Got some grrrrreat news yesterday (yes, that's my Tony the Tiger impersonation. I have to include it because not only did I get grrrrreat news, I also ate three bowls of Frosted Flakes.) The book I've been slaving over for 2 years, *Big in Japan,* has been selected by a publisher, Jolly Fish Press, for their fall 2012 list!
Yeeehawww!
I started shopping it around in September, and found Jolly Fish shortly thereafter. The minute I read about them, I had a gut feeling this was going to be a great fit. They were my first choice.
Doing a jolly jig over here.
So, about the book. All these months I've been writing it, I've been asking myself this question: is the world really ready for a novel with a love story plot for a sumo wrestler?
I guess we'll see!
Big in Japan is the story of an overweight nobody guy from Texas who goes to Japan and accidentally becomes the first blond sumo wrestler. He has to defeat his biggest enemy and win the Emperor's Cup to get the girl.
I had a ton of fun researching and writing it. I loved finding out all about sumo--a sport we Americans have a tough time imagining as being as amazing as it is. I watched a LOT of youtube videos of sumo matches. The power, people! They are just enormous and strong! It was fun to get to troll through my fun memories of living in Japan and to get to use some of my Japanese language again (although I excised most of it as drafts progressed.) I spent a lot of time outlining it and using the tips I learned as I studied writing guides like Plot and Structure by James Scott Bell, and How to Write a Damn Good Novel, by James Frey. I holed up in my writing lair and did major rewrites while my kids watched waaay too much TV and decimated the blue carpet. Now, I'm so excited! So thrilled! It's so sweet, it almost feels like I just ate too much candy.
(If there is such a thing. I'm not sure.)
Showing posts with label James Scott Bell. Show all posts
Showing posts with label James Scott Bell. Show all posts
Thursday, December 8, 2011
Wednesday, March 16, 2011
PLOTTING--a tutorial (PLUS a big complaint about Cracker Jack)
I recently got a question from an aspiring author. She had a question many of us have when we are trying to complete a novel:
"I know the beginning, and I have some of it written; and I know the end of the book. It's the getting from here to there that I'm having trouble with."
She told me she knew her characters inside and out, she knew what they'd do in any given situation, and the story idea was compelling, but she was stuck!
How many times have we run up against this dilemma? We've got an idea of whose story we're telling and about their happy ending, but what happens to them along the way? What fills up the middle 2/3 of the book?
Great question!
And....I think I have an answer. Ta da~Here are my thoughts:
First off, we need to know what our character wants. If, like the author said, she knew that character inside and out, she would know what s/he wanted more than anything. The thing the main character wants more than anything IS the story. Desire drives every good story.
Second, we need to discover what stands between the main character and her/his desire or goal. Make a huge list. Make the list of possible obstacles exhaustive. Delve into the preposterous. Go for the obvious, and then go beyond. Ask yourself, "What's the worst thing that could happen to my main character?" and then ratchet it up.
Once you have that list, whittle it down to (about) your top 10 favorite obstacles. Sometimes the more unexpected the better. Surprise the reader! We read to be surprised, and surprise delights us and keeps us turning pages.
Then, imagine that each one of these becomes a scene in that middle 2/3 of the book. Figure out all the ins and outs of what could happen to the character when that obstacle arises. Make things really tough on the character. Imagine what all the possible range of emotions would be for the character when the obstacle arises. That's the reaction. Then, get the character moving toward overcoming it. Show how the character obliterates the obstacle. This gives the readers a chance to cheer. Then, hit us with the next obstacle--and end the scene with a cliffhanger.
Line up the obstacles in a crescendo. Arrange and rearrange them until the obstacles are paced just right. Then plop them down. Write the scenes, flesh them out. In each scene, as the character encounters and overcomes each obstacle, the ideal is if that obstacle serves to "reveal character"--to give the readers a further glimpse into what that hero is like on the inside. So...when you're choosing obstacles from your exhaustive list of possibilities, try to make the obstacles different enough that they'll expose a different facet of the hero/ine's character.
The final obstacle should be the worst. It should propel the main character into the crisis and the final showdown that leads to the triumphant ending.
It's okay to have lighthearted things along the way, but conflict reveals character, and drives plot, which is character. Character is plot.
Right now I have three or four characters in my brain. They are barely on paper, just a page or two, and I'm trying to decide which one needs to have his/her story told next. I keep thinking of it this way: I know this character. This character has a story, and it HAS to be his story. With the traits he has, the story really only has one possible plot. This is HIS story.
I'm not sure that makes sense. Maybe not. But I know what I mean, and I think I know what will happen to millionaire gone bust Ivan Potts (this oddball character in my head who keeps bothering me) when he makes this life-changing decision to take his friend Nils Jacoby up on his offer to go to England and start over after his (latest) bankruptcy. Ivan's story needs to be told soon. What's his happy ending? I think I know--and of course it involves finding love--and now I have to discover out what stands between him and his happily ever after.
This process can be really fun--creative crack. Er, Cracker Jack. Rarely in the novel-writing process is there such a rush as when brainstorming the middle section. I crack myself up. My husband is good for a few insane ideas. In fact, one of my favorite obstacles to happiness for my main character Susannah Hapsburg in Delicious Conversation came from my husband: the legacy Galapagos tortoise once owned by Charles Darwin himself.
When considering what obstacles to throw at the story people, it helps to really know them. Take their character traits into consideration. What do they love, hate, fear? These emotions are huge clues for knowing what to throw into their paths.
So. That's long enough for now.
I'm boiling all of this down from several books I've studied, conferences I've been to, etc. I think most of it probably comes from James Scott Bell and James N. Frey, which I've mentioned umpteen times on this blog. So, check those out for a more comprehensive study of the topic.
Speaking of Cracker Jack... mmm. I love that stuff. I love the popcorn, totally love the caramely crispiness of it, how it crackles in my mouth and tastes kind of burned and yet heavenly. However, the truly magical part of Cracker Jack is....
NO! Not the prize inside. (They've gotten disappointingly cheap. A foldy face of Thomas Jefferson? Uh, maybe not very exciting as a "prize." Whatever happened to the mini magnifying glasses, or even a butterfly stick-on tattoo? Sigh. Things just aren't like the good old days of a mood ring.)
It's the peanuts. Mmm. The total immersion of each peanut half in the caramely crispiness of the coating. Now that's a thing for a heroine (me) to desire. Are we all the heroes of our own story? Me, I'm the heroine of my tale--that of a woman on a lifelong quest to eat as much candy as possible...what could possibly stand in my way?
"I know the beginning, and I have some of it written; and I know the end of the book. It's the getting from here to there that I'm having trouble with."
She told me she knew her characters inside and out, she knew what they'd do in any given situation, and the story idea was compelling, but she was stuck!
How many times have we run up against this dilemma? We've got an idea of whose story we're telling and about their happy ending, but what happens to them along the way? What fills up the middle 2/3 of the book?
Great question!
And....I think I have an answer. Ta da~Here are my thoughts:
First off, we need to know what our character wants. If, like the author said, she knew that character inside and out, she would know what s/he wanted more than anything. The thing the main character wants more than anything IS the story. Desire drives every good story.
Second, we need to discover what stands between the main character and her/his desire or goal. Make a huge list. Make the list of possible obstacles exhaustive. Delve into the preposterous. Go for the obvious, and then go beyond. Ask yourself, "What's the worst thing that could happen to my main character?" and then ratchet it up.
Once you have that list, whittle it down to (about) your top 10 favorite obstacles. Sometimes the more unexpected the better. Surprise the reader! We read to be surprised, and surprise delights us and keeps us turning pages.
Then, imagine that each one of these becomes a scene in that middle 2/3 of the book. Figure out all the ins and outs of what could happen to the character when that obstacle arises. Make things really tough on the character. Imagine what all the possible range of emotions would be for the character when the obstacle arises. That's the reaction. Then, get the character moving toward overcoming it. Show how the character obliterates the obstacle. This gives the readers a chance to cheer. Then, hit us with the next obstacle--and end the scene with a cliffhanger.
Line up the obstacles in a crescendo. Arrange and rearrange them until the obstacles are paced just right. Then plop them down. Write the scenes, flesh them out. In each scene, as the character encounters and overcomes each obstacle, the ideal is if that obstacle serves to "reveal character"--to give the readers a further glimpse into what that hero is like on the inside. So...when you're choosing obstacles from your exhaustive list of possibilities, try to make the obstacles different enough that they'll expose a different facet of the hero/ine's character.
The final obstacle should be the worst. It should propel the main character into the crisis and the final showdown that leads to the triumphant ending.
It's okay to have lighthearted things along the way, but conflict reveals character, and drives plot, which is character. Character is plot.
Right now I have three or four characters in my brain. They are barely on paper, just a page or two, and I'm trying to decide which one needs to have his/her story told next. I keep thinking of it this way: I know this character. This character has a story, and it HAS to be his story. With the traits he has, the story really only has one possible plot. This is HIS story.
I'm not sure that makes sense. Maybe not. But I know what I mean, and I think I know what will happen to millionaire gone bust Ivan Potts (this oddball character in my head who keeps bothering me) when he makes this life-changing decision to take his friend Nils Jacoby up on his offer to go to England and start over after his (latest) bankruptcy. Ivan's story needs to be told soon. What's his happy ending? I think I know--and of course it involves finding love--and now I have to discover out what stands between him and his happily ever after.
When considering what obstacles to throw at the story people, it helps to really know them. Take their character traits into consideration. What do they love, hate, fear? These emotions are huge clues for knowing what to throw into their paths.
So. That's long enough for now.
I'm boiling all of this down from several books I've studied, conferences I've been to, etc. I think most of it probably comes from James Scott Bell and James N. Frey, which I've mentioned umpteen times on this blog. So, check those out for a more comprehensive study of the topic.
Speaking of Cracker Jack... mmm. I love that stuff. I love the popcorn, totally love the caramely crispiness of it, how it crackles in my mouth and tastes kind of burned and yet heavenly. However, the truly magical part of Cracker Jack is....
NO! Not the prize inside. (They've gotten disappointingly cheap. A foldy face of Thomas Jefferson? Uh, maybe not very exciting as a "prize." Whatever happened to the mini magnifying glasses, or even a butterfly stick-on tattoo? Sigh. Things just aren't like the good old days of a mood ring.)
It's the peanuts. Mmm. The total immersion of each peanut half in the caramely crispiness of the coating. Now that's a thing for a heroine (me) to desire. Are we all the heroes of our own story? Me, I'm the heroine of my tale--that of a woman on a lifelong quest to eat as much candy as possible...what could possibly stand in my way?
Friday, August 20, 2010
Deep Dark Secret...Revealed!
While I was studying up for a presentation I gave at the ANWA Retreat last month, I was reading James Scott Bell's Plot & Structure. This book is by faaaaaaar THE BEST book on fiction writing I have ever come across. I adore it. It changed the way I think about writing, and I am kicking myself for not reading it 10 years earlier. (Okay, it wasn't written then, but, dang it!)
I really like the way Bell suggests setting up a plot--how to mine your psyche and your past for ideas, how to arrange scenes, etc. I am going to post about this more later, but the thing I am thinking about today is one of his sections: The Dark Secret.
One way of creating tension in a story, and of creating exciting and compelling characters is to give them a dark secret--something that could hurt them deeply if it comes to light, or something that could hurt someone they love, something they are trying to achieve (could stand between them and their goal or RULING PASSION), or destroy trust or reputation. They should be utterly desperate to keep the secret hidden. As writers we should consider to what lengths the character will go to prevent it from leaking out.
James N. Frey in that other great book How to Write a Da*n Good Novel insists that "every character should have something to hide." Soap operas are excellent examples of this.
So, last night I was lazing about watching a movie with my husband: Bandslam. I had low expectations for the show, and then bam! About 3/4 of the way through, a dark secret of the by-now-beloved main character comes to light to both the audience and to all his newfound friends. It nearly destroys everything he has worked for thus far and creates major tension up until the final minutes of the showdown in the climax of the show.
Suddenly for me this movie went from formula kid-show to,"Wow, what a cool script. I wish I could concoct something like this."
It's something I think would really help round out one of my characters during this edit. She's great but a little flat. A dark secret would make her much more interesting.
So, in regards to candy, I do have a dark secret in my candy-eating past. For several years in the 1970s, I was a hard core Candy Cigarette fan. (Cue the "dun-dun-dun" music here.)
Yes! It's true! My cousin Matt and I bought them on Saturdays at the Milk Depot for 25 cents. Then we hid under the bridge in the canal and actually pretended we were smoking when we ate them. I savored that pepperminty flavor on the sly and I don't remember telling my mom or dad about it.
I'm so ashamed. I hope you'll all forgive me and know that I've reformed from this anti-social behavior since then.
But, come on! Geez. What kind of jerks made candy cigarettes? That's just shameful, don't you think?
I really like the way Bell suggests setting up a plot--how to mine your psyche and your past for ideas, how to arrange scenes, etc. I am going to post about this more later, but the thing I am thinking about today is one of his sections: The Dark Secret.
One way of creating tension in a story, and of creating exciting and compelling characters is to give them a dark secret--something that could hurt them deeply if it comes to light, or something that could hurt someone they love, something they are trying to achieve (could stand between them and their goal or RULING PASSION), or destroy trust or reputation. They should be utterly desperate to keep the secret hidden. As writers we should consider to what lengths the character will go to prevent it from leaking out.
James N. Frey in that other great book How to Write a Da*n Good Novel insists that "every character should have something to hide." Soap operas are excellent examples of this.
So, last night I was lazing about watching a movie with my husband: Bandslam. I had low expectations for the show, and then bam! About 3/4 of the way through, a dark secret of the by-now-beloved main character comes to light to both the audience and to all his newfound friends. It nearly destroys everything he has worked for thus far and creates major tension up until the final minutes of the showdown in the climax of the show.
Suddenly for me this movie went from formula kid-show to,"Wow, what a cool script. I wish I could concoct something like this."
It's something I think would really help round out one of my characters during this edit. She's great but a little flat. A dark secret would make her much more interesting.
So, in regards to candy, I do have a dark secret in my candy-eating past. For several years in the 1970s, I was a hard core Candy Cigarette fan. (Cue the "dun-dun-dun" music here.)
Yes! It's true! My cousin Matt and I bought them on Saturdays at the Milk Depot for 25 cents. Then we hid under the bridge in the canal and actually pretended we were smoking when we ate them. I savored that pepperminty flavor on the sly and I don't remember telling my mom or dad about it.
I'm so ashamed. I hope you'll all forgive me and know that I've reformed from this anti-social behavior since then.
But, come on! Geez. What kind of jerks made candy cigarettes? That's just shameful, don't you think?
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