Writer, Will You Go Anywhere God Calls You? The Problem IS the Path to the Solution

Thanks to Pixabay.com

Warning: This post is for Christians only.You can read it if you want to, but don't get mad if it's too religious for your taste!

Now, for those of you who are still reading, here's the question that's on my mind: Are you willing to go anywhere God has called you?  (Tweet that.)

I've been reading Erica Wiggenhorn's Bible study of the first twelve chapters of the book of Acts titled The Unexplainable Life (Moody, 2016). In Acts 8:26, an angel tells Philip, who was one of the original twelve disciples of Jesus, to:

"Go South to the road--the desert road--that goes down from Jerusalem to Gaza" (Acts 8:26, NIV).

 About this, Erica writes:

For Philip to take the route the angel suggested meant heading into the middle of the desert. With no means of transportation, this could easily mean death. Once Philip obeyed this unexplainable request, he now became led solely by the Spirit. God is so merciful, isn't He? Asking Philip to head out to the middle of the desert was completely contrary to anything logical. Philip was an evangelist. Who would hear the message in the middle of the desert? Was he supposed to preach to the sand? After witnessing such revival in Samaria, I'm sure Philip was eager to go to another largely populated city to see what God might do there in the hearts of the people. But God sends him an angel telling him to head out into the middle nowhere. (page 164)

There Philip meets an Ethiopian who becomes a believer in Jesus and is baptized on the spot. Then Philip is miraculously whisked away instantaneously to Azotus. But that unnamed, probably bewildered, Ethiopian continued on his journey.

Again, from Erica's book:

Look at the incredible intricacy of God's timing. One seeking heart, one page of Scripture, and one willing servant of God resulted in the gospel being spread to an entire nation! God sent Philip completely out of his way to present the gospel to one solitary individual... 

This eunuch's request to understand God resulted in the truth of the gospel being brought to another continent. (pages 164-65)

I'm writing this on a flight to Los Angeles. I never started out to be a screenwriter. That crazy idea came about ten years into my writing journey. It took another ten years after that for me to actually start. Now, another eight years later, I'm flying to Los Angeles to meet with people about my screenplays.

I never would have dreamed I'd be doing this. (Tweet that.) Talk about God doing immeasurably more than I could ask or imagine...

"Now to him who is able to do immeasurably more than all we ask or imagine, according to his power that is at work within us, to him be glory in the church and in Christ Jesus throughout all generations, for ever and ever! Amen" (Ephesians 3:20, NIV).

I'll admit some frustration in publishing. I haven't got the books written (yet) that I've wanted to write, let alone not yet getting the book publishing contracts I've wanted to get. I'm not where I envisioned I would be this many years into my writing career. Why? I ask myself that often. I guess "life" intervenes. Plus, there are practical reasons, such as learning how not to constantly under-estimate how long things will take to complete. Or how much time we actually have to write.

I work hard five to six days a week. I'm in my office early and stay late. And  yet... projects remain unfinished.

What about you? Does this feel familiar?

But honestly, part of the reason, when it comes to book publishing, that I haven't written as much as I wanted to is because of this "side" journey of film and screenwriting. But when you get right down to it, this "side"journey isn't really that at all. It's right where the LORD has directed my steps to bring me. When I trace the steps I've walked on my writing journey, I never could have done this or gotten here on my own. (Tweet that.)I could not have orchestrated this. Where I'm at now is more than I could have ever asked or imagined.

I recently discovered an interesting television show on the Sundance channel on Sunday mornings. It's called Close Up With The Hollywood Reporter. Each show is a panel discussion with five or six Hollywood professionals, such as producers or directors or actors or writers. They discuss the challenges of their respective jobs, what they've learned, who their heroes are, etc.

On one episode, Greta Gerwig, writer and director of the film Lady Bird (with five Academy Award nominations) talked about the problems that came up on set as she was directing. (Tweet that.) She concluded that (this may not be the exact quote but it's close): "The problem IS the path."

Interesting. How often do we, as writers or other creative professionals, strive against the problems? Buck against the obstacles? Perhaps, like the characters in our stories, we should see the obstacles in our paths not as roadblocks, but rather as directing us to the right path. (Tweet that.)

What about you? Are you "detoured" too? Or are you right where you're supposed to be, even if you're not where you planned to be? (Tweet that.)

Are you fighting the direction you're going? Or could it be the LORD is directing your path? Are you willing to go wherever the LORD wants you to go, wherever God calls you? Even if it's different from where you thought you were headed?

Yeah, me too. I'll see you out there ... on the journey.

Holidays - A Writer's Interruption?

Thanks to Pixabay.com 

It's that "wonderful time of the year" again. December. Christmas is crowding in and crowding everything else out.

I used to get frustrated with holidays - any of them throughout the year. They are such an interruption to writing and usually come when I'm on a roll.

I'm changing my attitude. Holidays are good. God gave us holidays for a reason. (For you purists, yes, I know God didn't give us Christmas in the same way he gave the Israelites Festivals and holidays. But he gave those holidays and set the example.) Holidays are a time to slow down. Or stop. To think. Remember. Remember what is important. Be thankful. Re-evaluate. Re-focus.

Without holidays time just spins past and we risk not even noticing. (Tweet that!)

So December is a time to analyze what we've done this past year and where we're going in the next one. Are we going to get done the goals we set at the beginning of the year? Or is it another year to be disappointed? Goals unfinished. Writing projects undone.

Some of us have been doing this writing-thing for a while. We've seen many Decembers roll around in our writing lives. It can feel like December after December of unmet goals turn into years gone by and the writing projects we set out to do years ago remain unfinished. (Tweet that!)

When I started out in this gig, my big dream was to write a novel. Guess what is the one thing I have not done? (Well, I've written a few unpublished novels. I've learned a great deal from writing those.) I've written more than 300 published magazine articles and short stories, hundreds more online articles, six nonfiction books, contributed to twenty more books, and have written five feature-length screenplays. But not a publishable novel.

Can  you relate? Does this feel familiar? What's a writer to do?

How to Accomplish Your Goals

Then the next logical question is what do we do about it? As I look ahead to this next thirteen months - December through next year - here are my thoughts about it at this moment:

1. Make a new plan.

I never subscribed to that "write every day" rule. (Tweet that!) I much prefer to have a large chunk of uninterrupted time when I can concentrate on a big project. But I never get there. I've always thought I needed to get everything else done first so I can enjoy my big special project. But I never get everything else done.

Time for a new plan. I'm going to take the advice I've heard often and try to write every day. I know the word count will add up. I know I'll be chipping away at that big goal.

Does this strategy sound like it can work for you?

2. Reevaluate your schedule

What has cluttered up your time? All that "everything" I mentioned in #1 above is just stuff. Yes, it's stuff that needs to be done. Email and platform-building and marketing, oh my. But you know what? It can wait.

I'm putting my writing first this next thirteen months. Not "everything else." (Tweet that!)

3. Start a New Job

Writing is a job. It's our work. Our career. (Even if you have another one with a paycheck.)

So I'm going to claim my most creative time for my writing. And I'm going to guard it.

My most creative time is first thing in the morning. (That is, after I read my Bible for a bit and feed the cat and give her her insulin.) If I start with Facebook, email, or something else it eats up my time. By 10:00 other things come into my world that demand attention. I need to get writing done before then. Ignore all else. Even the phone.

What is your best, most creative time? How can you block off and guard that time for writing?

One day a week I must go out of town. Okay, that's worked into my schedule. I make up for it on Saturdays.

What must-dos are on your schedule? How can you work around that to still get your writing time?

Like a job you show up for or get fired. That's what writing should be. Honestly, I think most writers should be fired. (Tweet that!) They, or we, are not doing our jobs. Do you want to keep your job as a writer? Then get to work. (I'm talking to myself. Mostly.)

4. Make new goals.

Monthly. Weekly. Daily. We know how quickly the end of the year rolls around. Again.

Do you make yearly goals? I do. But obviously these must be broken down to monitor how we're progressing.

My new "write every day" goal does not have a word count attached. I have no idea how many words I'll write each day and that's okay for now. I'm making progress.  (Tweet that!)

Also without a deadline attached is research. I want to do research for some projects I've had in mind for a long time. I've always felt January is a good time to do that but I've yet to get it done.  This January, I'll try again.

What new or renewed writing goals are your going to make?

5. Never give up on your Dream

Don't they say dreams come true in December? Renew your dream. Your Christmas wish.

For me, I'm renewing my dream of writing a novel.

What's your renewed dream?

Thanks to Pixabay.com 

Let's work harder than ever before through the coming months to make our dreams come true. Let's put words away in a manuscript like savings in a bank and watch them build up. (Tweet that!) Remember I'm right there with you, saving toward the same goal. I hope my Christmas gift to me next year will be a finished novel.

6. Be grateful for what has gone before

All that other writing is not wasted at all. It was learning. Even those unpublished novels I've written were learning projects.

• Articles taught me how to put words on paper and how to communicate thoughts coherently and succinctly.
• The nonfiction books taught me about publishing and the marketplace and selling books.
• Contributions to 20 books gave me confidence and standing in the writing and book world.
• Screenplays taught me story structure and building characters and worlds and, again, writing and communicating coherently as well as telling a story succinctly.

All of this learning has been necessary for me to get to where I know I can write the novel I've always wanted to write. So here I am. (Tweet that!)

It's time.


It has been a long journey - more than 25 years of a writing journey for me. But all of it has brought me here. And now I can't wait for the new year. I'm already writing daily. I've already started my novel. I can't wait to see where this leads in the new year.

But first, I'm grateful for the interruption of holidays.

Related Articles:

• January 1, 2016: Dianne's Challenge - Go Rogue!

Don't miss out on any of the great information shared in this blog. To get each monthly article by email, use the Feedblitz in the upper right of this page. Or use this link to subscribe to "Butts About Writing." Or text BAW to 1-781-262-3877

3 Magic Questions for Writers that will Strengthen Your Story

Pixabay.com

This past summer I had the opportunity to take an online workshop called "The Master Screenwriter" from Derrick Warfel,  a film producer. In the workshop he shared some wisdom from Paddy Chayefsky, a three-time Academy Award winner for Best Screenplay.

This is about STORIES - so it's not just for screenwriters but also for novelists, short story writers, or whatever story you're writing.

Chayefsky kept three questions taped above his typewriter. Derrick Warfel said it's amazing how many scripts he sees that don't answer these basic questions. (Tweet that!) He said if writers would answer these three questions, they'd be a long ways ahead of most of the other writers out there.(Tweet that!)

If you are participating in National Novel Writing Month, check your story now and see if you're answering these questions.(Tweet that!)

Whatever story you're writing, maybe you need to stop now and consider these questions to make your story stronger. (Tweet that!)

So what are these three magic questions?

Pixabay.com

1. Who is your main character?

Obviously this is not just the character's name, but who they are as a person. Their weaknesses and strengths. Their experiences. Their fears. It might include their job. Or their family. Or their connections.

This is not just make up quirky character traits time. This is making wise choices about who this character needs to be to carry the story. (Tweet that!)

2. What does he/she want? (Very badly!)

In every story, the main character must want something. This drives the story forward. If your character doesn't want something, and want it badly, this is a warning sign. (Tweet that!)

It may mean a lot of things (that I haven't thought of), but one thing I've thought of that it might mean is that you're going to have a passive main character. By "passive character" I mean a weak character, which is uninteresting in a story. Nobody roots for a passive character.

A passive character is one whom things happen to.  But that character doesn't actually do anything. They don't get mad. They don't get up and fight back. They are passive. They just sit there. They are a victim. Everyone feels sorry for a victim, but we don't root for a victim until that person gets up and fights. Beware of passive characters.

For more about passive characters, see my blog post from November 1, 2015: Writing Stories: What Your Story Needs - Part 1

3. What's keeping him/her from getting it?

Finally, whatever your main character wants, there needs to be a barrier to him or her getting it.(Tweet that!) It could be a big evil person or monster. It could be something monstrous in nature, such as big storm or natural disaster.  Or it could be something within themselves which they need to overcome. But there has to be something or someone standing in the way of your main character getting what they want. Otherwise, they'd just go get it and the story would be over (and pretty boring), right?

Pixabay.com

So what about your story-in-progress? Have you answered these three questions? If not, maybe you should stop now and find the answers. I can pretty well guarantee you'll have a stronger story if you do.

Need more help? Try this:

Exercise:

 Think of your favorite novel, story, or movie and answer these three magic questions for that story. Here are some suggestions. How would you answer these questions for:

• The movie Lethal Weapon

• The classic story "Cinderella"

• The movie Finding Nemo

• The movie Despicable Me

• Your favorite movie.

• Your favorite novel. 

• The story, novel, or screenplay you're writing now.

Here's an example:  

The movie: Die Hard

Who is the main character?
A hard core, street smart New York cop visiting Los Angeles where the other cops don't know him.

What does he/she want?
He wants to reconnect and reconcile with his wife who moved to LA to take a great job.

What's keeping him/her from getting it?
The terrorists who have taken over the skyscraper where his wife's office is holding its Christmas party and have taken everyone, including his wife, hostage.


Now, how would you answer these three questions for your story? (Tweet that!)

Do you find these three "magic" questions helpful to you as a story writer?

RELATED ARTICLE:

• November 1, 2015: Writing Stories: What Your Story Needs - Part 1

Don't miss out on any of the great information shared in this blog. To get each monthly article by email, use the Feedblitz in the upper right of this page. Or use this link to subscribe to "Butts About Writing." Or text BAW to 1-781-262-3877

Be Intentional in Your Writing

Someone once told me there are two kinds of people in the world: Those who divide people into two groups and those who don't. Okay, well, if we can have just a little fun with that, based on my observations, I wonder if we can divide writers into two groups:   (Tweet that!)

• Those who write because they love to write. These are the writers who say they "can't not write."

• And those who write because they have something they want to say, a message, something they desperately want to get out to the world.

Two Kinds of Writers

Sure, there's definitely some overlap here. Perhaps there is some of both in most of us. But there are definite differences too.

Those who write for the love of writing say they would write even if they never got published, even if nobody else ever read what they write. They write because they love to write. Maybe it's the story creation. Perhaps it's the discipline of thinking out loud, having to capture thoughts in concrete enough terms to put them on paper. I'm not sure what these writers love so much about writing that keeps them addicted. What would you fill in that blank with? The point is, for these writers, if someone could somehow tell them they couldn't write anymore — make it illegal, take away all pens, paper, computers, whatever… — they'd find a way. (Tweet that!) Writing for them is like breathing. They have to. They'd do it anyway… regardless.

Those who write because they have something they desperately want to say might not feel the same way about writing. They write because they see writing as the best possible way to get their message out to the widest possible audience. They are not satisfied with spreading their message one on one, to the circle of people they can influence. They want more. Writing and publishing is their way of seeking that "more," that bigger audience. For these writers, if someone could somehow tell them they couldn't write anymore — if someone made writing illegal — they would find another way to get their message out. They would speak. They would go on TV or radio or the Internet or whatever, but they'd find another way to get their message out… regardless. (Tweet that!)

Do you identify with one of these groups of writers more than the other? Do you agree or disagree with my assessment?

The Writing in Front of Our Faces

Do you ever look at the top sellers or suggestions for books on Amazon or Goodreads? Or what's on the first tables you see when you walk into a bookstore like Barnes & Noble? Whether it's Amazon, Goodreads (which is owned by Amazon), or a brick and mortar bookstore, when I glance at what those companies put before my face, I'm somewhat surprised.

Only somewhat surprised because I know those titles represent "the world" and what, apparently, most people want to read. (Though I'm even skeptical about that. Judging by what I see on TV and hear on radio, it could very well be what companies WANT us to think is what most people want.) But most of the time it's not anything close to what I'd like to see, hear, or read.

What does surprise me is the topics and types of material that tops these lists of what is selling. In fiction I see lots of titles and book covers for stories that are "romance," but they are clearly steamy, sexual, who knows what the writer has put on the pages between the covers. I don't want to find out. I don't want to read that stuff. Many of these books are unabashedly called "erotica." I don't want to read this stuff.

If you're thinking these ads are coming up on my feed because that is what I search for, look at, or buy, you're wrong. I've never searched for, clicked on, looked at, or purchased "romance" of any kind or "erotica" ever. Again, I don't want to read that stuff.

Then there are the stories that bash our nation, or one political party, or that portray all law enforcement officers as crooked, dirty, underhanded, and violent.

Are these types of stories the most popular — not only for readers to read but is this what writers are writing? I don't want to read that stuff.  (Tweet that!)

Why Is This Important?

Why do you write? Do you just want to write stories that sell? So you can make money? Do you follow the trends, hoping to get in on the ride to the top? Are you a follower? Just doing what seems to be popular? Are you satisfied with indulging people's worst sides, helping them go deeper into degradation, taking their society with them?

Or do you have something important to say? Something that will lift your reader to a higher place, a better place? Do you have a message that will be good for your readers? Do you have some insight or knowledge or story that will help your little corner of the world, or your society, or your nation, or your world become a better place? (Tweet that!) If so, are you intentional in writing that message or that story?

Be Intentional in Your Writing

However you chose to write, whatever genres you choose to indulge in, I hope you will choose the nobler side.  (Tweet that!) I hope you choose to write what might be less popular in order that you might make the world a better place, not a worse place.

Have a message — a good one. Be a noble writer. Choose the good. This doesn't mean stories have to be fluff and sugar. Be a leader, not a follower.  (Tweet that!) Have a good message. And be intentional about making your message known through your writing.

READ THIS RELATED ARTICLE:

• January 1, 2016: Dianne's Challenge for Writers: Go Rogue!

Grow as a Writer in One Week During the Coming 168’s “Write of Passage” Contest

You're familiar with NaNoWriMo and its benefits. Writers spend a month writing a 50,000 word project. Have you ever taken the challenge? For me it has been a wonderful exercise that accelerated my learning curve — because of the relatively short deadline. The challenge packs a lot of learning into a short amount of time.

One week 

Well are you ready for another similar challenge? How about writing a short screenplay in a week? (Tweet that!)

Mentored writing exercise

Not up for a one week challenge? Well what if I sweetened the pot by adding a mentor to journey through that week with you? That's right, for the price of entry you'd get a writing mentor who would look at your story and script several times throughout the week. (Tweet that!) You'd get feedback from your mentor, someone with experience. They would make suggestions and give advice. Wouldn't that be worth the price of admission?

But wait. You're thinking you have no interest in screenwriting? Ok. Think of it like this: It's all about the story. You could have a one week, mentored challenge all about story. (Tweet that!)  And if you don't know it already, STORY is KING.

Challenge - a theme and a Bible verse

I'm talking about the 168 Film Project's "Write of Passage."  This is a short screenplay writing contest. You get to write a short screenplay — 12 pages max — in one week.

You can't start early. You can't enter a script you've already written. That's not fair.

You have to write your story on two things the 168 Film Project assigns you: a Theme. And a Bible verse. (Tweet that!)

That's right. You're assigned your writing topic.

Does that sound intimidating?

What if I gave you one of those two pieces of information right now? Would that help take the edge off? Every year the Theme of the 168 Film Project's "Write of Passage" is announced in advance. The Theme for the 2017 "Write of Passage" contest is … <drum roll, please>: "POWER."

So now you have half of the information on which you would base your story. Is your imagination running wild? Got an idea? That's great. But hold on. You still need the other half of the information you'll be basing your story on. That's how they keep you from starting early (which is cheating). You'll be assigned the other piece of information at the start of the timed contest. It will come in the form of an assigned Bible verse.

Once you receive your assigned Bible verse, you'll think about that and the theme "Power" and you'll come up with an idea. Then you'll brainstorm a story idea. You might run your idea past your assigned mentor, called a "Development Executive."

Then you'll start to write.

The Rules.

From the start of the timed contest when you receive your assigned Bible verse, you'll have 168 hours to write your script and turn it in. 168 hours? That's 7 days times 24 hours. 7 x 24 = 168.

One warning: If you like to write stories that would be "R" rated if a movie, due to their graphic nature, this contest might not be for you. This contest is looking for redemptive stories. That doesn't mean you can't write hard stories about tough issues. You can. It just means this contest is not going to like graphic images, gratuitous sex or violence, foul language, especially using the name of the Lord as foul language, that kind of thing. It's a bigger challenge to write an in depth story without that kind of thing anyway, so that's good for us. (Tweet that!)

There are some other Rules. You can read them here: Write of Passage FAQs

It's a challenge. It's not easy. It can even induce fear and trembling in writers. (Tweet that!) But do you think you're alone? Of course not. Other writers experience the same anxiety. Similar panic. The same pressure to come up with a story. The same delete key. Just like the poor writer struggling to come up with a story in this short video:

An entertaining "Write of Passage" promo video!

But if you'll give it a try, you'll grow as a writer. That's pretty much guaranteed.

What you'll need:

You may need to learn a little about screenplay format. And you'd need to grab a free screenwriting program. If you already have Scrivener, that will do the job. Scroll down on this page to find a selection of Screenwriting Software you can get and use for free: Write of Passage FAQs

You'll need a basic understanding of screenplay format. Need an example to follow? Read previous "Write of Passage" scripts here, and pay attention to the formatting: Write of Passage Top Scripts

Your screenwriting software will put things where they're supposed to be, you just need to know what goes where and how to tell your program to put it there.

The Perks. 

You mean there are perks besides the practice in creating a story? And the feedback and critiquing and suggestions and mentoring by an experienced Development Executive (DE)?

Well there's a cash prize. And your script may get produced. You writing would get exposure. You'd get some experience. You'd get some focused practice in. You'd get feedback from your mentor, that is your DE. Plus, you'll get all that in one week and then you can get on with your life and your other writing projects. (Tweet that!)

Cheap.

For all this focused, personal mentoring, the price of admission is pretty inexpensive when you think about it. The sooner you sign up, the lower the price. Sign up here: Write of Passage Contest Entry. Enter now for the best price.

When? 

The writing week for 2017 is October 9 - 16, 2017. That's a Monday to a Monday. 168 hours. One week. It's coming soon. You'd better sign up now!


Again, even if your interest is not in writing screenplays, this is a great opportunity to grow in your ability to develop your stories into stories that will capture the hearts of your audience, whether that is for readers of novels, stories in your nonfiction writing, your story-telling in your speaking engagements, or other opportunities. And if you are interested in screenwriting, this is an excellent opportunity to get your feet wet, get started, or advance in that desire. (Tweet that!)

Learn more about the 168 Film Project's "Write of Passage" contest here. I hope to see you competing this year.

Related Article:

• November 1, 2012: Are You NaNoWriMo-ing? Benefits of and Tips for Surviving National Novel Writing Month.

Don't miss out on any of the great information shared in this blog. To get each monthly article by email, use the Feedblitz sign-up in the upper right of this page. Or use this link to subscribe to "Butts About Writing." Or text BAW to 1-781-262-3877.

Dusting Off Those Shelved Writing Projects

Pixabay.com

Last month we talked about finishing projects we had started or have half finished but never completed. I hope you were able to work on or complete some of those projects. As usual, I didn’t get as much done as I had wished, but finishing projects is still on my agenda.

Also last month in the June article, I promised this:

“If it’s a story of your heart that you love and want to finish, but it really needs a lot of work, leave it in the closet. We’ll talk about that project next month.”

So here we are in July, the middle month of summer. Do you have writing time?

Take Out that Story You Love, Dust It Off, and Finish Writing It!

Do you have a project of your heart that’s been put on the shelf? Do you remember why you shelved it? (Tweet that!) There can be a lot of reasons. Let’s talk about why writing projects get shelved. Then let’s consider taking them down, dusting them off, and finishing the stories of our hearts that we love (no matter what others say!).

It could be you didn’t have time.

Maybe distractions — whether from life or other writing projects — drew you away until dust collected on the project and, eventually, it got put on the shelf just for a little while, just until you got your desk cleared. And, um, that was years ago and your desk never cleared.

Possibly it was simply “life” that got in the way. The business of taking care of family and jobs and responsibilities… Am I ringing any bells here?

Or, maybe it’s on the shelf for another reason. Maybe you got discouraged with the project. That happened to me.

The Story of My Shelved Writing Project

Once upon a time I had a story I really loved. It was a supernatural thriller. I worked on it. I plotted it out. I developed the characters. I really loved that story.

And then the long days came when I wrote out that story as a novel. I worked hard, starting early in the morning and working late into the night. I wrote the entire novel. And I loved it.

I dreamed of sequels. I didn’t have all the plots worked out for the next two books, but I had characters who could fill them and a basic idea.

Then things started to happen. Three things, to be exact.

1. I talked with an agent who loved the idea of my story. He was a well-known agent who had “discovered” another author, one who had been rejected by everyone else. This agent helped him and that rejected writer not only found a publisher but became a best-seller, sold millions of books, and became very famous. This was the agent who was interested in my story! He asked me to send him my book proposal and sample chapters. I couldn’t wait to send it and I did.

2. Meanwhile, a friend and critiquer asked if she could read my story. I let her, eager to hear what she thought of it. When she started sending critiques, it became clear she didn’t like my main character. The farther into the story she got, the less she liked that character. This was not good.

I remember she did not like my character because this character was not great with all the new electronics coming out in the late nineties. If she can’t keep up with the times, the critiquer said, she’s not smart.

Well… But… Wait… The character’s inability to access a password-protected web site is critical to the story.

I think the intervening years have proved that not all people can keep up with today’s electronics, don’t you? Even smart people.

Her critiques became harsh and I was devastated. Eventually I quit reading her critiques. Partly because of her words, partly because  I so strongly disagreed with them. But it was just one person’s opinion, right?

3. Then I received an invitation to join a small group of writers who would meet with a professional editor and former publisher for several days. Part of the program was that we would all critique each other’s first pages. That meant each of us would receive critiques from the professional plus the other six or so writers. We would go over our critiques in class. I accepted that invitation.

I prepared by sending my pages and reading the others’ pages, gave them my best critiques, and looked forward to hearing what they had to say about mine.

The time came for the clinic. I was the last of the writers to be critiqued. I had given the others as much encouragement as I could along with feedback I felt would help them. I had contributed to the conversation. When it came my turn, I was so nervous!

But then the unexpected: Total silence.

No one said anything. What did that mean?

Finally the professional said he didn’t think the reaction of my main character to the supernatural event that occurred was realistic. Well, um, it was supernatural. That itself might not be very realistic, don’t you think? I still think my scientific-minded character would be freaked out by this personal, supernatural event.

And that scene sets the stage for the whole book. Without that scene and that reaction, the story doesn’t work. It can’t.

I thought we weren’t supposed to argue but were to just listen to the critiques, so I stayed quiet and tried to take this critique to heart. Besides, I was too nervous to think and didn’t have a clue what to say. I was shocked by his words.

Did I not write the scene well? (To this day I think I did.) Did they not understand what I was trying to accomplish? (I thought it was clear.)

Then the other writers in the room chimed in, agreeing with the professional, basically saying, Yeah...what he said.


Oh, and about that agent? Never heard from him again. I followed up several times but got no reply. (I found out a few years later he did that to everyone, not just me. Even his clients. He just dropped out of agenting, I guess.)

These three whammies came close together, hitting me like staccato beats. Discouragement set in. (Tweet that!)

I put my project in a box and literally put it on a shelf in my closet. It’s still there to this day. More than eighteen years later.

Do you have a story like this of your own? Did discouragement get to you? Do you have a writing project you love that was put on a shelf and is gathering dust? (Tweet that!)

I told you my story to encourage you. It's not just you. (Tweet that!) These things happen. So what do we do now?

The Bright Side

Well here’s a few more things about that project.

• I still love the story. It has never left me. I think of it often. I can’t get it out of my head. I know I must write this story. It’s just a matter of when. (Tweet that!)

• In the past eighteen plus years I’ve learned a lot about writing and stories and more. I’m a better writer now, so I can do a better job with it now.  (Tweet that!)

• I’ve started screenwriting, too, which has taught me a lot about story structure. I build better stories now. And, when I look at that story I structured it well, even before I knew much about story structure. That amazes me. 

• I know more about characters now. For example, even though I couldn’t articulate it at the time back in that group, I now know the main character has to react like that because she needs a character arc. I can’t start her off at the end of her journey, the end of her character arc. Now I understand that’s what that professional and those classmates wanted. They wanted her to already know what they know, to believe what they believe. That's because they don't know the story! I do. I couldn’t answer their protests back then, about why is this scientist at odds with Christianity? It doesn’t have to be that way, they said. Now I know the answer is because that’s her character arc. To start her out as they wanted gives her nowhere to grow! It destroys her character arc and so it destroys the story. I wrote about this in my blog post back on December 1, 2015: Writing Stories: What Your Story Needs - Part 2

• I’ve developed more skills. Since I have now studied writing feature films and writing for TV, I can now write this story not only as a novel but as a movie (with series potential) or a TV, cable, or web series.

• I’ve recently re-read that opening chapter and you know what? It’s not only not bad, I still think it’s quite good. Maybe not perfect, but even after it has rested this long and my writing has grown for this long I believe it doesn't stink. Re-reading it gave me encouragement and confidence. It’s a good story. I know it, regardless of what others think. 

• It’s a new time. Things are different now in America and in the world. I truly think this story was ahead of it’s time. I thought it was relevant back then. But oh boy it is even more relevant now. (Tweet that!)

It's Time to Tell Your Story 

Maybe it’s time to take your story down off the shelf, dust it off, and finish it. (Tweet that!)

If you’re still in love with your story, I encourage you to do it. Trust yourself. Trust your writing. Trust the story you’ve been given. Don’t listen to everyone else. This is YOUR story. Trust your instincts.  (Tweet that!)

That’s what I’m going to do.

That’s my story. And I’m sticking to it.

RELATED:

• December 1, 2015: Writing Stories: What Your Story Needs - Part 2
• Visit my newly revamped web site here: www.DianneEButts.com
• Find a helpful e-book for writers here: Dianne on Amazon

Writing Stories: What Your Story Needs - Part 2

iStock © AlbanyPictures

Last month we talked about four things that your story needs to have to be an effective story or a story that "works." This month we're going to go further in story telling and talk about Main Characters that are not effective and how to make them work. But first...

Special Note:

Before we get to this month's topic, however, I want to tell you I've found a fantastic product for writers that has helped me so much it's incredible. I'll tell you more about it at the end of this post, or if you don't want to wait, visit the new page on this blog: click the tab above or click here: Amazing Product for Writers.


Now, let's talk about Main Characters that are not effective. (Tweet that!) Last month I mentioned "passive characters" -- characters that are victims. They have sad stories and a lot has happened to them, but they are not active in wanting something. Passive characters have no movement so they don't carry the story forward.

Another problem character is the main character who is too good. For example, what if your main character has already "arrived," meaning he or she seems to already "know it all."  (Tweet that!)

One example of a character who has already "arrived" is the character many Christian writers want to put in their stories. That is, the Christian character who is already "saved." This character wants to share what they have and show the rest of the world that they need to be saved too. This is a formula for a preachy, overbearing story. (Tweet that!)

What do you need to do with these problem character to save your story?

Back Up Your Main Character

For know-it-all characters who have already "arrived," and for passive characters, you need to back that character up to a place or point in time before s/he knew that information, before s/he learned it, before s/he "arrived." (Tweet that!)

Then, let your character coming to that knowledge be part of the story. (Tweet that!) Showing your character acquiring this knowledge also allows you to show that growth in the character. When your audience sees that character learn it, they will also learn it and you will achieve the "theme" or "message" of your story (see previous post) without coming off as preachy.

Including this part of your character's story will also help you flesh out the middle part or Act 2 of your story, which is often a problem area. Some call it a middle that "sags."

How to Back Your Main Character Up

Just how do you back a character up like this? How can you use this to help improve your story and your character? What do you do with them?

Here are four ideas. This is not necessarily a "pick one" list. It may be best to do all of these!

As an example, I'm using one of my recent stories. It's a story about forgiveness. My main character could not move forward and do what she needed to do until she forgave a certain person in her life. But how does she come to that knowledge?

First, I gave her some common (but wrong) ideas about forgiveness, including these thoughts:

•  "That can never be forgiven." 
• And "Somethings are unforgiveable."

Then, I used these four ways to help her discover more about forgiveness:

1.) The Character Has a Need for It or Needs to Know It

I gave my character something huge in her past that she needs to be forgiven for, although she doesn't know that is even possible.

2.)  Another Character Models It

Then, my main character witnesses another character in the story forgiving someone else (not the main character). In seeing this modeled, the main character becomes aware that some people are willing to forgive, even though a big part of her distrusts that it's for real.

3.) The Character Experiences It for Her/Himself

Then, my main character experiences being forgiven. She is forgiven by someone other than the character in #2 above.

Had she not seen that other character (in #2 above) forgive someone else, she would not have known or believed it were possible. But because she witnessed it, the closed door in her heart opened just a crack and so when she herself is forgiven, though it is "unbelievable" (according to her former self), she believes it (this is her new, changed self).

4.) S/He Wants To Do That Herself

Because she has experienced forgiveness for that huge secret in her past, she now not only believes forgiveness -- and forgiving -- is possible, but has also experienced the unbelievable feeling of freedom from that burden. This has opened in her a freedom to love and so much more. She now knows it as only someone with first-hand experience possibly can.

With this new-found knowledge and experience, she now knows what she must do -- and she is determined to do it.

In 3-Act structure, this point is the end of Act 2 and the beginning of Act 3. This is the point where she moves forward to the climax of the story, where she puts everything on the line and everything is at stake. She will either gain everything or lose everything. But either way, she moves forward to the climax of the story and there's no looking back, no going back.


All of these different learning experiences become subplots utilizing your secondary characters to carry them out. This, then, fleshes out your story and gives strong support to the middle of your story.

If you're having trouble with your story, I suggest you take a look at your main character. Make sure that their learning and changing is ahead of them, not behind them. Back them up if you need to. Then use the four ideas above to find a way for them to learn what they need to know. You audience will learn with them. Then you can move ahead with your story!

An Amazing Product for Writers:

I have discovered a software product that has been incredibly helpful for me. I discovered and bought it about a year ago and I have told my husband a zillion times that it's the best money I ever spent. It's called "Plot Control." There's a lot to it, but in a nutshell there are two really valuable parts:

• It's a software that you can put your notes into and then move them around and add to them like index cards on a cork board. (Yes, a lot like Scrivener, but...)

• It also has a series of questions that you can apply to your story that are amazing. This part, for me, has been pure gold. This is what has helped me develop my stories to a point where I can easily write them. I love this!

I've never gone out of my way to ask to be a sales affiliate of a product before, but I so love Plot Control that I actually did ask them if I could be an affiliate market for them. Disclosure: Please know that if you buy through my link I will receive a commission on your purchase.  But I believe in this product so much I really wanted to bring it to you.

I offer all my best advice on this blog for free. Any commissions I receive will help pay for my time I spend bringing helpful articles to you, so if you choose to purchase Plot Control or their other products I hope you will honor me with a click through my affiliate link.

To learn more you can click the tab at the top of this blog or click here: "Amazing Product for Writers"

To go straight to the product page to learn more about it, click here:

PLOT CONTROL

My Christmas book on sale this month:

I have a limited quantity of my popular Christmas book still available. This book makes a great Christmas study and a great gift. If you'd like one, please order through Amazon's "See All Buying Options" and choose "Connect Books":

Prophecies Fulfilled in the Birth of Jesus
by
Dianne E. Butts
Please order from Connect Books.

(Tweet this please!)

Also available, e-books for Writers:

Cutting the Passive Voice

How to Get Published

Book Signings

Related Article:

• Writing Stories: What Your Story Needs - Part 1

Writing Stories: What Your Story Needs - Part 1

iStock (c) Albany Pictures

Recently I participated in the 168 Film Project's "Write of Passage" contest as a Development Executive (DE). This is a volunteer position which is a sort of "mentor" for those participating in the contest. This is the third year I've mentored writers in this contest as a DE. Serving as a mentor has put me in an excellent position to see what stories need in order to "work." (Tweet that!)

The 168 Film Project is an organization that runs two contests: one for film producers, the other for writers. Both contests run one week (which is 168 hours, hence the name). Both contests require contestants to base their stories on an assigned Bible verse. Once the verse is assigned, that marks the beginning of the 168 hours of the contest. In the 168 Film Project contest, participants produce a short film (limit 10 minutes) in 168 hours. Teams write the script as well as accomplish all pre- and post- production. In the "Write of Passage" (WOP) contest, each writer (or team) writes a short film (limit 12 pages) in 168 hours.

In the WOP, a Development Executive is assigned to guide a group of six writers, who work individually, through the week. The DE reads and critiques their scripts multiple times throughout the week. It's a great learning experience for writers if you have any interest in screenwriting. It's also valuable for learning how to tell an effective story because story structure is crucial in a short story or short film.

I hope no one tuned out at the words "story structure." Even if you're a writer -- whether for print for for screen -- who, as they say, writes "by the seat of your pants" (meaning, no outline, no synopsis, you just follow the characters and see what they do), you still must have structure to your story for it to work. Okay, I can hear the arguments swarming, but I believe that wholeheartedly. No story structure = no effective, working story. You can argue among yourselves while I move on.

Being the mentoring guide, the Development Executive, for six writers in each of the past three years has taught me a lot about what a story needs in order to be effective, or to "work."

Now, one interesting thing is, these are things we all probably already know. We've heard them in writing classes and workshops. We've read them in books. But when you see it in practice, you learn it better. That's what has happened for me. I keep telling my writers whom I mentor through the contest that I learn at least as much from them as they do from me. It's true, whether they believe me or not.

Even so, let me share some of the things I have learned about what a story needs to have. Even if these sound familiar, I'm sure I'll say them in a different way and hopefully they will help you grow in your story telling, whether you're writing fiction for print, writing for the screen, or even writing nonfiction that uses story-telling techniques.

This is by no means an exhaustive list, or a complete formula, of what a story needs. These are just four items I've seen that a story need to have in order to "succeed."

1.) A Story Needs to Have Conflict

No conflict = no story. If there is no conflict, then it's just a list of facts:

"Johnny went to the story. Johnny saw Suzy. They went for coffee. They spent the day together..."

B o r i n g. This leaves the reader asking, "So what? Why am I reading this?" A story always has to answer the "so what?" question. Otherwise you're wasting the reader's time. (Tweet that!) The only way to have a "so what" in your story is to have conflict ... something that needs to be dealt with, a problem that needs to be overcome. That's conflict. The bigger the conflict, the better the story.

When you're designing your story (yes, seat-of-the-pants-writers, I mean you too), avoid "internal conflicts," especially when writing for the screen. Yes, there can be stories with internal conflicts but external conflicts -- meaning involving other people -- are easier to portray and to write. You can have internal dialog to convey internal conflict in a written story but, as you know, it's far better story-telling to "show rather than tell." For internal conflicts you must tell the reader what is happening by telling the character's internal thoughts. It's just better to show the story through action.

But if you are writing for the screen, you really need external conflict. Suppose I'm your producer and/or director. If all you have is internal conflict going on, how am I supposed to put that on the screen?

If you've studied story structure, you may have heard these terms:

• Ordinary World
• Inciting Incident

A story starts by showing the main character's ordinary world -- things as they are before any conflict happens.

Then something happens that changes the ordinary world and sets the story in motion. That incident incites the story.

That's conflict. Don't leave this out of your story or else you don't have a story.

2.) A Story Needs a Theme or Message

I know what you're thinking. You've always heard or been taught, "Don't start with the message." You've heard when we start with the message, the story comes off "preachy" or at least cheesy.

You know me. I tend to go rogue. So I disagree with this. If I don't have a message or a theme, what's the point of writing the story? (Tweet that!)

I'm not completely sure about this, but I think perhaps if you're writing ONLY for entertainment, then it's okay to not have a theme or a message. And it is okay to write solely for entertainment if that's what you want to do. But still, the really good stories, the ones that we love and that stick with us and that we want to see over and over, have a theme or a message.

And if you are like me, a Christian who writes to make Christ known, then why write something "only" for entertainment? It's a waste of my time here on earth. (Tweet that!)

Your theme or message answers the questions: What are you really trying to say through your story? What important points are you communicating? What is the message of your story?

You may not start with the message. Your theme/message may come out and become clear to you as you develop your story.

If you start with a message and develop a story around it, you may have to work double-hard to develop and authentic story so it's not simply preaching a sermon. But that's okay. You can do it.

I'm just saying, in my opinion, it's best to have a message. Tell it well. Through story.

And here's a hint: When you've nailed down your theme/message, have a secondary character state it early on in your screenplay. I think that might work well for novels, short stories, and novellas, too. (Watch for that in your favorite movies and see if you don't discover it.)

3.) A Story Needs a Main Character Who WANTS Something

Here's one I struggle with every time I design a story. This is something I've been learning and when I realize this is what I'm missing in my story, it helps me tremendously.

The main character in the story needs to want something. This want gives forward motion to the story. There also needs to be something that prevents your main character from getting what they want. This creates conflict. (You remember #1, right?)

Thanks Morguefile.com 

If your character does not want something, you may have a character that is too passive. A passive character is one who is not doing anything but has everything done to them. For example, the abused character, the crime victim, or the widowed character. A passive character is a problem because there is no forward motion to carry the story forward. (Tweet that!) Give your character a "want," then let them go after it.

A character's "want" could be revenge, justice, or new love. Or his or her want could be wanting to move up in his company or own her own business.

Now, this "want" is different from what they are going to actually get through the story. But what they get in the story is infinitely better for them, they just don't know it at the outset of the story.

When, through your story, the character gets this better thing instead of what they originally wanted, they are a changed character. They have changed. Which leads to #4...

4.) A Story Needs a Character to CHANGE

If you do not have a change in a character, then you do not have a story. (Tweet that!)

Most often the changed character is the main character, however in some stories the main character does not change but instead changes others around them. As I was trying to think of an example of that, I thought of the story of Jesus.

When Jesus came to earth, He wanted people to know the one true God (which He was -- God come in the flesh) and He wanted to bring salvation to the world through His sacrificial death for sin on the cross. Jesus had a lot of opposition -- both from enemies and even from His friends and family. These things could have changed Him, but they did not. Instead, Him coming in flesh changed all the people around Him -- some for good as they followed Him, others for bad as their evil hearts were revealed. In the end, And the world has been changed ever since.

This change is your story or character arc. This arc makes the story. It means it is all going somewhere. This somewhere the story is taking us gives the story meaning and purpose and answers the question, "So what?"



Next month we'll talk more about what stories need to be successful. Specifically, we'll talk about what to do when your main character is already too good or has already "arrived." What do you need to do with that character to save your story? I have some ideas and I'll share them in my next post.