Tag Archives: writing advise

New eBook on Plotting


From time to time I have recommended various books on writing, and shared the wisdom of some of the great writers.  I don’t know or pretend to pass judgment on the wisdom or fame of Aaron Allston, but I can say that his new book on plotting is worth the money and the time to read.  It includes basics on plotting for the beginning writer and insight into solving plotting problems for the seasoned writer.

Allston is the son of a local journalist, Tom Allston, who wrote for the Pampa newspaper as well as the Amarillo Globe-News.  I hope you like the book.

Aaron Allston Releases Plotting: A Novelist‘s Workout Guide
New York Times bestselling novelist Aaron Allston has released his first full-length nonfiction work in e-book form.
Plotting: A Novelist’s Workout Guide describes the craft of plotting novels. In the book, Allston provides methods for creating scenes, determining the meaning and functions of story events, shaping plots and sub-plots, developing character arcs and themes, fixing plot problems, and writing outlines. Also included are numerous writing exercises and Blood Kin, a complete outline for a novel, demonstrating the plotting process from initial concept to finished proposal.Plotting ebook

BASIC INFORMATION:


Title: Plotting: A Novelist’s Workout Guide

Price: &9.99 USD

Publisher: ArcherRat Publishing (www.archerrat.com)

Length: 120,000 words

Central Texas native Aaron Allston, who has 25 years’ professional experience as a fiction writer, is best known for his work in the Star Wars Expanded Universe. His bibliography includes 22 novels and numerous pieces of short fiction released by traditional publishers such as Del Rey Books, Baen Books, Tor Books, and Bantam Books, and digital publishers including WordFire Press. ArcherRat Publishing, publisher of Plotting: A Novelist’s Workout Guide, is Allston’s digital self-publishing line.
With colleague Michael A. Stackpole, Allston has for years taught the Inner Circle Writers’ Seminars at venues across the United States. Their next teaching appearance, in association with acclaimed science fiction author Timothy Zahn, will be as guest lecturers at Arizona State University.
Plotting: A Novelist’s Workout Guide is available from:

For additional information, please e-mail Aaron Allston at allston@aaronallston.com.

Check this book out if you like.  List some of the books you’ve already read on the subject of plotting that have helped you solve your plotting troubles.

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When Your Story Stalls


Have you ever gotten to the mid-point in a story or novel and found that you can’t go any further?  Something isn’t working and you can’t quite pinpoint what it is.

Whether you’re a seat-of-the-pants plotter or an outline maker, there are countless things that can veer your story off course.  How do you figure out where it all went wrong?  It’s simple and complicated at the same time.  Every story should have the four basic elements: Point, Theme(s), Character Arc(s), and Scenes that drive your plot to its conclusion.  Any or all of these things can be the trouble spot.

When your plot grinds to a halt, usually the point at which you have stalled is not the place where the actual plot-related problem has occurred.  If you go back about three chapters you can usually find where the plot failed.

Check the scene functions starting at that point.  Does each scene perform at least one function related to any or all of the four elements?  Does your main character’s personality speak to your plot’s needs or impede the progress?  It is not always apparent when you first conceive of your main character whether you’ve picked the right one.  Maybe one of the other major characters is actually the one who should be the hero.  Maybe one of the minor characters has shown themselves more worthy of carrying the plot to its conclusion.   Have you advanced the character arc for your hero or villain, or have they stalled?  Does he have the right motivation?

If reading three chapters back does not reveal the sticking point, go back another chapter and continue in this fashion until you have found the place where everything went wrong.  Reading for errors at any point in the writing process is always a good idea.  More than likely you will find the problem within the first three chapters ahead of your stopping point, but be persistent until you find and fix the error.  Read through several times using this method.  If at first you don’t succeed, put it down, walk away for a day or two, and try again.

The solution is there waiting to be discovered.  The complicated part is looking at the plot with fresh, objective eyes and taking the precious time out of your writing schedule to do so.  The simple part is when you find and fix it.

As Dorothy Parker once said, “I hate writing.  I love having written.”

Where is your story stalling point?  What techniques are the most helpful to you?

Suzanne Bogue

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On Writing the World


I recently took a trip for my day job employer, going from Lubbock, (west) Texas to Mississippi, and on to points in Arkansas and Louisiana. You wouldn’t think there would be that much difference in the land and culture. You wouldn’t think so.

First thing you notice coming in from the air is that great big river. We have some creeks which run in rainy weather, but nothing to compare with “Ol’ Man River.”

Jackson is carved out of hills and trees, and the drive to Vicksburg is beautiful, but foreign, to a plains boy who’s used to seeing for miles and miles.

Staying at a casino hotel in Vicksburg, I watched and photographed the barges making their way up and down the Mississippi, making that grand turn at the bend.

Over the river in Arkansas and Louisiana, you see the flat ground of the Mississippi Delta. Farmland and trees, bayous and river runs.

It’s the people who make it different, though. Peddling farm implements, I meet agricultural equipment dealers. They have their own way about things. It’s like a tee shirt I saw in a touristy shop. It said, “We don’t care how you do it ‘up north.'” That’s the truth. What works elsewhere just don’t necessarily work in the Delta. And when deer season comes, well, you wait until it’s over. They are serious about deer hunting. And duck hunting. And fishing. You get the idea.

History is different there. It was settled by European interlopers a century or more before my area was. The civil war still echoes. Racial tensions, too. Palpable. Not that we don’t have them in Lubbock, but I was unprepared for their intensity the first time I went.

You may be wondering by now: what does this have to do with writing? Contrast. It’s hard to get a view of culture until you see the differences, really understand that while people hold certain common beliefs and concepts, they are unique in many ways. That contrast can breed conflict or delight, very valuable commodities when you’re penning a story.

If you want to write about the world, get out in it.

Joe Trent

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Show, Don’t Tell


As a writer, I hear the same thing all the time. Show, don’t tell. But what does that really mean?

As a movie-lover, it’s an easier concept to grasp, because that’s what movies do. They show the story as it happens.

Back to writing. How do I know if I’m telling instead of showing? I have a quick method for finding “telling” indicators: adverbs. Words ending in –ly often point to instances where the writer is telling but not showing. An occasional adverb isn’t a problem, but finding dozens on a single page is a big red flag.

Here is an example:     He entered the classroom timidly.

We know our subject is a male. We know he’s going into a classroom, and that he’s nervous. We don’t know anything else, because the author didn’t provide any imagery.

What does it look like? Think of the sentence as it might play out in a movie. What is happening in this picture? How long would something like this take or seem to take? Close your eyes for a moment and imagine. See every detail.

Could it be something more like this?

The steel handle felt cool in his clammy fingers. When he heard the click, he pushed the heavy door open, just enough to see what awaited him. The eyes of thirty students gazed his direction. He wanted to run, but there was no going back now. He took one step inside and then another. Half a dozen more brought him to his desk. He pressed the laminate top with his fingertips to steady his balance and his nerves.

            He tried to force a smile, but it felt so uncomfortable that he gave up the attempt. He turned to the small black board behind him. He pinched his eyes closed and let the green and yellow swirls of color play in the blackness for a second or two. When he opened his eyes again he was still upright. Good. He decided to proceed.

            He picked up the new white stick of chalk and pressed it to the board. It hissed through the straight lines and stuttered over the curves. He looked at the words, Mr. Trumble. He imagined the voice of the little boy from his first class years ago. “Mr. Trumble trembles.”

            He replaced the chalk in its tray and turned to face his students. He struggled to maintain a steady breath. He could feel the drops of sweat forming in his hairline. He blinked several times. “Good morning, class,” he said in a weak, hoarse voice.

The latter includes sensory imagery and details. The reader feels the cool handle, the weight of the door, and sweat. The reader hears the sound of the chalk against the board and his hoarse voice. The reader sees the poor man’s weak smile. More than that, the reader now feels what the man feels. The writer creates empathy with the character, and makes him real to the reader.

Even more, the reader now knows that the subject is a grown man and the teacher of the class. We know his name, and that this isn’t his first time teaching. If he’s taught before, why is he this nervous? What made him this way? What happened in his past?

This type of writing not only paints a vivid picture, but also raises questions that the writer can answer later. It begs the reader to continue.

Whenever I write, I try to include what I see in my mind’s eye, as if I were watching a movie. I try to include all the details that propel the story and make the characters richer.

If you struggle with the “show, don’t tell” concept in your writing, try this same exercise. Find the first –ly adverb in your work and imagine what the scene would look like in a movie. Say it aloud. Pretend you’re explaining it to someone who can’t see it. Write it out. That’s what storytelling is. That’s what good writing is all about.

Kimberly Black

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