Hi everyone.  Thanks for coming to this site over the last bit.  I’ve now integrated my blog into my new website.  Still working on the website, but the blog is up and running.  My website is

www.robinperini.com

My blog is at http://www.robinperini.com/for-writers/writers-notes-by-robin-blog

Hope you enjoy it.

Happy Writing,
Robin

My main challenge for this book is that is that I’m a planner…to the core.  I make lists; I check things off my list; I add things to my list just to check it off–not as crazy as you’d think since I have it on good authority that endorphins are produced when items are checked off a list . 

I have a very specific process that I use to plot…it’s based on a workshop that I give with Laura Baker, Discovering Story Magic.  So, I have a plan…a framework if you will…but, what’s new about this book is I’ve learned some interesting things about my method–or at least what’s working.  And what’s not. 

Discovering Story Magic (DSM) is all about building books from the characters out.  Even if the original idea comes from a situation or setting or concept…I immediately want to connect that element to a person.  One character begins to come to life to me immediately.  The internal growth and external plot need to connect for me.  That’s the core of my story.  That’s what I love about it.  And after over a decade of teaching DSM, the method works in a variety of forms for a lot of people. 

So, when I was asked to revise the first book of this series for an editor, and adjust one of my characters, it had a lot of implications.  Change the character, I change the story.  I know that.  So, I brainstormed, worked on changing the character.  Created a new backstory.  I thought I had a pretty good plan.  And a back-up plan as well.  Then I was asked the following question:  “What’s HIS story, Robin?”

Wow.  It was a moment of epiphany.  I’d always known the first book really was the heroine’s story.  She was damaged, and her past had come back to haunt her.  She’s an amazingly strong character.  My hero needed to support her, to help her through the challenges.  He was a good character.  But not a great character.  The editor’s comment…make the hero worthy of my heroine.  Double Wow!

I had thought I’d created the perfect character to oppose my heroine.  But then that question was asked again…what’s HIS story?  The answer:  he was important to the plot, as was his daughter.  His actions bring the heroine’s past to haunt her.  He helps her uncover the big bad guy!   But what was HIS story.  The book revolved around her!  He was almost secondary, I realized.  I had some thinking to do. 

In the end–and with the help of some amazing critique partners and a few long-distance phone calls to a plot goddess extraordinaire, I came up with a story for him.  The two plots dovetailed and really worked well together.  I wish I’d thought of doing it earlier, in fact.  I believe the story is a better story.  The heart of the book is intact, but there is more depth, and the layering of thematic elements is much stronger.  So…a success for book one.  What does it have to with my problem, with book 2, you ask?

The point is, when I started writing book 2 (before receiving the above feedback), I had actually created a similar problem.  The book was the heroine’s story.  The hero got lost once again.  So, I took a look at all the manuscripts I’d written.  All of them contained one character that was very strong–and a supporting second character.  Since the core of almost all of my books is a love story between the hero and heroine, that’s a problem.  I’d spent so much time working my separate internal character conflicts, my relationship conflicts and one half of the plot, that in most of my stories, my poor other character was neglected.  Not always the hero, mind you.  Sometimes the heroine.

And that leads me to my second book problem.  I’d started the story.  I’d done my planning, and my poor hero didn’t have a story.  Again.  So…I had to start over.  But what to do?  I’d already written over a chapter.  Did I toss it?  No.  I should have.  The reason…because I changed the characters, I had changed the story. 

What’s a writer to do?  I didn’t want to go back and replot.  I mean, my heroine had stayed the same.  Hadn’t she?  Why not just mess with my current scenes.  Well, I have a lot of writing buddies who are pantsters–you know those amazing people who just sit down and write by the seat-of-their-pants.  I’m in awe of them.  They don’t know what’s going to happen, and then amazing stories flow onto the page.  So, they suggested I just write.  Move forward.  So I did.

Big mistake.  For me anyway.  I should have backed up, started over, and gone through my process.  I tried to ‘just write’.  I ‘just wrote’ about 55 pages.  But the story didn’t come together.  It was flat…a romantic suspense, without suspense.  After much angsting and rewriting, and delivering at least four versions of chapter one to my long-suffering critique group, and complaining to more people than I care to admit that my book was a disaster, I finally came up with a new beginning to chapter two.  A new scene…that introduced not only an altered hero, but also an altered heroine.  The core idea was there, but in this case, by changing the hero’s character, and adding more plot, my heroine changed as well. 

My 55 pages weren’t for nought.  I did use a lot of those scenes (or parts of them).  But the rewriting has been painful.  I’m plucking things from here and there, as if I’m putting a jigsaw puzzle together.  It’s working much better now. 

So, what’s this blog about?  Well, it’s about finding your own way.  We all have strengths and weaknesses as writers.  Sometimes we don’t know our own strengths.  If you don’t know yours, why not ask a critique partner or someone who has read your manuscripts.  I bet you know your weaknesses, though. We always tend to focus on those the most.  Unfortuntely.

Your goal in your writing should be to wield your strengths while minimizing your weaknesses…and perhaps using tools or techniques to deal with those weaknesses.  I added a tool to my toolbox as I’ve been rewriting.  I use the W-Diagram Plot Technique to focus on the external plot elements for my major characters and villains.  This forces me to think about both my hero and heroine’s ‘story’.  Do they have their own story, their own focus, and is it strong enough to generate conflict and feed the romantic conflict and suspense that I need in a romantic suspense novel. 

So I wield my strengths–my character development, layering of theme, and romantic arcs–a lot of which I owe to DSM, and I use the W-diagram to help with this weakness that I’ve discovered.  It’s ‘my way’.  I also realized that I need to do enough research–for me–before I start the book.  And I’m not talking about plot research.  I’m talking about research on my characters and their relationships.  So, my next book, I’m going to do my process (and if that process changes a bit, so be-it…but it will get me to the same place).   With me having a plan.  Do I deviate from the plan as I write.  In the details, yes.  New characters come up; new scenes; new situations.  But very rarely does the core of the book change.  I need to know the core.  The major arc.  The major turning points.  If I know that, I can focus on the writing and creating a story that works.  So, what’s MY WAY?

1. Discovering Story Magic Steps 1 and 2 (Character Grid and Major Turning Points)
2. W-Diagram for external plot for major characters and villains
3. Discovering Story Magic Step 3 (Story Board)
4. Character Worksheet
5. Synopsis

So, in the end, here’s the answer for the question, “To Plot or Not to Plot?”  Find YOUR way.  It may change over time; there is always more to learn, but don’t lose what makes YOU a special writer.  Believe in yourself.  Trust your gut and your instinct.  And know yourself as a writer.  If you do these, then your story will be your own.  And that is the most we can give.

I’d love to hear about your strengths and weaknesses and how you address them.  Or maybe you are a plotter, planner or pantster and what to give some advice or have some questions.  I’d be very interested in your perspective.  Just click the comment link below.

The way things are going in the marketplace, most selling synopses are 5 pages or less, no matter what the length of the book.  Here’s how I do it.  That being said, there are as many ways to write as there are writers, so take what you want and leave the rest.

1. Paragraph about the protagonist including their character grid information through their flaw, and ending with why the antagonist will stop them from getting what they want.  This is not just plot…this is about the emotions.
2. Similar paragraph including how the antagonist complicates the protagonist’s life.
3. Optional Villain paragraph (if the villain is not the antagonist) with the same information as above.
4. Inciting incident.
5. Transition to the first turning point, and include the first turning point along with the emotional response of that.
6. Transition to the second turning point, and include the second turning point along with the emotional response of that.
7. Depending on the length, transition to the third turning point, and include the third turning point along with the emotional response of that.
8. Transition through the climax to the black moment and the realization, including the emotional impact.

This will tell the editor everything they want to know.  Especially if you use the major turning points that define the genre.  For example, if you’re writing a romance, use the romance turning points; if you’re writing a mystery, use ‘mystery-focused’ turning points that still impact the character.  This lets the editor know you understand the genre, that you’ve got drama, you know your characters and you know the structure of the story and it escalates in a dramatic way!   How cool is that.  I hope you find it helpful.  Do you have great tricks for writing synopses?  I’m always trying to add to my repertoire, so I’d LOVE to know what you do.

There have been times I wanted to quit; times I wondered if it was worth it.  Then I’d dream the stories again and realize, for good or for bad, I’m a storyteller.  I want to share my stories with the world. 

So, what’s stopped me?  There’s been my career–paying the mortgage is important after all.  To better my opportunities in the workplace, I spent four years taking evening classes to earn my Master’s degree.  I became quite ill a few years ago, and by the time I recovered over a year had passed.  Where does the time go?

I’ve enjoyed a wonderful career teaching courses, in particular Discovering Story Magic.  I finished my Master’s.  I’ve volunteered in organizations; I even earned a service award from RWA.  I’ve given of myself to family, friends, church, students.  But, after several years of becoming a so-called expert in a lot of writing areas–and by the way, the more I learn, the more I realize I don’t know —  I realized that I’d never really let MY dream be as important as all those other aspects of my life.  Is there a balance?  Can I be a good daughter, sister, aunt, friend, employee and writer?

In speaking with friends, I realized that I was not alone in my plight.  Published or unpublished, single or married, employed or stay-at-home working, every writer I’ve talked to has fought the same battle.  How can we balance all those things and people we love?

I finally learned a new trick.  I have to admit that I can’t be everything to everyone.  If I want to live my dream some other things have to give.  This year, I took a sabattical from Discovering Story Magic.  I chose to focus on improving my health, fitness, and writing.  I chose not to volunteer so much, but to spend more time with my family.   So far, the trick seems to be working.  This has been a good year for me so far.  I have a new agent (Jill Marsal of the Marsal Lyon Literary Agency); I reworked a manuscript and an editor has requested revisions.  The writing business is looking up for me right now.  My health is looking up.   Am I doing everything I was last year, or the year before?  No.  Have I figured out the secret to success?  Not hardly.  But, I can’t deny one truth I’ve learned.  You CAN teach an old writer new tricks…even if it’s just to occasionally say no…maybe not forever.  But for now.

That’s my new trick.  What trick have you learned…either in writing craft or in the writing life?  I’d love to know.

In this workshop, we used small examples of openings from Orson Scott Card, Nora Roberts w/a J.D. Robb, Jayne Ann Krentz, Sherrilyn Kenyon, Dean Koontz, Mary Kay Andrews, Gregory Maguire, and Deanna Raybourn. Then, several amazing writers submitted their openings and we analyzed them for strengths and weaknesses.

One of the most interesting aspects of the workshop was a survey we took of agents, readers and booksellers. We provided overarching information in our PowerPoint presentation, but we also have a more detailed report which is fascinating reading. An audio version of the workshop will be available soon From Bill Stephens Productions (https://rwa.billspro.com/catalog/). Also, I have the handouts, presentation and survey report for reference in the links below.  I hope you find the information as interesting as we did, and I hope the examples help you improve your openings.  Here are the links:

Inside Scoop Handout
http://www.robinperini.com/RWA2010/2010_Perini_Cavanaugh_InsideScoop_HO.pdf

Inside Scoop Sample Hook Openings PowerPoint Presentation (2007)
http://www.robinperini.com/RWA2010/InsideScoopHookOpenings.pptx

Inside Scoop Sample Hook Openings PowerPoint Presentation (2003)
http://www.robinperini.com/RWA2010/InsideScoopHookOpenings.ppt

Inside Scoop Powerpoint Presentation (2007) – This presentation is best viewed by “viewing the show.”  Go to View and select “View Slide Show.”
http://www.robinperini.com/RWA2010/InsideScoop.pptx

Inside Scoop PowerPoint Presentation (2003) – This presentation is best viewed by “viewing the show.”  Go to View and select “View Slide Show.”
http://www.robinperini.com/RWA2010/InsideScoop.ppt

Inside Scoop Complete Survey Report
http://www.robinperini.com/RWA2010/InsideScoopSurveyReport.pdf

Claire and I would love to hear from you.  Do you know of openings that you think are particularly strong?  Let us know.  Thanks for stopping by.  See you next time.

Robin

Episode 1 - Developing Three Dimensional Characters With Goals

This is the first of a series of podcasts I have recorded on elements of writing.  This podcast is a little over 30 minutes long and discusses how Character’s Goals can be leveraged to further braid character and plot, as well as add dimension to your characters.

I. Introduction

a. What a writer … “wants is a set of rules on what to do and what not to do in writing fiction….”when one begins to be persuaded that certain things must never be done in fiction and certain other things must always be done, one has entered the first stage of aesthetic arthritis, the disease that ends in pedantic rigidity and the atrophy of intuition.”–John Gardner, The Art of Fiction

b. Take what you want and leave the rest.

II. Five Core Elements of Story

a. Deep Character – ask ‘WHY’

b. Theme – the point of your story

c. Braiding internal and external conflict – intertwine plot and characters

d. Layering – multipurpose scenes and multidimensional characters

e. Surprise

III. Why are Goals Important?

a. They are the first step in defining and understanding your character.

b. It’s not about WHAT, it’s about WHY.

c. Corporate Mogul:  Difference between ‘To be rich” and “Never to be poor:”

d. Story = Character

e. “How much your character cares about their goals is in direct proportion to how much the reader will care.” — Laura DeVries

f. Use goals to inject conflict in your story

IV. Two Types of Goals: Long Range Goals, Short Range Goals

a. Long Range Goals

 i. Internal goal akin to self-concept, hopes, wishes, and dreams – overriding drive in the characters’ life

ii. Colors all choices the character makes

iii. “What would it take to make the character content with his/her life?”

iv. One major character will see their Long Range Goal change in popular fiction (or the meaning of the goal will change).

v. Long Range Goal can be conscious or subconscious.

vi. The key is to ask ‘WHY’

vii. Use role-playing techniques, character biographies, character interviews, bubble charts,

viii. Example:  Jerry Maguire and Dorothy Boyd from the movie, Jerry Maguire.

b. Short Range Goals

i. Tangible goal for character at the beginning of the book.

ii. Short range goals show character

iii. A new short range goal ends every scene

V. For More Information

a. www.robinperini.com or www.discoveringstorymagic.com

b.   Podcast – Episode 1 – Making Characters Three Dimensional With Goals

One of my critique partners and I have been talking a lot about the arc of the scene.  It’s one of those elements of story that writers don’t mention very often.  Many of you have read Techniques of the Selling Writer, by Dwight Swain, or Scene and Structureby Jack Bickham.  They talk about the structure of scene.

Scene includes:  goal, conflict, disaster
Sequel includes: emotion, quandary, decision, action

I’ve always found these books useful, but while I’m writing, I don’t think about Swain or Bickham.  What I do think about is what’s happening as I’m writing.  I knew early on that I wanted to write books about heroes: characters who face difficult odds, and who do what I hope I would do when faced with such a situation.  The right thing.  And in the process of facing those odds, heroes grow and change and learn and become better human beings, because of the difficulty they face.

As I first began writing, I focused on the challenges my characters would face: the villian, the struggle.  Then I layered in the idea that the hero or heroine would have to face their own internal fears in order to defeat the villian.  So, my story now had an arc.  A change.

Well, just as a story has an arc, so does a scene.  A scene changes the story.  The plot changes; the character changes.  If the character and plot don’t change, then the question becomes, what’s the point of the scene.  These days, as I’m writing, I really focus on how the emotions of my character will change over the course of the scene.   At the end of each scene, I ask myself two questions.  Has my character changed, and has the plot moved forward.  If I can answer yes, then my scene has an arc.  If  the answer is no, then that scene has no purpose.  It is not a stepping stone toward growth of the hero or heroine.  The scene is a stagnant pond without movement, without life.

A story is about life, and if there is one truth about life, it is forever changing.  Just as scene should a small journey on a character’s path.

Happy Writing,
Robin

www.RobinPerini.com

I really do love studying the craft of writing. For the last decade or so, I’ve been part of an amazing journey called Discovering Story Magic (www.discoveringstorymagic.com).  This workshop has inspired so many people, but for me, the most valuable part of giving Discovering Story Magic (DSM) with Laura Baker is what I have learned from the students.  We’ve now moved away from in-person workshops to online workshops, mostly through www.writersonlineclasses.com, though we occasionally do a few classes around the country.  It’s a true gift to be able to teach, because I believe I learn so much more than I ever impart to students.

In addition to DSM, though, I’ve been lucky enough to give workshops at the Romance Writers of America(R) national conference since 2004 (though I did skip last year).  It’s been an amazing opportunity.  I don’t pretend to know and understand everything about writing.  In truth, more often than not, the more I learn, the more I realize what I don’t know.  But, I hope to, in the course of this blog, provide insight into what I believe help me the most in my writing.  And, I am sure, I will learn so much from those who comment.

I think that the most important piece of advice that I can give is to NEVER STOP LEARNING, and to BE OPEN TO GROWING and CHANGING.  I hope I’ve allowed myself to do that over the years.

Some time ago, when I first started writing, I met an author who had sold over 50 novels to a New York publishing house where I wanted to sell.  I had just been a part of creating the Land of Enchantment Romance Authors Writer’s Guide 1st Edition (www.leranm.com).  This author bought this ‘how-to’ book, and asked a lot of questions about an article that a co-author and I had written.  Then and there I knew I wanted to emulate this writer as I went through my writing career.  After 50 books, she was eager to learn.  And not just by those more successful than herself–by two beginners who had worked hard to study and understand.

My wish for you is that you open yourself to learning from anyone and everyone because you never know where new inspiration and information can come from.

Happy Writing,
Robin (www.RobinPerini.com)