10 Rules for Writing a Sequel

In the past I’ve shared articles I thought were particularly insightful about what makes a story a good story. This time I'm sharing a video from PSA Sitch.[1]

IMHO, Sitch is excellent at analysis and I love the quirky style of his video creations. I don’t agree with everything Sitch says, but he makes several insightful points about the nature of an entertaining story -- or at least one specific type of story. I highly recommend his video.

I hope PSA Sitch doesn’t mind my doing this, but in what follows I list some of the insights he shared in this video, ones that made me excited about this wonderful, magical, thing we call storytelling.[2]

I’ll provide a more detailed discussion, below, but here’s an overview:

(BTW, everything I write in this article is specifically about sequels.)

At the end of your first story, your hero has gone through his arc, he has achieved his goal (your particular story’s version of the holy grail) and returned to his community and used what he discovered, his prize, to make it better.  

In your next story your former hero needs to be knocked down a few notches, he needs to be ordinary-ish again. The new, younger, hero finds him, rescues him, and in so doing the former hero is symbolically reborn. The former hero and the new hero head off on an adventure together. As they adventure, the former hero teaches the younger hero and this creates a bond between them, one that makes them both better. Stronger. At the end of their adventure they achieve their goal (their partnership was essential for this) and reinvigorate their community.

So, let's get started!

10 Things That Make an Sequel Worth Reading

1. Fall from grace. 

In a sequel, if the series character, the former hero, doesn't have a fall from grace there can be no character arc. If there is no character arc, if the hero of the first story never changes, the protagonist -- and therefore the story -- will be boring.

At the beginning of the sequel, the former hero has lost his way. We need to knock the former hero off his pedestal, we need to humble them. We need to bring him down to the level of the ordinary person. In the first book, at the end, the old hero was larger than life. Back then, he found the holy grail and saved his community. Now he is just like you or I: ordinary.

2. Make the fall from grace realistic. 

As we know from real life, the older one gets, the more life experience one has, the greater the chance that bad things will happen to us. We lose people we love, the world changes in ways that seem to exclude us, and we have aches and pains in assorted places.

Sitch warns against making this fall from grace too big. But if you want a big event to topple the former hero, make him react to it in a way that is consistent with core aspects of his character.

For instance, if hypocrisy really bothered the former hero before his fall then it should still bother him.

Perhaps his one true love died and he now sees the world as a hostile place.

But the thing that brings the former hero down doesn’t have to be a big tragedy. The world -- the real world -- is chaotic. Bad things happen to good people. Sometimes the things that batter us are big and horrible and sometimes they are multiple and small. And the more the character hurts, the more they become afraid of the future and fear the unknown. [3]

In the beginning of the sequel, the former hero has become disillusioned. He doesn’t want to take risks because he knows what the cost might be.

3. The former hero, even in his fallen state, needs to be recognizable. 

Have remnants of the former character, the qualities that made readers admire him, peek through even though the former hero is a pale version of his former self. Sure, we need to scuff him up a bit but we still need the audience to reconnect with the character, so we need him to be recognizable.

The call to adventure.

In the sequel, the former hero (the protagonist of the series) will initially reject the Call to Adventure.

The former hero has become discouraged, perhaps even cynical. The new hero is the one who needs to come in and reignite the old hero’s zest for life and, with that, his willingness to face his fear and fight for what he loves.

4. Redeem the former hero. 

When the former hero finally accepts the Call to Adventure he is, in a sense, reborn. Back in the day, he used to hit the mark (literally and figuratively) but then he began missing AND he stopped caring.

Hope is reignited. Eventually, the new hero is able to create a spark of hope or ambition or caring in the former hero. (I write more about this, below.)

Thinking about this in a mythic sense, the new hero is the son and the former hero is the father. The new hero (the son) comes along and revivifies the former hero (the father). Again -- and Sitch stresses this -- this redemption, how it is accomplished, should be related to both the main arc of the story and the reasons for the former hero's (the father’s) rescue/redemption.

The new hero -- the child -- breaks down the old structures of society represented by the father (the former hero) and literally 're-forms' them bringing together what came before with what exists now. Essentially, he creates (re-creates) the world.

5. Have your former hero become a mentor to the new hero.

Have your more experienced and slightly tarnished former hero become a mentor to the new hero. At first this mentoring might be reluctant. The new hero might be very similar to the former hero, to how the former hero was like when he was younger.

6. Give your former hero a consistent philosophy/worldview. 

This is perhaps the most important thing to get right. The former hero must have had a purpose. Yes, sure, he has lost sight of this purpose over the years. He has become cynical and no longer believes in anything

Let's talk about what it means to have a purpose. To have a purpose, a character needs to believe something. They need to have a (even a very simple) worldview.

Sitch gives the example of Spiderman: With great power comes great responsibility. That is his guiding light.

This is an aside: This principle doesn't just apply to heroes/protagonists, it applies to any character that has significant pagetime in your novel. Even antagonists. (Perhaps especially antagonists!)

Take Thanos, the villian from Marvel (this is Sitch’s example). Thanos believed that half the population of the universe had to die to prevent starvation and war. While we understood his goal and even sympathized with it -- who doesn't want to end starvation and war?! -- but the means he was using to attain this goal was evil. But his philosophy/worldview was consistent and understandable and it was a bit part of what made him a great character.

A worldview doesn’t have to be something abstract. 

Having a well developed worldview is great, but it's not for every character. You could just give your character something to care about. For instance, having a child immediately gives life purpose because when you’re a parent you have this small person to take care of. Their survival and well-being becomes your purpose.

7. The new hero’s actions should be what saves/redeems/resurrects the former hero.

The former hero teaches the new hero what he knows. He teaches him his philosophy of life as well as whatever skills his has.

This transfer of knowledge serves two purposes. It bonds the characters, makes them a unit. They become mentor and apprentice.

8. The former hero needs their worldview reaffirmed.

I thought that Sitch made an especially interesting observation here. When one person teaches something to another person, and if whatever you teach them helps them to succeed, then it validates your philosophy. When that happens it feels good! The fact that they were able to pass along something valuable gives that character a sense of worth. This is part of the former hero's redemption. This gives them the courage to face their fear of the unknown and risk everything one more time.

(This could be part of an upswing just before the heroes execute their final plan and race to the finish.)

9. Flaws are important.

Don’t be afraid to make your hero a bit flawed. Perhaps the old hero isn’t happy to see their apprentice succeed. Perhaps we see a bit of jealousy lurking in the depths of the former hero’s heart.

This could be one reason why the former hero wasn’t thrilled to mentor the new hero in the first place.

10. Make your new hero incompetent.

At the beginning of your story, when you first introduce the new hero, make him incompetent.

Also, don’t give the new hero a coherent worldview, make them confused. They don't know what they want to do with their lives, they feel like they don't fit in anywhere.

Why? One reason is that it gives the former hero something to teach, something for them to bond over.

Also, your new hero needs an arc. This means he needs to struggle in the beginning. The way that is done is to put your new hero in situations with characters you've created, characters you've designed to make sure your new hero is NOT going to have an easy time.

What makes a great story? Conflict. Why? Because it forces your characters to struggle. If your characters don’t have to work to overcome obstacles, then when they finally achieve their goal it won't mean anything.

Okay, that's it! Do you have a tip for writing a riveting sequel? Please leave a comment! I’d love to hear from you!

Notes:

1. Spider-Man DESTROYS Star Wars on Wokeness. As you can tell from the title, Sitch includes a couple of political themes in his critique, but the bits about how to tell a great sequel stand on their own.

2. I would just like to say that all the good bits in this article were taken from Sitch’s video. However, inevitably, I’ve filtered Sitch’s bits of wisdom through my own fallible and idiosyncratic understanding of story. So, if the point I made seemed good to you, the credit goes to Sitch. If, on the other hand, it seemed a bit off, blame me.

3. I'll have more to say about this later, but the solution to this is for the former hero to face his/her fears, to confront them head on. Perhaps he/she will succeed in this at first, but probably he/she will fail a few times before he/she succeeds.

4. A Call to Adventure might occur off the page (or the screen). For example, a very short story might begin after the Call to Adventure.

Credits:

"Writing with a fountain pen." Photograph by Aaron Burden over at Unsplash.

Adverbs: They Can Be Your Friend

In elementary school, I was given a thesaurus and told, “Go nuts!” Let's just say that my 4th grade teacher never met an adverb he didn’t like. 

To make a long story short, my 4th grade teacher was all kinds of wrong. 

Use Adverbs Sparingly

Though grammar has never been my strong suit, it helps me understand the truth behind the admonition against purple prose. (Stay with me, I will explain this.)

Adverbs and adjectives help communicate a state of affairs by modifying other words. For example, in the sentence, The lazy cat slept on the mat, the word lazy modifies the noun, cat, because it tells us what kind of a cat we’ve got on our hands.

That sentence (The cat slept on the mat) is okay. But there are other, more active, ways we could communicate the thought that your favorite feline is a slacker. For example: The dog chased his ball, the bunny nibbled her carrot but the cat slept. 

Now (of course!) I'm NOT holding that sentence up as an example of terrific writing, but I think it’s stronger. Why? Because it communicates the cat’s character by introducing other characters and comparing the cat’s behavior with theirs and then leaving it up to readers -- to you -- to draw their own conclusions about what sort of character the cat has: lazy. (Or perhaps the cat is just more chill. I think good writing encourages readers to draw their own conclusions.)

Bad Writing Advice

In a minute, I’m going to say something controversial. I’m going to say that one piece of writing advice you’ve been given all your life, advice that seems very good -- advice that, actually, IS very good -- is advice that the best, most popular writers do not themselves follow.

Stephen King is, hands down, my favorite writer of all time and I think that anyone who is serious about improving their writing -- and we all should be interested in that since we all write, even if the only thing we do is tweet -- needs to read On Writing. 

One of Stephen King’s best pieces of writing advice is this:

“The adverb is not your friend.

“Adverbs, you will remember from your own version of Business English, are words that modify verbs, adjectives, or other adverbs. They’re the ones that usually end in -ly. Adverbs, like the passive voice, seem to have been created with the timid writer in mind. With the passive voice, the writer usually expresses fear of not being taken seriously; it is the voice of little boys wearing shoepolish mustaches and little girls clumping around in Mommy’s high heels. With adverbs, the writer usually tells us he or she is afraid he/she isn’t expressing himself/herself clearly, that he or she is not getting the point or the picture across.

“Consider the sentence He closed the door firmly. It’s by no means a terrible sentence (at least it’s got an active verb going for it), but ask yourself if firmly really has to be there. You can argue that it expresses a degree of difference between He closed the door and He slammed the door, and you’ll get no argument from me … but what about context? What about all the enlightening (not to say emotionally moving) prose which came before He closed the door firmly? Shouldn’t this tell us how he closed the door? And if the foregoing prose does tell us, isn’t firmly an extra word? Isn’t it redundant?

“Someone out there is now accusing me of being tiresome and anal-retentive. I deny it. I believe the road to hell is paved with adverbs, and I will shout it from the rooftops. To put it another way, they’re like dandelions. If you have one on your lawn, it looks pretty and unique. If you fail to root it out, however, you find five the next day … fifty the day after that … and then, my brothers and sisters, your lawn is totally, completely, and profligately covered with dandelions. By then you see them for the weeds they really are, but by then it’s—GASP!!—too late. (Stephen King, On Writing)”

And King is right. That’s fabulous advice. He then goes on to say: 

“I can be a good sport about adverbs, though. Yes I can. With one exception: dialogue attribution.”

So, for example, 

“Put it down!” she shouted

Is okay, but 

“Put it down!” she shouted menacingly 

is definitely not okay.

And I agree. I have no evidence that Stephen King has ever committed that particular sin (putting an -ly adverb after a verb in dialogue attribution). However, when I searched the 726 books in my dataset (I’ve been a busy little programmer lately) I found that Stephen King was one of the writers who most frequently used the form, “bla bla bla,” she said -ly.

Why do I bring this up? Because I think King is both right and wrong. 

Yes. Using adverbs in attributions is something one should avoid. In the best of all possible worlds the reader will already know how the speaker is saying whatever it is they’re saying (angrily, sarcastically, etc.).

No. We’re human. This is not the best of all possible words. I grew up reading writers who used adverbs in dialogue attribution, Stephen King among them. And, IMHO, it works. I’m not saying that it’s something a writer should do -- I try and avoid it -- but sometimes it’s okay. 

When I read one of Stephen King’s stories there’s a point, a threshold, after which I’m not reading words, I’m inside the story. I’m not reading about characters, I’m looking at them. If using adverbs in dialogue attribution gets your readers there, then so be it.

What is the point of writing? What is the goal? I’ve spent a lot of time thinking about this over the years and, for me, it’s this: To snare my reader. I want to transport them to a world, a universe, created in my imagination and amaze them, I want to make them feel as though the time they spent reading my story was time well wasted.

That’s it!

I’m back posting. It’s been a couple of years and a lot has changed in my life. One thing that hasn’t changed is my love of writing and reading. I’m looking forward to the future.

photo credit: Photo by Patrick Fore on Unsplash

Writing Prompt: What if scientists could tell what a person looked like from a sample of their blood?

I read about advances in science and technology and think, ‘This would make an interesting prompt.’ For example ...

Although the technology doesn’t exist yet scientists agree that in a few years we’ll be able to tell what a person looks like from a sample of their DNA. [1]

The writing challenge: Write a piece of flash fiction—fewer than 500 words—that involves the use of this technology. Keep in mind that (IMHO) the essential characteristic of very short stories is that it hints at a complete story. For example:

“I just stood there, in the stifling and cramped semi-darkness, listening to the frenzied beating of my heart. Or perhaps it was the bear’s heart.” [2]
by Tatyana Talstaya, August 9, 2017

If you’re feeling brave, please leave either your story or a link to it in the comments. Good writing!

If you have ideas for writing prompts, please send them my way! Also, if you have any feedback about this prompt, please share. Thanks in advance! 😀

Notes:
1. Does Your Genome Predict Your Face? Not Quite Yet.
2. Flash Fiction: A summary of very short stories.

Photo by Sweet Ice Cream Photography on Unsplash

How Hobbies Can Improve Your Writing

Do you have a hobby? Something you don’t get paid for but do anyway? I do! I never used to, it was writing, writing, writing all day long. Then I let my writing schedule slip for three weeks and ran right into a wall of writer’s block.

To help me get back into the swing of things I gave the protagonist of my WIP an interest in two of my hobbies: baking and fermenting. I do things like bake pies then serve them with a salad dressed with my very own apple cider vinegar.

You likely have other interests: hiking, running, knitting, working out, inventing, electronics, programming, playing cards, climbing, and so many more!

Today I want to talk about how your hobbies, your passions, can help revitalize your writing.

Picking up a Hobby Can Improve Your Writing

Motivation

While it's true that giving a character a hobby can help flesh them out, hobbies can enrich your own life as well. The bonus is that, if you're anything like me, writing about your hobby will make you ever more excited about it and you'll find yourself pushing your boundaries—going on a new jogging route, trying a new recipe, and so on. This, in turn, will feed back into your passion for writing.

Which brings us to ...

Hobbies Help Inject Passion into Your Writing—and Your Life!

I’m watching The Great British Bake Off—a LOT of folks love—and by “love” I mean go completely nuts for—a well-baked loaf. Which is great! Why? Passion. I think having passion (or, better, passionS) is the key not only to good writing, but to life.

Passion

It's impossible to overstate how important passion is to creating a great story. The goal of all storytelling is to evoke passion in the reader. One thing I haven't talked about as much is evoking massion in the WRITER—in you. But your passion is just as important as the readers'. Perhaps more. Without passion there is little motivation to get up in the morning, pick up your pen and write.

I know, I know, professional writers need to write—DO write—regardless of how they feel. If they don’t then they can’t afford to do nifty things like pay rent or eat. I get that. TRUST ME, I get that! But any little bit of interest, of passion, of excitement, of joy, you can find in writing—hell, in life!—the better.

One way to do this is to give your characters attributes that are fun for you, that you would love reading about, that you would enjoy watching.

Write Yourself, Your Interests, into Your Stories

It’s about taking care of yourself, doing things that feed your soul.

Writers often became tired. Disheartened. That’s natural. What helps us keep on keepin' on ARE our passions. It’s the things we care about, the things we are passionate about, that keep us connected to our characters and their fictional worlds. Writing would be much easier if it was a sprint. But it’s not, it’s a marathon that lasts a lifetime.

I think that, ultimately, it’s our passions that make us who we are. Our characters are no different.

If You Don't Have a Hobby

What if you don’t have hobbies? Some folks don’t. My advice: try something out. Google a list of hobbies and pick one. Or perhaps there's something you've wanted to do but just haven't gotten around to for a number of reasons. For instance ...

Too Expensive or Inconvenient

There are hobbies I wanted to indulge in but they were just a wee bit too pricey. Deep sea diving. Hang gliding. Flying.

Or perhaps your chosen hobby is too inconvenient. For instance, you might live far inland but you've always wanted to waterski.

If I want to give one of my characters these hobbies I talk to people who do deep sea dive, or hang glide, or fly, or waterski. I love doing this! I get to hear their stories AND make some new friends in the process.

Another possibility is to save up and treat yourself on a special occasion. For instance, hang gliding on your honeymoon or a significant birthday.

No Interest

Some folks don’t have an interest in taking on a hobby. And that’s fine! Though if you DO like the idea of giving your main character an interest here’s my advice, such as it is: fake it till you make it.

If you don’t really care about much—and some folks don’t—it’s more difficult to write about it.

If there’s one thing I’ve learned over the last few years, writing isn’t about the head, about the intellect, it’s driven by the heart. Even by the gut. It's driven by the sticky slightly disgusting messy bits inside us.

It all comes down to truth

Ultimately, it’s about truth. As Stephen King says: fiction is the truth within the lie. Sure, my protagonist doesn’t exist. Sure the world I’ve created for him was spun from my imagination. But the story is told to communicate a truth—the theme. How my characters react to each other and to the setbacks they've had, those emotions are real. True.

The Lessons We Teach

Stories teach us life lessons. They teach us how to make friends as well as how to lose them! They teach us what happens when you do the right thing.

This, of course, is less about Truth than it is about the framework of values we’ve adopted, the things we accept as being mostly true. It’s the truth about the writer, about their soul, their beliefs.

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Every post I pick something I believe in and recommend it. This serves two purposes. I want to share what I like with you, and, if you click the link and buy anything over at Amazon within the next 24 hours, they put a few cents in my tip jar at no cost to you. So, if you click the link, thank you! If not, that’s okay too. I’m thrilled and honored you’ve visited my blog and read my post.

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From the blurb:

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Photo by Nicolas Picard on Unsplash

12 Tips on How to Create a New Habit

For me, the key to creating a new habit—or re-establishing an old one—is Seinfeld’s method. This involves putting a calendar on the wall, preferably one that shows a whole year on one page, and drawing an “X” through every day you practice the habit.

After a few days you’ll have a chain of Xs.

Perhaps you’re different but for me there’s something satisfying about seeing the chain grow every day. After you get several Xs in a row you won’t want to break the chain. And as long as you don’t, you’ll form a habit. The trick is getting those first few Xs.

Why does this work?

I’m sure there’s another answer, something more profound, but I’ve found that on any particular day it doesn't seem that it's crucial to do ... well, anything.

For example, I lost 20 pounds and became much more fit because I’ve begun exercising every day. Which is great! I no longer sound like The Little Engine That Could when I climb stairs.

But for any particular day, if I don’t exercise that day, it would make no real difference—or at least that’s the way it seems. BUT if I have a chain of Xs on my wall then I have something visible, tangible. Something I don’t want to break. That helps keep me accountable and gives me motivation.

Even though each day's exercise can seem pointless, my wall calendar shows me that it isn’t. Each day forms a link to the next day, and the next, and so on.

Writing is similar. Being a writer isn't a sprint, it's a marathon. Marathons require resolve. Willpower.

Habits and willpower

Essentially what I'm talking about is the importance of forming a habit. A habit is important because it has inertia.

When a habit is formed it feels physically uncomfortable to break it. This morning I did NOT feel like jogging. I thought about not going. After all, it's just one day, right? But that decision felt wrong. The thought of breaking my habit, of breaking my run of Xs, felt uncomfortable.

So I got my jogging gear on and walked to where I start my jog. And as I walked I began to feel better. Happy. Invigorated. Eager. It was an average run. But afterward I felt TERRIFIC! I had such energy. My body was a limp rag, but I felt great. I'd exercised, I'd connected the Xs for another day.

That made me wonder: how are habits formed and how can I help this process along?

How to Create a New Habit

I want to thank Scott H Young over at Lifehack for his wonderful article, 18 Tricks to Make New Habits Stick. I’m not going to talk about all 18 of SY’s tips and tricks, just those that especially resonated with me.

In what follows the habit I have in mind is a WRITING habit. I’m sure I’m not the only one who has found it difficult to establish—or re-establish!—the habit of writing every day. That said, these are general tips and will help form just about any habit.

12 Tips for Creating a New Habit:

1. Commit to 30 days

Forming a new habit takes time. It would be mind-blowingly fabulous if one could pop a pill and—slam, bam—jump out of bed and write for hours at a time each and every day. But of course it doesn’t work like that. Forming a habit takes time. Probably not EXACTLY 30 days, but I think if a person does something—anything!—every day for 30 days there’s a good chance it will stick.

2. Do it every day

First off let me say that many successful writers DO NOT write every day. And if you don’t want to write every day, that’s fine. It might be more difficult to form a writing habit if you only write every second day or every few days but if that’s the only time you have, go for it.

That said, writing every day is the best and easiest way to create a writing habit. Even if you can only carve out 5 minutes a day, it’s worth it!

3. Write at the same time of day

This is what really helps me. I find that if I crawl out of bed and dive into my writing straight away—before I have my coffee, even before I brush my teeth—it works best.

4. Write in the same place

Make a place for writing, make that pace especially conducive to writing, and then write in that place every day.

What does it mean to make an environment conducive to writing? For me, two things:

First, remove anything that will distract you. For example, disconnect from the internet, get away from Netflix, email, Facebook, etc.

Second, add things that will help keep you on track. I tape inspirational sayings to my monitor. For example, “If you’re not making mistakes, then you’re not doing anything.”

5. Bribe your inner child

This tip comes from just me and use it at your own risk! When trying to establish, or re-establish, a habit I often bribe my inner child by giving myself permission to drink an unlimited amount of coffee! You might not like coffee, that’s okay. Lee Child drinks enormous amounts of green tea.

The key is to pick something that won’t distract too much from writing (I find that getting up and making the coffee is a distraction, but since it doesn’t take up oceans of time it’s okay) AND isn’t hideous for you health-wise (for example, delicious ice cream). Recently I’ve begun brewing Kombucha and enjoy drinking that as well.

6. Start small

If you want to write for eight hours a day, don’t try and write for eight hours on the first day! Build up to it.

When I was in school training for the high-jump I could only get over the high bar if I started low and worked my way up. It was a psychological rather than a physical barrier.

I think the same is true for just about any activity. Start small and increase the duration and difficulty bit by bit. For example, when I began exercising I jogged slowly for 10 minutes and called it a day. Each week I increased the duration and difficulty until I achieved my goal. And (* knock on wood *) it worked! Writing is no different.

7. Remind yourself

The app I use the most is the Clock app. I set reminders for myself, reminders to deposit a check, to meet with friends, to leave for an appointment, and so on. I’ve also started to set reminders for my writing, when to begin, when to end.

8. The more the merrier

If you can find a group who want to create habits, people willing to share their victories and setbacks, this can be an enormous help. Facebook and even Google Groups are great for this.

That said, be careful to....

9. Hang out with people who have the same goals as you

Chances are, you’re trying to form good writing habits because you’d like to write more.

If you visit with people who don’t have good writing habits it will be harder for you to form those habits. Conversely, if you visit with people who have the kind of habits you want, you’ll find it easier to develop them. At least, that’s been true for me!

10. Use a trigger

Scott Young suggests creating a kind of ritual to mark the start of your activity, he calls this a trigger.

It helps if the trigger is something you don’t do any other time. So, for instance, if you’re like me and are nuts for yogurt you could splurge and buy yourself the pricy yogurt you usually pass up. You could then use this as a trigger by enjoying some yogurt just before your writing session begins.

Keep in mind that you only need to use the trigger to establish the habit. Sure, it would help to carry it through but you don’t HAVE to. Once a habit is established it seems to create its own inertia and become rather difficult to snuff out.

Using coffee as a trigger wouldn’t work for me because it needs to be unique and I drink several cups throughout the day.

If you try using a trigger I’d LOVE to hear about your experience, what you used and how it worked.

11. Visualize

Visualize yourself doing whatever it is you want to accomplish. I picture myself sitting at my desk—butt in chair—completing a chapter of my manuscript.

I also visualize my finished book. I see myself holding it, I feel the immense satisfaction of having my baby published and out in the world.

12. Forgive yourself

Chances are in the beginning you’ll miss a day or two or three. The key is not to give up. Hardly anyone succeeds at anything without failing first. One thing is absolutely certain: if you don’t keep trying the habit won’t form. Don’t let failure discourage you. Keep at it!

At the end of 30 days you might decide you don’t want to form the habit after all. That’s okay! The important thing is that you stretched yourself and tried something.

Further reading:

For more on habits and forming new ones see Owen Shen’s article, Habits 101: Research and Techniques.

Photo by Brooke Lark on Unsplash.

How to Write Again after a Break

You may have noticed I took an unscheduled leave of absence. Sorry about that. I was ticking something off my bucket list: being involved with the making of a movie!

And by “being involved” I mean that I wanted to do something that would give me a fly-on-the-wall perspective, something that would allow me to watch and think about what was going on. Being an extra (or ‘background actor’) gave me that opportunity!

Unfortunately, because of the pesky NDAs I signed, I can’t say more about it than that. If you ever have a chance to be an extra or background actor in a show, go for it! Of course, make sure it’s a legitimate offer, but if it is you’ll meet some VERY interesting people—your fellow background actors!

Okay, enough about that!

What I want to talk abut today is getting back in the groove. In my case, the writing groove which REALLY hasn’t been easy.

I know I’m procrastinating if my office is tidy—a-place-for-everything-and-everything-in-its place tidy. That, and I start to make journals. Currently, I’ve made enough journals to last me for at least a year!

And I suppose that even writing that, drawing this out, is a form of procrastination.

Oh! And brewing Kombucha.

Okay, so, my point: that even though it is taking a while to get back into the swing of things, since I have a pattern, a structure, (dare I say) a PROCESS, I have something to fit myself back into.

So I guess that’s what I’m writing about today, fitting back into old patterns and, in so doing, re-invigorating them.

Nothing Stays the Same

Heraclitus said that one can never step into the same river twice. The point being that the essence of nature is change. Not only do we change but the world also changes around us.

Perhaps the trick is figuring out how to change and still keep the things about ourselves we like. Or perhaps those are the bits, like Stephen King’s darlings, that need to be given up. I can never tell.

Sound difficult? It is! Especially if it’s radical change, the kind that shreds our lives. The kind that breaks us into a billion pieces, sets those pieces on fire and then smears them with napalm and incinerates them.

Anyway.

When we go through change AND come out on the other side we can put our characters through the same hell—er, “learning process”—and our story will be much more believable.

My feeling is that once I experience a particular something, a particular experience, it’s easier to write about believably. And since the hero’s arc is all about—or should be about—change; Intense, deep, destructive, life-shattering change—our writing is that much stronger.

And so there’s that. I guess my life has gone through quite a bit of change lately. There’s a temptation, an impulse, to walk away.

One thing I’ve found that does work for me is this: I sit my ass down in a chair and don’t let myself leave until I write something. By the way, the not leaving part is metaphorical. Bathroom breaks are fine and you get to eat but NOT cook anything. (Believe me I know what a delicious, scrumptious, diet-killing ribbit hole cooking can be.)

Which isn’t to say writers can’t be happy! But there is a reason so many of us have been friendless dreamers who live alone and drink WAY too much. I’m not trying to drive folks away from the profession, but just sayin’.

Back to the point.

The Beauty, The Utility, of Having a Schedule

Here’s my point: If you have a schedule then, even if you break that schedule, even if you shatter it into a million, billion little pieces, you’ll still have something, a structure, to come back to. Yes, things will be different, nothing is ever the same, but it will make possible what would otherwise be impossible.

And then the trick is to do it again.

Update: Writing and Acting

Sorry! I know I’ve disappeared for the past month. My deepest apologies.

I’m fine, nothing dire has happened. Just the opposite! I’ve been checking something off my bucket list: being an extra. Or, as we say in the biz, “background actor.”

It’s been amazingly, fantastically fun! There was a lot of filming where I used to live and I always wanted to peek behind the metaphorical curtain and see how movies are made. Being a background actor is giving me the opportunity to do just that!

So far I’ve only been on set for about 3 hours a day, the rest of the time I spend in holding (which is a huge air-conditioned tent). And when I’m working it’s difficult to look around. It’s really only when I’m asked to wait out of camera range that I can watch the process of filming. But, still, what I’ve seen has been interesting and (of course!) I can’t help but relate it to writing.

It seems to me that an actor going on an audition is similar to a writer sending their work off to a publisher. Perhaps I’m wrong, though. Please tell me what you think!

Similarities between writing and acting:

The part could have been already filled.

I’m told that occasionally a production must audition for a role even though the director already knows who they are going to cast.

WRITING: Often magazines have enough stories for several future editions, but they don’t close their submissions page.

Not what the director/production was looking for. 

When I was in high school (low these many years ago!) a troupe came in and showed various ways Hamlet and Ophelia could be played.

You’ve heard of character studies. When playing a character an actor develops a detailed idea/concept/notion of the character they are portraying.

But, even if they completely nail their portrayal of the character, it may not be what the producer was looking for.

WRITING: You can submit a terrific story but if its not what the publisher is looking for it’s not going to be accepted.

Of course, there are differences. I talked with a background actor who had a successful audition when he was in the right headspace and a horrible audition (for the same part) when he wasn’t able to get back into character.

With writers it’s a bit different, although even here you could argue there are similarities. Sometimes, whether a person thinks your story is a good read depends on their mood, even their surroundings. Have they had an argument with someone recently and would like to punch a wall? Are they in the middle of the renovation-from-hell? Are they reading your story between speakers at a crowded convention? If so, chances are that even if your story is exactly what they’re looking for, it will be rejected.

The moral: Take heart! Just keep on doing what you’re doing. Writers write AND submit their work (or self-publish!). Rinse and repeat.

I promise to return to a more regular blogging schedule when my stint as a background actor is over. And after the story I’m a part of has been aired I can talk more about the details of my very fun adventure!!

Writer's Block and How to Beat it

I've been trying to write this blog post all day but the words wouldn't come.

I know all writers have experienced writer's block and know what a horrible feeling it is.

I know some folks deny there's any such thing as writer's block, that professional writers can't afford it. And they DO have a point.

But sometimes the words hover just out of reach. They peek around the corner then run screaming.

An hour ago I realized what was wrong: I had writer's block because I wanted to write something else! My muse wanted to work on the murder mystery I'm writing, but I NEEDED to write nonfiction.

The Secret to Curing Writer's Block: Compromise

Living with one's creative self, one's muse, is a bit like any serious long-term relationship: the key is compromise. I worked on my murder mystery for an hour (I set a timer!).

After the hour passed I sat down to write this blog post and the words (finally!) flowed.

Another thing that works is to write—or to TRY to write—for half an hour (or whatever span of time) and then, after half an hour, give yourself permission to do something else for ten minutes.

I find that, often, I end up working past thirty minutes because I've found inspiration. But it's important I know I have the very real option of stopping after half an hour.

Writing is about truth (at least, IMHO), and in order to write truth one has to be true to oneself. If your muse is leading you in a certain direction, try it out!

Do Something Else Creative

Take a break from writing and do something else creative: paint, draw, or cook. Do anything creative that strikes your fancy!

Chicken Noodle Soup: A Recipe

My favorite creative activity is cooking. I cook and I write. Today I made chicken soup. Here's my recipe:

Ingredients:

4 large mushrooms
1 zucchini, cubed
1 crown of broccoli
1 stalk of celery
1 bunch of spinach
1 sweet onion
1 head of garlic, crushed and cut up
5 medium tomatoes
4 or 5 chicken drumsticks or thighs
chile flakes
salt
pepper
civicha sauce (optional)

Method:

- Cut up the vegetables into bite sized cubes, including the mushrooms.
- Sauté the onions until almost translucent.
- Add garlic and sauté for 5 minutes or so.
- Add chicken and brown. I don't bother deboning the chicken, but it's up to you.
- Add enough water to cover everything, plus an inch or so.
- Add chile flakes.
- Cut stalk off broccoli and cut into cubes. Add to pot.
- Add celery.
- Add salt and pepper.
- Add cubed tomatoes.
- Simmer for 15 minutes or so or until the chicken is cooked.
- Add zucchini and mushrooms and cook for 5 minutes or until the zucchini has reached desired doneness.
- Taste the soup and add salt and pepper as needed. If it's not spicy enough (I love mine spicy!) I had a teaspoon or so of civicha.

Serving:

Put a handful of spinach in a large serving bowl and ladel the soup on top. Stir the soup, making sure the spinach is limp.

That's it! Add whatever vegetables you'd like, I sometimes roast them first (especially root veges) and add them at the same time as the zucchini.

If you try the recipe, let me know I'd love to find out what you've created. :-)

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Every post I pick something I believe in and recommend it. This serves two purposes. I want to share what I like with you, and, if you click the link and buy anything over at Amazon within the next 24 hours, they put a few cents in my tip jar at no cost to you. So, if you click the link, thank you! If not, that’s okay too. I’m thrilled and honored you’ve visited my blog and read my post.

Today I'm recommending a reference book I have on my bookshelf, one I consult all the time. Next to Stephen King's On Writing, It's one of the most useful books I own. I'm speaking of Writing Tools: 50 Essential Strategies for Every Writer by Roy Peter Clark.

From the blurb:

"Ten years ago, Roy Peter Clark, America's most influential writing teacher, whittled down almost thirty years of experience in journalism, writing, and teaching into a series of fifty short essays on different aspects of writing. In the past decade, Writing Tools has become a classic guidebook for novices and experts alike and remains one of the best loved books on writing available."

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Creating Effective Transitions

Transitions are tricky. In a scene you write in the moment, recording your character's thoughts, feelings, actions and—most important of all—desires. In those times when you're immersed in the scene writing can seem effortless.

Transitions, not so much.

I'm not saying it's unclear what I need to do in a transition. At least, speaking generally. I know where I need to start (the disaster that ended the previous scene) and where I need to end (the viewpoint character's new goal) and what I need to do in between these two points (emotion --> thought --> decision --> action). But, still, these are general guidelines that allow for a LOT of flexibility.

Today I'm going to talk about how to create effective transitions between scenes.

(BTW, if you’re wondering what a sequel is I talk about them in Scenes, Sequels, Sequences and Acts.  For more about scenes and sequels I also recommend Dwight V. Swain's book, Techniques of the Selling Writer and Jack Bickham's Scene & Structure.)

Simple Transitions and Sequels

Jack Bickham tells us there are two kinds of transitions: simple transitions and sequels.

I talk more about simple transitions, below, but basically simple transitions are what they sound like, one or two lines that takes you from one place/time to another place/time. For example, "At 10:30 Sarah was eating ice cream, three hours later she was dead."

Sequels are longer more complex transitions that link scenes together. At the beginning of a sequel the protagonist has been humiliated and defeated. Not only has he NOT achieved his goal, he has lost whatever progress he made. The question is: What does he do now? What is his next goal?

Transitions are about emotion.

All transitions should show the viewpoint character's emotion. (Scenes, on the other hand, are about CONFLICT.) Dwight V. Swain in Techniques of the Selling Writer states that emotion “unifies sequel and holds it together.”

During a sequel your protagonist is preoccupied with the emotional and physical aftermath of whatever disaster ended the previous sequel. Swain writes that for a character to be preoccupied in this way is “actually to be preoccupied with a particular set of feelings. If your girl runs out on you ... you feel hurt and angry. If your boss fires you, you feel angry and panicky. If your friend betrays you, you feel grieved and confused.”

“... until you decide what to do about the situation, your feelings can’t help but be the thing uppermost in your mind.”

In a transition you summarize, skipping anything that doesn't help communicate the viewpoint character's dominant emotion, that doesn't help show his or her reaction to the disaster at the end of the preceding scene.

The Dominant Feeling

Let's talk a bit more about that last point. Think about the particular transition you’re writing. What is your character’s dominant feeling? Is it hate? Love? Fear? Desperation? Dread? Whatever it is, this will give you the unifying theme. For example:

Lily blinked at her computer and cringed. She would rather have a root canal than try to string words together coherently. Perhaps her ideas would flow more easily tomorrow. But when tomorrow came even the thought of writing felt like the blade of a knife.

In the above example I attempted to communicate the feeling of dread I've felt a time or three at the prospect of having to commit words to (virtual) paper. Lily was also dying for a big juicy hamburger and tired after a night of troubled sleep, but I didn't say anything about that because it wouldn't help express her feeling of dread.

Simple Transitions

Let's take a deeper look at simple transitions. As Jack Bickham writes in Scene & Structure, simple transitions cover either a change in time, a change in place or a change in viewpoint.

a. A change in time

Example: “It was the following Tuesday when they met again.”[1]

Example: Ruth flung her head back, closed her eyes and faced the sun, letting the heat dance over her skin. She wanted it to stay sunny forever. Alas, she lived in the Pacific Northwest. Fifteen minutes later it started to rain.

Transitions generally come between scenes and compress time. Chances are the protagonist has lost and lost big at the end of the previous scene. She must now figure out what to do and, as part of this, she will likely need to travel to different places, talk to different people. If we followed our protagonist around second-by-second our story would be very boring. So we need to summarize, condense. We need to figure out her dominant emotion and let that guide our choices.

b. A change in place 

Example: “At about the same time Joe met Billy another meeting was taking place on the other side of town.”[1]

Just as transitions compress time they generally compress space as well. When your protagonist goes to visit his friends you're not going to want to describe the car, the heat, etc. You only want to bring in what’s important for your story.

c. A change in viewpoint

Example: Dan smiled hoping his girlfriend, Jan, wouldn’t find out he’d made it to second base with her best friend. [New chapter] “Bastard!” Jan thought, looking at Dan, seeing his guilty smile.

Changes in viewpoint are straightforward. First you were telling the story through one character's eyes and now you've switched and are telling the story through another character's eyes.

Just make sure it's clear to the reader that the viewpoint has changed as well as whose viewpoint the story is now being told from. The writer doesn't want to confuse the reader so it's a good idea to do this in the first sentence and certainly in the first paragraph.

Transitions and Time

Recall that scenes happen in the moment, time unfolds second after second. Sure, time can slow down but there are no jumps, no gaps.

But if you wrote a story that detailed every single second of your protagonist's life you'd end up with a story bored any reader to tears!

We need to see characters live moment-by-moment when there is a burst of purposeful activity (i.e., a scene) but then we need to transition to the next burst. How we do this greatly affects the pace of a story.

Controlling Pace

New writers tend to write stories that need speeding up rather than slowing down, but here are the a few pointers for doing both. (Most of these points were drawn from Jack Bickham's book.)

How to speed up the pace of a story:

• Where possible, remove sequels from between scenes.
• Where it’s not possible to remove a sequel see if it would be just as effective if you used a simple transition rather than a sequel.
• Can you cut some descriptions of emotion from your sequels?
• Check the motivations and goals of your characters in the scenes your transition links. Is it clear what motives your main characters? What their goals are?
• Can you raise the stakes in one or more of the scenes?
• Can you make the disasters at the end of your scenes more dramatic?

How to slow down the pace of the story:

• Cut one or more scenes.
• Shorten one or  more scenes.
• Reveal more of the viewpoint character’s thoughts.
• Expand the sequels.

That's it for today! I'll talk to you again on Friday. Till then, good writing!

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Every post I pick something I believe in and recommend it. This serves two purposes. I want to share what I like with you, and, if you click the link and buy anything over at Amazon within the next 24 hours, they put a few cents in my tip jar at no cost to you. So, if you click the link, thank you! If not, that’s okay too. I’m thrilled and honored you’ve visited my blog and read my post.

I've talked about Jack Bickham and Dwight V. Swain in my article and can wholeheartedly recommend their books. Yes, they say basically the same thing but I love reading authors who the same topic but from different perspectives. If you're wondering which book to start with I'd recommend Jack Bickham's Scene & Structure. 

Here's a quote from Scene & Structure:

MENTION WORDS SUCH AS STRUCTURE, form, or plot to some fiction writers, and they blanch. Such folks tend to believe that this kind of terminology means writing by some type of formula or predetermined format as rigid as a paint-by-numbers portrait.

Nothing could be further from the truth.

In reality, a thorough understanding and use of fiction’s classic structural patterns frees the writer from having to worry about the wrong things, and allows her to concentrate her imagination on characters and events 

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Note:

1. The example for (a) and (b) were from Jack M. Bickham’s book, Scene & Structure.

Writing Exercise: Make Your Own Critter!

The research vessel Investigator recently explored a 4 km deep abyss along the eastern edge of Australia and found some bizarre critters! A fish without a face, a blog fish, and (this is my favorite) a sponge with GLASS tips. Wow. Now make your own!

What does the head look like? Body? Does it walk? Fly? Swim? Does it have scales? Feathers?

What exceptional quality does it have? Can it withstand fire? Can it breathe fire? Is it poisonous? Can it camouflage itself? Does it lay eggs or give live birth? How long does it live? WHERE does it live?

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Every post I pick something I believe in and recommend it. This serves two purposes. I want to share what I like with you, and, if you click the link and buy anything over at Amazon within the next 24 hours, they put a few cents in my tip jar at no cost to you. So, if you click the link, thank you! If not, that’s okay too. I’m thrilled and honored you’ve visited my blog and read my post.

Today I’m recommending a book I’ve read many times, a book that helped shape our understanding of what a good story is: Screenplay: The Foundations of Screenwriting, by Syd Field. As an added bonus it’s well-written and a pleasure to read. Yes, it does focus on screenplays as opposed to novels but many of the same considerations apply: story is story. From the book:

“Because a screenplay is a story told with pictures, we can ask ourselves, what do all stories have in common? They have a beginning, middle, and an end, not necessarily in that order, as Jean-Luc Godard says. Screenplays have a basic linear structure that creates the form of the screenplay because it holds all the individual elements, or pieces, of the story line in place.”