Where Normal Need Not Apply
I’m a big fan of Michael Hauge’s approach to characters. His insights helped me figure out how to match a character’s internal journey to the external plot. This is often tricky, though, so let’s go deeper into how characters change.
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Every story beat or turning point scene—when events affect the main story question, conflict, or goal—needs to be included in a story. But what about non-turning-point scenes? How can we tell when to include them and when we can skip ahead?
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Threats and obstacles can develop the plot and increase the tension in our story, but they’re not necessarily the same thing as stakes. So let’s talk more about what it means to amp up the stakes in our story.
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Today’s “Ask Jami” came from a comment on my Romance Beat Sheet post. Nick wanted to know how a story’s structure would change if the romance is forbidden. Ooo…
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If we write our story well, every aspect of the story will contribute to the overall picture and create an impression for the reader. There aren’t any unimportant details in a well-written story. And that means the careers for our characters shouldn’t be an afterthought either.
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Many books recently on the bestseller lists have been part of series. From the Divergent series to the new cliffhanger and serial books, series are a popular trend. But what if we don’t naturally write series? Will we be left behind? The “lessons learned” section in my post about Beverly […]
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We have a hard time defining literary fiction. Society gives us assumptions on the relative value of genre vs. literary fiction, but those assumptions miss the point. Assigning value judgments to the labels “literary” and “genre” doesn’t make sense because preferences are subjective opinions and there’s no “better” or “worse.”
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Reading is subjective. The stories some of us hate, others love. Personally, I have no interest in non-genre stories. This is not a sign of my inability to think deeply, but rather a personal preference. Mary Buckham’s ideas about the differences between literary and commercial fiction made me wonder about this preference.
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The Desert Dreams Writing Conference always exceeds my expectations. However, not all of us are so lucky to have easy access to quality writing conferences, so I wanted to share my top takeaways from the conference.
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We normally create stories where the point—the theme—is in line with our worldview. But it’s not unusual for our characters to hold opposite beliefs, even our protagonists. At least to start. And their story journey is often where our theme lies.
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