have reverted and make note of any special things you have to do to get the rights to revert. Generally, though, here's what you have to do:

Let’s assume, though, that the book is out of print by whatever standard is set in the contract. Then you have to go through the hoops that the contract establishes for rights reversion.

Generally, those hoops are pretty simple. You must write a letter asking for the rights to revert to you.

The letter should be formal. It should cite the contract, its date, the clause that pertains to reversion, and the proof you have that the book meets the definition of out of print. Then you should ask for a letter reverting the rights to you.

Let's break this down. In your letter to your publisher you need to include:

1. Cite the contract, its date and the clause that pertains to reversion.
2. Include the proof that your book meets the definition of out of print used in the contract.
3. Ask for a letter reverting the rights to you.

Kris writes:

Send this letter to the legal department at your publisher by snail mail with a delivery confirmation attached. Also send it to the legal department by e-mail.

You probably won’t get a response. Usually, they’ll just put the reversion letter into a pile and deal with it at a biannual meeting on rights reversions.

What NOT to do:

I would avoid both your agent and your editor in this process. They both have a vested interest in keeping that book under contract. In fact, contacting your editor before writing the letter might get that back-in-print process underway before your letter even hits the desk at legal.

Kris warns that you very well may not receive a response from the publisher. They don't want to give you back the rights so you're job is to become the squeaky wheel. The persistent, irritating-as-water-dripping-from-a-rusty-faucet, squeaky wheel. Kris writes:

If you get no response in a month, go through this process again. And then do so a month later. By then, someone will respond. They’ll be pretty irritated and they’ll probably tell you that they will get to you when they get to you.

Remind them that they have six months from the date of your original letter to put the book back into print, or they lose the right to publish the book. (If, indeed, that clause is in your contract. If it isn’t, simply state that they must respond to this legal request in a timely manner.)

What you want to do is get them to release your rights. You want to be that annoying person they grant the release to because they don’t want to deal with you any more.

The publisher may not release the rights to you even after six months and, if this places them in breach of their contract, you have to tell them. Or better yet, Kris recommends hiring a lawyer to tell them.

Don't be shy about keeping the pressure on your publisher.

If you want your rights reverted, then you need to be proactive about getting them back.  You have to show the publisher that this is important to you, and you will continue to push until you get your way.

Because publishers have so many writers and so much backlist, they won’t push back against a squeaky writer unless they believe that writer’s book (reissued) will make a lot of money. In most cases, the publisher won’t even do enough research to learn that the book would make money.

If you push consistently and politely, you will succeed more times than you’ll fail. But it’ll take a concerted effort on your part.

Well, what are you waiting for? Get those rights back! 

All quotations are from Kris Rusch's article The Business Rusch: Rights Reversion. I highly recommend you read Kris' article from top to bottom, I only covered a fraction of it. Kris is remarkably generous in sharing her prodigious experience in the world of publishing (thank you!!).

Other articles you might like:
- Making A Scene: Using Conflicts And Setbacks To Create Narrative Drive
- NaNoWriMo: How To Reach Your Daily Wordcount
- Dialogue: 7 Ways of Adding Variety

Photo credit: Tambako the Jaguar

Making A Scene: Using Conflicts And Setbacks To Create Narrative Drive

Yesterday I promised to write an article about the last tool Mary Robinette Kowal introduced in her (terrific!) workshop at SiWC last weekend, The Mysteries of Outlining. Namely: "Yes, BUT ... / No, AND ..." Another name for this might be "How to write a scene: conflicts and setbacks".

Characters need setbacks

If your main character got everything she wanted right away then your story would be as entertaining as watching paint dry. The solution: be mean. Give your main character setbacks, lots of them.

Conflicts & Setbacks

Your main character has goals, he wants things. In Indiana Jones and the Raiders of the Lost Ark, Indiana Jones goes on a quest to find and bring back the lost Ark of the Covenant. About halfway through the movie he finds the ark but is captured and, along with Marion, sealed inside an ancient burial vault and left to die.

What follows is one of the BEST sequences of conflicts and setbacks I've come across. Let's start after Indie finds the ark.

Conflict: Does Indie find the ark?
Setback: Yes, BUT he is captured, thrown into a pit of snakes, and the antagonist takes the ark.

Remember that it is established early on in the movie that Indiana hates snakes. Spiders and all manner of creepy-crawlies he's fine with, just don't bring him near a snake! (And, yes, I know that there's no logical reason why there would be THAT many snakes in an ancient burial vault, but the scene still works.)

Conflict: Do Indie and Marion survive the pit of snakes?
Setback: Yes, they use torches to keep the snakes at bay BUT the torches are about to burn out.

Conflict: Do Indie and Marion escape the pit of snakes before their torches burn out?
Setback: Yes, Indie crashes a pillar through a wall providing them a way to escape BUT the room they enter is filled with skeletons that--for Marion at least--seem to come alive.

Conflict: Will Indie and Marion escape from the ancient burial vault they've been entombed in?
Setback: Yes, BUT the bad guys have the ark and Indie needs to get it back.

After every goal Indie achieves there is a setback. I just noticed we didn't come across a "No, AND ..." so lets keep going.

Another FABULOUS sequence in the first Indiana Jones movie--especially from the perspective of what we're talking about here--pulling the reader through a scene, creating conflict and using setbacks to create narrative drive--occurs at around 01:16:33 where Indie decides he's going to commandeer a plane. He fails in the end and it blows up but the sequence of goals/conflicts and setbacks is memorable.

Conflict: Will Indie commandeer the plane?
Setback: No, AND Indie is spotted crawling up the plane, toward the pilot.

Conflict: Indie and a bad guy fight. Will Indie win?
Setback: Yes, BUT a much bigger man starts a fight with Indie (AND the pilot sees indie and knows he's trying to commandeer the plane).

Conflict: The pilot starts to take pot shots at Indie. Will Indie escape being hit?
Setback: Yes, Indie dodges the pilot's bullets BUT the pilot keeps shooting.

Conflict: Indie is fighting a huge bad guy. It looks like he has no chance of winning. Will Indie, against all odds, win the fight against the Man-Mountain?
Setback: No, Indie is not going to win a fist-fight with the Man-Mountain AND the pilot is still shooting at him.

Conflict: The pilot takes aim at Indie, from this angle he can't miss. Will Indie survive?
Setback: Yes, indie survives. Marion hits the pilot over the head and knocks him unconscious BUT as the pilot slumps over in the cockpit he hits some levers and starts the plane rolling forward while Indie fights the Man-Mountain on the ground below.

Conflict: Marion climbs into the cockpit to remove the pilot and stop the plane from moving. Does she succeed?
Setback: No, AND she gets locked inside the cockpit.

You get the idea. The entire scene is well worth watching.

One thing I want to point out before I go on to the next section and talk about scenes is that the stakes for our hero gradually escalate throughout the scene. At first Indie just wants the plane and gets into a fist fight, then there's an impossibly huge guy he has to fight, then someone starts shooting at him, then the plane begins to move, then there's a truckload of German soldiers who see him, then Marion explodes gasoline containers, then there's gasoline on the ground running toward the fire.

At the end of the scene an ocean of gasoline is rushing toward the burning remains of the gas canisters while the Man-Mountain continues to beat Indie to a pulp and, of course, the whole camp has noticed the gasoline barrels explode and is rushing to investigate. It's really quite something.

Scenes & Sequals

To flesh out this discussion let's talk about the larger picture. Conflicts and setbacks are parts of scenes and a novel is made up of scenes and sequels.

Scenes are where the action takes place, where your character has conflicts and setbacks until the end of the scene and he or she attains their goal, or not, as the case may be.  

Sequels are where your character reacts emotionally to what's happened, where he or she reviews the facts of their situation and perhaps wonders if their plan is working or whether it needs to be changed. Basically a sequel sets your character(s) up for the next scene and gives your readers a bit of a break from the fast pace.

I'm not going to talk about sequels here, except to point you to Jim Butcher's post on the subject.

Scenes

Here, according to Jim Butcher, is the basic format of a scene:

Point of view character: _______________________
Goal: ______________________________________
Conflict (scene question): ______________________
Setback (scene answer): _______________________

POV (Point Of View) Character

Both Mary and Jim say the same thing:

Make your POV character the one who has the most at stake. 

Jim Butcher qualifies this by saying it should be the character who has the most at stake emotionally. If one character may lose his cousin who he never liked and doesn't care about and another may lose his cat who is their best friend then make Cat Guy your POV character.

Keep in mind that, like all writing rules, if you know what you're doing you can break them.

Goal

The goal needs to be ACTIVE and it needs to be SPECIFIC. Michael Hauge advises writers to think of it in movie terms. How could you show the character's goal on the screen? It should be something concrete such as (these are Jim Butcher's examples) "Get out of the room alive" not "Do something to save the day".

Conflict: Will your character succeed? WHICH character will succeed? Your hero or the antagonist?

Conflict is whatever will make your character fail in reaching his or her goal.

Between characters. Conflict happens between characters, not between a character and the environment. In the second Indiana Jones scene the plane--specifically its propeller--acted as a threat to Indie, he could have been killed by being forced into its blades, but it was used as a prop, the conflict came from the Man-Mountain trying to force him into the blades.

Conflicting goals. Conflict happens between characters trying to achieve different goals. Antagonists have goals too, ones that, if fulfilled, would prevent the hero from reaching his or her goal. Jim Butcher writes:

All this really means is that you need an antagonist with the same specific, attainable goal, the same kinds of emotional stakes, as your protagonist. Once you've got the right kind of set up, the scene almost writes itself. (Scenes)

If only!

Setbacks

For every conflict that comes up, a question can be asked: Will our hero succeed? There are four answers:

1) Yes
2) Yes, BUT
3) No
4) No, AND

We've covered this, above. Briefly, "Yes" won't get us anywhere. The hero needs setbacks because if his goal were just handed to him that would be very dull. The hero doesn't get everything he wants until the end of the book--and sometimes not even then!

"No" can work but it can be frustrating and cast your hero in a bad light. Use sparingly.

The other two, "Yes, BUT" and "No, AND" we've covered, above.

So, what are you waiting for! Go write a killer scene. :-)

Update (April 28, 2014): I go into this topic in more detail in Parts of Story: Try-Fail Cycles.

Other articles in this series:
- Orson Scott Card & The MICE Quotient: How To Structure Your Story
- Mary Robinette Kowal and The Mysteries of Outlining
- The Mysteries of Outlining and Nesting MICE: Creating Killer Stories

Other articles you might like:
- Jim Butcher On Writing
- NaNoWriMo: How To Reach Your Daily Wordcount
- Book Review Blogs That Accept Self-Published Work

NaNoWriMo: How To Reach Your Daily Wordcount

Copyright Mikleman, Some rights reserved. Licensed under the Creative Commons.

If you're participating in the collective insanity known as NaNoWriMo (I say that affectionately as one swept up in the madness) here are some tips for reaching your daily wordcount--typically around 2,000 words--each and every day.

Tip #1) Don't Edit

A friend of mine is writing an article on how to get your inner editor to shut the heck up--although she isn't as polite! I eagerly look forward to reading her tips, but getting your inner editor to zip-it while you write your first draft is essential.

Yes. Sure. Coax her out of hibernation when you begin your second draft but, until then, she can't help you. She is about limiting, changing, critiquing your creative output, and that's importgant, but it kills the momentum of a first draft and that's what you're writing during NaNo.

What's that you ask? How do you turn off your inner editor? Good question. I'm really looking forward to reading my friend's article! But what I do is just write and pointedly ignore any construction I think is clunky or could clearly be improved upon.

I remind myself I'm writing a first draft and that I write my first drafts for myself alone--NOT the world--and that I'll clean it up on my 2nd and 3rd pass through.

I think a person needs to write enough that they get to the point where they can trust that will happen (see: How to write every day: Jerry Seinfeld and the chain method).

Tip #2) Multitask

At the Surrey International Writers' Conference Diana Gabaldon, during her keynote speech, shared that she generally got stuck two-thirds of the way down a page. It didn't matter what she was writing--an email, grant proposal, speach, she would always get stuck two-thirds of the way down.

Her solution?

Go on to something else. Stuck on the third page of your novel? No problem! Write something else. Answer an email. Do a blog post. When you're done go back to your novel and try again.

I'm not saying this will work for everyone--I might get caught up in replying to emails and completely forget I was supposed to be writing! But it's certainly a great way to ensure you stay productive. :)

Tip #3) Butt In Chair

Writing is difficult. Many times it's the last thing you want to do.

Jim C. Hines created a great cartoon. The caption reads: The Muse Most Of Us Really Need. The muse is standing behind a writer, holding a gun on him, saying, "Write the %&#@& story!!!". Sometimes a picture really does speak a thousand words. What is the key to writing 2,000 words a day? Put your butt in your chair and write!

Best of luck on your NaNo adventures, and remember to hydrate!

Other articles you might like:
- 12 Writing Tips: How To Be A Writer
- Jim Butcher On Writing
- Perfection Is The Death Of Creativity

Photo credit: Mikleman

The Mysteries of Outlining and Nesting MICE: Creating Killer Stories

Yesterday I talked about Mary Robinette Kowal's workshop The Mysteries of Outlining and promised to show how this could be used in conjunction with Orson Scott Card's MICE Quotient to create killer stories.

Let's get started!

Nesting MICE Story Types

The power of structuring your story with MICE comes through when you start to nest story types. Let me give you an example. Let's say I'm writing a murder mystery. Usually murder mysteries are Idea Stories. They focus on the question: Who killed X and why? In an Idea Story the story is over when the problem--finding the murderer and explaining how the murder was done--is solved. But let's say I want to write my murder mystery as a Character Story rather than an Idea Story.

I can do this. How? By nesting story types.

In my main story I would focus on the widow and her changing role in society (a character structure) but since I want my story to also be a murder mystery I would have an Idea Story subplot where I ask the question: Who killed the widow's husband and why?

Close out subplots in the proper order

When you nest story types it's crucial to close them out in the proper order. I would need to close out the Idea Story subplot first and only then, at the very end of the book, close out the Character Story by showing that the widow had found a new role in society (or, if I was writing a tragedy, that she failed to do so).

If I had ended the story after the murderer was found and before the widow's fate was resolved my story would be incomplete and my readers dissatisfied.

Multiple subplots

Each subplot of your novel can have a different story structure. Just because your main story is, say, an Idea Story, or--as with Lord of the Rings--a Milieu Story, doesn't mean that you can't have subplots that incorporate other story types.

Using Orson Scott Card's MICE Quotient to help outline a story

As I mentioned yesterday, Mary Robinette Kowal taught a workshop on The Mysteries of Outlining at SiWC. You don't need to read that post to understand this one, but it might help. In any case, to make things easier to follow I'll include the updated list of actions we developed for the story of Rapunzel:

List of actions:
1. Parents steal a Rapunzel plant
2. Baby born
3a. Witch/enchantress takes baby
3b. Rapunzel locked in tower
5. Grows hair
6a. Prince out hunting
6b.Rapunzel sees prince and calls to him
6. Prince climbs tower
7. Witch discovers Rapunzel has been seeing the prince
8. Rapunzel is tossed out of the tower and left to fend for herself in the wilderness
9. The witch strikes the prince blind
10. Rapunzel and the prince find each other
11. Rapunzel's tears give the prince back his sight
12. Rapunzel and the prince live happily ever after

The question: How are we going to tell this story? Which action will be start with? Where will we draw the line between backstory, story, and postscript? In the wikipedia version of Rapunzel there is no backstory or postscript, all the events from 1 to 12 are included.

So, again, how are we going to tell this story of Rapunzel? We can help decide this question by choosing a story structure. Let's try out each in turn.

Milieu

Let's say we want to tell Rapunzel's story as a Milieu Story. This means our story will begin when our main character, let's say that's Rapunzel, enters a strange new world and that the story will end when she leaves it.

The only way that fits is if we begin the story at (3b) when Rapunzel enters the tower and end it at (8) when she leaves it. We wouldn't throw out points 1, 2 and 3a, they would simply become backstory and we would work them in at the appropriate time. It would be a sadder story, though, because we would leave Rapunzel learning to be free, learning to feed and clothe herself, learning to stay alive in the great wild forest.

The prince's story could be a sub-plot, one we might decide to write as an Idea Story. In this case the question/problem would be: How can the prince free the princess from the tower? The story would end when the question is answered at (8). We would have to change the outline a bit so the prince's arc would end before the story ends at (8) so we would need to swap (8) and (9) in the outline.

Idea

If we were telling this story from Rapunzel's point of view we might be most interested how she'll get away from the witch (question/problem: How will Rapunzel get out of the tower and escape the witch's power?) in which case we'd begin at (3a) with the witch taking the baby and putting her in the unscalable tower. The story would end when Rapunzel left the witch at (8).

Character

If we wanted to write Rapunzel as a Character Story how we began would depend on who we wanted to be our main character. If Rapunzel, we could start when she entered the tower as a baby (3b) or when the prince came into her life (6b), most likely the latter, since it's difficult for a baby to be unbearably dissatisfied with their life! The story would end when Rapunzel found her new role in life as queen at (12).

If we wanted the prince to be our main character we'd start and end the story at roughly the same place, at (6b) and (12).

Event

The Event Story is about the world being out of whack and the main character has to restore order. For this kind of story it would seem easiest to take the prince as the main character. He's out hunting and he sees a beautiful maiden locked in a tower. Perhaps she doesn't call to him, perhaps he hides behind a tree and sees the witch climbing down Rapunzel's golden locks. He becomes outraged at the injustice of keeping a young maiden locked up in a dusty old tower and vows to set things right.

To tell the story this way we'd have to change our outline slightly. Instead of Rapunzel seeing the prince and calling out to him, the prince would see the witch leave the tower and would go and investigate, so we'd need to change (6b). This story would end when the prince had restored order to the world and had taken Rapunzel home to be his wife and queen at (12).

Alternatively we could have Rapunzel realize that being locked in a tower by a witch isn't normal. At the moment she realizes this, at the moment she realizes the woman she had thought of as her mother is actually her jailor, the story would begin--probably somewhere around the time Rapunzel has grown her hair (5). Everything before that would be worked in as backstory. The main story would end when Rapunzel's world was put right and she was part of a family (12).

Choosing a MICE type depending on who you use as a main character

Instead of choosing a story structure and then figuring who we want our main character to be and where the story should begin, we could choose a main character and ask which MICE type would suit that point of view the best.


Well, that's it for this section! Do you have any questions about Orson Scott Card's MICE Quotient and how to use it in an outline? If so, please ask!

Tomorrow we'll look at the last of the tools Mary Robinette Kowal introduced in her workshop The Mysteries of Outlining: Yes, but ... / No, and ...

I was wondering, those of you participating in NaNoWriMo, how is your preparation coming along? Any tips or tricks you'd like to share?

Cheers!

This article is part of a series:
- Orson Scott Card & The MICE Quotient: How To Structure Your Story
- Mary Robinette Kowal and The Mysteries of Outlining
- The Mysteries of Outlining and Nesting MICE: Creating Killer Stories (Current article)
- Making A Scene: Using Conflicts And Setbacks To Create Narrative Drive

Other articles you might like:
- Dialogue: 7 Ways of Adding Variety

- Amazon Ranks Authors In Terms Of Their Book Sales

Dialogue: 7 Ways of Adding Variety

Photo by ajari, licensed through the creative commons

Dialogue is important. What would a novel be without dialogue? But dialogue needs to be interesting. Witty.

However, writers are mere mortals and inspiration does not come on tap. (If only!) Here are 7 tricks to help coax the muse out of hibernation.

Thanks go to Marcy Kennedy and her terrific blog post 7 Tricks to Add Variety to Your Dialogue. In deference to Marcy, I'll give her first three points and then let you visit her blog for the rest. Enjoy!

1. Answer a question with a question

"Dear, what did you think of Melinda's dress? I thought it looked stunning!"
"Don't you think dinner parties are an awful bore?"

Perhaps your character doesn't want to answer the question, or perhaps asking a question is a way of answering indirectly or being snide.

2. Put your characters in a jar and shake it: Interrupt 

Everyone has pet peeves, this is mine. I have a soft voice so I guess it's easy to do.

When one character cuts another off it sends the message that either the speaker is an impatient person, that they didn't think what the other person was saying is worth listening to, or both.

If one of your characters is a bit self-absorbed, this is a great way of showing that!

3. Silence
Have you ever asked someone a question and they don't reply? They just stand and look at you? Trust me, it's disconcerting.

Silence is the ultimate conversation stopper. There's nothing to rebut and you're given no clue as to what the other person is thinking or feeling. A door has slammed, cutting you off from one another.

Of course, this works both ways. Someone could fall silent hoping to provoke a reaction, but their silence might be appreciated! That would tell quite a bit about both characters.

To read the rest of Marcy's excellent article, click here: 7 Tricks to Add Variety to Your Dialogue.

The subversion of expectation

One thing I've noticed all 7 points have in common is the subversion of the reader's expectation.

"Subverting the readers expectations" sounds like a bad thing. 'Subversion' conjures up images of something dark and steamy, but it's really a good thing! It engages the reader and keeps them from getting bored.

For instance, when a person answers a question with a question they are doing something unexpected. People are supposed to answer questions when asked, not ignore them and ask their own!

Similarly, when one person interrupts another (grrrr!) they are doing something unexpected. That's good!

Other articles you might like:
- Amazon Ranks Authors In Terms Of Their Book Sales
- How to record an audiobook at home
- How To Build A Platform: Why Every Writer Needs A Website

Photo credit: ajari

Mary Robinette Kowal and The Mysteries of Outlining

This post is a continuation of Orson Scott Card & The MICE Quotient: How To Structure Your Story where I explain what Orson Scott Card's MICE Quotient is and go through the various structures: Milieu, Idea, Character and Event.

My goal today is to show how MICE can be used when outlining but to get there we first need to be initiated into the mysteries.

How To Create An Outline

This material is based on Mary Robinette Kowal's workshop The Mysteries of Outlining I attended at SiWC this last weekend. Mary has a great website (love the black cat!) and an incredible selection of articles on how to read aloud.

I was going to use a different example from the one Mary used in class--Sleeping Beauty rather than Rapunzel--but she knows what she's talking about and I'm still learning, so I hope Mary won't mind if I use her example.

Please keep in mind I scribbled this in my notebook, there was no handout, so any mistakes are mine, not Mary's.

1) Write down all the events of the story

This is easier for us since we're working from a story, Rapunzel, that's already written. When you're outlining a story being created you'll write down all the events you know take place.

Mary stressed that outlines are fluid and meant to help you as a writer, not to lock you in, so just because something is in your outline doesn't mean you're committed. Mary compared an outline to a roadmap. If you have a roadmap you can see where you're going; it helps you stay on track and to reach your destination without unnecessary detours.

But perhaps you want to detour.

When you're on a roadtrip to Los Angeles from Seattle you can decide to take a detour and see the grand canyon, but it'll cost you. If you think the detour is worth it, then go for it! In fact, you may decide that instead of going to LA you'd much rather go to Vegas. You can do that too, but that's a very different road trip and there will be a cost. Your outline helps you see what that cost will be and evaluate whether it's worth it to you.

To sum up, an outline is a tool to help you reach your goal of finishing your book. It helps you keep track of both where you are and where you want to go. It can also help to reveal plot holes and help you get around them.

List of actions:
1. Parents steal a Rapunzel plant
2. Baby born
3. Witch takes baby
4. Grows hair
5. Prince out hunting
6. Prince climbs tower
7. Witch discovers prince
8. Loss
9. Blindness
10. True love

2) Look for plot holes and fill them in

Look at what you have so far and figure out where the plot holes are, then fill them in.

We need to insert "locked in tower" between (3) and (4) and between (5) and (6) should say something about Rapunzel seeing the prince and trying to attract his attention.

3) Look for duplication

Are any scenes serving the same function? Can you roll them into one?

For instance, we might show Rapunzel is lonely by writing a scene where the girl watches a nest of birds and tearfully waves goodbye to the chicks as they fly away. We could use this scene to show how lonely Rapunzel is, now isolated she feels. We wouldn't then also need a scene where Rapunzel brushes her hair and thinks how lonely it is in the tower. We've done that.

4) Flesh out the scenes

For each event--these will becomes scenes--write down:

a) What happens.
b) When it happens.
c) Where it is.
d) The character arc.
e) The time of day.
f) Who is the main character of the scene.

Outlining: Multiple Points of View

In part (1), above, we wrote down a list of actions. These actions are going to get us from the first event: the parents stealing the witch's plant to the last one, true love. (Mary did a great impression of The Impressive Clergyman in The Princess Bride. If you ever have a chance to take one of her workshops, do! It's a lot of fun. Moving on .... )

Balancing point of view (POV) scenes
For each scene decide which character has the most at stake, that's the POV of the scene. Now look at which characters have POVs and if you need to balance them. To balance things you may need to change what's at stake for a character within a scene.

For instance, lets look at the scene where the prince climbs the tower for the first time. It seems reasonable to write that scene from the prince's point of view because he seems to have the most at stake. He could fall, the witch/enchantress probably would do something nasty to him if she came back and caught him, and so on.

But if we needed for Rapunzel to have the point of view we could talk about how much it hurt to have someone climb your hair and how much she would be in trouble with the witch were the prince discovered.

When NOT to give a character a POV scene
One thing Mary stressed was that if a character has nothing at stake then you don't write a scene from their point of view.

POV and your main character
Keep in mind that, all things being equal, the character you start with will be the character your audience most identifies with and so that is the character you need to end with. For instance, if your first scene is told from Rapunzel's POV then you need to end with a scene from Rapunzel's POV.

Outlining and the MICE Quotient

Wow! This post is a lot longer than I thought it would be.

Although this section was what I had intended to get to, it's what I've been working up to, I think I'm going to leave off and come back tomorrow. My post yesterday was lengthy and contained a lot of information so I don't want to overload anyone.

Please do come back tomorrow and I'll (finally!) talk about how to use the MICE quotient with your outline to create a killer story. :-)

Cheers!


Here are all the articles in this series:
- Orson Scott Card & The MICE Quotient: How To Structure Your Story
- Mary Robinette Kowal And The Mysteries Of Outlining
- The Mysteries Of Outlining And Nesting MICE: Creating Killer Stories
- Making A Scene: Using Conflicts And Setbacks To Create Narrative Drive

Other articles you might like:

- Book Review Blogs That Accept Self-Published Work
- What to do if your book isn't selling: Tips from Johanna Penn

Photo credit: Barnaby Kerr Photography

The MICE Quotient: How to Structure Your Story

As I mentioned yesterday, I attended the annual Surrey International Writers' Conference last weekend and am brimming with information from the various workshops I attended. There's so much I want to talk about! First up, let's look at Mary Robinette Kowal's workshop, The Mysteries of Outlining.

Orson Scott Card's MICE Quotient

I heard about Orson Scott Card's MICE quotient before, but I never used it. I'm not sure why. Obviously I hadn't realized how powerful it was, or how to apply MICE to my writing. If you don't immediately understand its relevance either, hang in there. I need to describe MICE before we get into the nitty-gritty of how to apply it to your stories.

This article is too big for one post, so here's how I'm going to break things up. Today I'll talk about MICE. I'm going to try to cover the whole thing, but I may just get half through, depending on how much time I spend on examples. Another post will talk about how to apply MICE to your writing; how to use it. The third, and last, post will discuss another tool Mary discussed: "Yes, but ..." & "No, and ...".

At least, that's the plan! :-)

What is a MICE Quotient? Will it bite?

In his book Characters and Viewpoint Orson Scott Card writes:

[W]hat are the different kinds of stories? Forget about publishing genres for a moment-there isn't one kind of characterization for academic/literary stories, another kind for science fiction, and still others for westerns, mysteries, thrillers, and historicals. Instead we'll look at four basic factors that are present in every story, with varying degrees of emphasis. It is the balance among these factors that determines what sort of characterization a story must have, should have, or can have.

The four factors are milieu, idea, character, and event:

Here's a summary:

MILIEU: A milieu story concerns the world surrounding the characters you create.

IDEA: An idea story concerns the information you intend the reader to uncover or learn as they read your story.

CHARACTER: A character story concerns the nature of at least one of the characters in your story. Specifically, what this character does and why they do it.

EVENT: An event story concerns what happens and why it happens.

Let's examine each of these in turn.

Milieu Story

Start: The story begins when the main character enters the strange new world.

End: The story ends when the main character comes back from the strange new world.

Characterization: less is more

Orson Scott Card writes:

Characterization is not a virtue, it is a technique; you use it when it will enhance your story, and when it won't, you don't.

Focus on the world/setting. If you draw the reader's attention to a character, even your main character, you are taking their attention away from the milieu. In a milieu story it's fine to describe the setting just for the sake of elucidating the world. In other kinds of stories this would be considered padding. Generally readers aren't primarily interested in the world you've created, they want to get to the solution of the puzzle or they want to understand why a certain character is acting a particular way. In a Milieu story, though, your readers are primarily interested in the world you've created, so go for it!

The main character, or characters, of a Milieu story should be 'normal'. That is, they should do what you think anyone would do given the same circumstances. You don't want them to stand out and draw your reader's attention away from the milieu and onto them. In a sense, your characters will be types rather than fully formed individuals because you want them to be typical of certain cultures or social roles that exist within your milieu.

Examples

A pure milieu story is rare. Usually a milieu story is mixed with one of the other three types of stories. For instance JRR Tolkien, in crafting Lord of the Rings, took great care in describing his fictional universe--in many ways that was the main focus--but it was also an idea story.

Frodo needs to get rid of the magical ring Bilbo gave him. He tries to give it to Gandalf but Gandalf adamantly refuses. First Frodo takes it to the elves in the hope they will take up the burden but even they cannot. In the end Frodo realizes he can't rely on anyone else to destroy the ring so he and Sam carry it to Mount Doom.

Orson Scott Card also gives Dune as an example of a Milieu story.

General types of stories that are milieu stories: travelogues, utopian fiction, natural science and westerns.

Idea Story

Start: The story begins when your main character meets an obstacle. They have a problem that must be solved. This gives rise to a question: how will they get around the obstacle?

End: The story ends when the character has answered the question and removed the obstacle.

Characterization: The eccentric problem solver

Since the focus is on a problem, or the idea of how to solve the problem, you don't want your characters to steal the focus. That said, you DO need your characters to be entertaining. Many authors give these kinds of characters eccentric characteristics to help differentiate them and make them more interesting as they go about the main job of the story: solving the problem.

Examples

- Bob needs $100,000 dollars to pay off a loan shark. He plans to rob a bank to get the money. He robs a bank. Bob learns some new skills during the course of the story and decides to blackmail the loan shark into forgiving his debt.

- Mr. Smith is found murdered in a locked room. Five people were near the room at the time of the murder and all five had motive but, apparently, no means. At the end of the story the sleuth discovers one of the five is a magician and able to create a locked room illusion. Case closed.

General types of stories that are idea stories: Allegories, locked room mysteries, bank heist stories, and so on. Anything where the idea is everything.

Character Story

Start: Your main character is unbearably dissatisfied with their role in society and sets about changing it.

End: Your main character either finds a new role, is content to return to their old role or despairs.

Characterization: God is in the details

As you can guess, for a Character Story well-rounded characters are a must. Orson Scott Card writes:

Needless to say, the character story is the one that requires the fullest characterization. No shortcuts are possible. Readers must understand the character in the original, impossible role, so that they comprehend and, usually, sympathize with the decision to change. Then the character's changes must be justified so that the reader never doubts that the change is possible; you can't just have a worn-out hooker suddenly go to college without showing us that the hunger for education and the intellectual ability to pursue it have always been part of her character.

That said, only the main character and any character involved with their decision to change their social role, must be fully characterized. As Orson Scott Card remarked, characterization is a technique. Use it if it will add to your story, otherwise don't.

Examples

- Maria is miserable. Her husband won't allow her to work but, when she needs money to go grocery shopping, he throws a fit. Maria hasn't bought new clothes for herself in ages.

Every day on her way home from the grocers Maria sees a beautiful red dress in the front window of a local boutique. She would love to buy the dress but it's completely out of her price range. One day she discovers the boutique is closing and the red dress has been marked down 90%. Ecstatic over her good fortune she buys the dress and wears it when her husband comes home from work.

Maria's husband throws a fit. Maria tries to tell him she paid next to nothing for the dress but he ignores her and, in a rage, rips the dress off her body, destroying it. Maria discovers she can't live like this anymore and leaves her husband. Maria works her way through school, finds a good job and, after a few disappointing dates, resigns herself to growing old alone and adopts ten cats.

- Danny is a hit man for Killers-Are-Us. One day his boss, Marty, tells him to kill a young girl, a task Danny finds repugnant. Danny has a choice: do his duty or leave his old life behind. Danny chooses the latter and Marty orders his top people to take Danny out.

After evading and dispatching his pursuers Danny realizes he'll be pursued until someone succeeds in killing him. Danny decides to return to his old life but instead of asking Marty for his job back he assassinates Marty and becomes head of Killers-Are-Us.

In this kind of story there needs to be a basic belief that some sort of order should exist in the world. Maria believes the way her husband treats her is wrong and that she'll be able to build a better life. Danny believes that killing children is just plain wrong. Full stop.

Note that Danny's story could also be an Idea Story. Instead of focusing on his changing role in life, we could focus on his idea to get away from his demented boss. In this case, though, the story might end after he'd dispatched the first wave of killers.

I see Danny lean nonchalantly against an alley wall, wipe the blood of his would-be killer from his hand and take a long pull from a cigarette. He exhales and looks down at the bloody bodies of his victims strewn at his feet. Danny then gazes into the distance, sees the next wave of killers coming his way, and smiles. The end.

That could work as an Idea Story, if that's how we'd set it up, but having set it up as a character story, I think the more satisfying ending is either Danny getting away clean and starting a new life, giving in and going back to the old one, or finding--as I've suggested in my example--a third way.

General types of stories that are Character Stories: Romances.

Event Story

Although events happen in every story, the world in an Event Story is out of whack. It is out of order; unbalanced. An Event Story is about the struggle to re-establish the old order or to create a new one.

Start: Your main character tries to restore order to the world.

End: Your main character either succeeds or fails.

Characterization: The level of detail is up to you

In this kind of story you can be as detailed as you like with your characterizations. Orson Scott Card writes:

It's possible to tell a powerful event story in which the characters are nothing more than what they do and why they do it-we can come out of such tales feeling as if we know the character because we have lived through so much with her, even though we've learned almost nothing about the other aspects of her character. (Although Lancelot, for instance, is a major actor in the Arthurian legends, he's seldom been depicted as a complex individual beyond the simple facts of his relationship to Arthur and to Guinevere.) Yet it is also possible to characterize several people in the story without at all interfering with the forward movement of the tale. In fact, the process of inventing characters often introduces more story possibilities, so that event and character both grow.

Examples

- The movie Trading Places is an event story. Here's the tag line: "A snobbish investor and a wily street con artist find their positions reversed as part of a bet by two callous millionaires". The end of the movie comes when the upper-class commodities broker (played by Dan Aykroyd) re-establishes order in his world by besting the bosses who were tormenting him.

Stories that are Event Stories: The Count of Monte Cristo, Oedipus Rex, Macbeth, The Prince and the Pauper, and so on. Orson Scott Card gives many examples in his book, Characters and Viewpoint.

Social Contracts And Your Readers

In every story you make an implicit contract with your reader. For instance, if a murder occurs at the beginning of your story and you focus on characters who have a reason to find out how, why and by whom the murder was committed then your readers will expect to discover how, why and by whom the murder was committed. (Simple, right?) If they don't, they won't be happy with you or the story you've written.

The general rule of thumb is this: Whatever kind of story you start out writing--be it Milieu, Idea, Character or Event--you have to finish writing that same kind of story. For instance, if you start out writing an Idea Story such as the murder mystery I mention, above, then you have to end it like an idea story and not, say, like a character story.

If you said, "Oh and the murderer was never found but the wife of the dead man used the fortune she inherited to transform herself into a world renown art collector," (a Character Story ending) then we would feel cheated because we started reading with the belief we'd find out who the murderer was and why he or she did it.

Nesting MICE

No, we don't need to call an exterminator! This is where we really start to see the power of Orson Scott Card's MICE quotient. Tomorrow I'm going to talk about something Mary Robinette Kowal showed us: how to 'nest' the various story types. I'll also talk about how any story can be retold as just about any of the story types. What varies is who the viewpoint character is, where in the story we start and where we finish.

If that's clear as mud, trust me it will make sense. I'll go into it in much more detail tomorrow.

Cheers! :-)



Here are all the articles in this series:
- Orson Scott Card & The MICE Quotient: How To Structure Your Story
- Mary Robinette Kowal And The Mysteries Of Outlining
- The Mysteries Of Outlining And Nesting MICE: Creating Killer Stories
- Making A Scene: Using Conflicts And Setbacks To Create Narrative Drive


Other articles you might like:
- Book Review Blogs That Accept Self-Published Work
- Surrey International Writers' Conference 2012
- What to do if your book isn't selling: Tips from Johanna Penn

Photo credit: cygnus921

Donald Maass: Your Writing Matters, Dig Deep And Change The World

Donald Maass gave the final keynote address at this year's Surrey International Writers' Conference. His theme: Your writing matters, dig deep and change the world!

It was the perfect way to end the conference and unleash all 800 of us upon an unsuspecting populace. (grin)

I'm exhausted, but I enjoyed myself immensely. I learnt a ton and had the thrill of recognizing many faces among the crowd and renewing those friendships as well as creating new ones.

I have SO MUCH to tell you! I took notes till my hand ached, but I'll start with that tomorrow.  Right now I'll just say that one of my posts will be about Orson Scott Card's MICE method. Mary Robinette Kowal talked about this in her class on The Mysteries of Outlining.

Let me just say: wow! MICE is going to change the way I write. Ever had trouble deciding how a story will begin? Where it will end? That's always been tricky for me. Often there are several points that could serve as an opening. I've also had trouble with endings. What kind of an ending should it be? WHERE should it be? I have the tendency to start a short story and finish a novel because it just kept going.

I have to stop writing now because I want to publish this before 5 pm pacific time. Talk to you tomorrow.

Cheers! :-)

Other articles you might like:
- Book Review Blogs That Accept Self-Published Work
- Surrey International Writers' Conference 2012
- What to do if your book isn't selling: Tips from Johanna Penn