Tag: write better now

YOUR BIG LIE OR CHARACTER’S MISBELIEF

Dogs Are Smarter Than People: Writing Life, Marriage and Motivation
Dogs Are Smarter Than People: Writing Life, Marriage and Motivation
YOUR BIG LIE OR CHARACTER’S MISBELIEF
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We’re doing a hybrid writing tip and podcast this week.

All the important stuff is written down here. All the fun stuff and Shaun aka The Talent is in the podcast where we talk about this important writing stuff and other things.

So, let’s get started.

The big lie or the character’s misbelief in your story is a major key to your character’s story arc, which is basically the emotional change and development of who you character is.

The lie drives the stupid or wonderful things that they do in the story.

It’s what motivates them in a way.

Sometimes the protagonist or main character or hero of your story doesn’t believe THE BIG LIE, but everyone else does. That’s super cool, too.

The lie can be a small deal—I am going to win the Little Miss New Hampshire Song and Dance Contest though I can’t move my hips and I am ancient and the contest is for 8 year olds and under. (I now want to write this story)

The lie can be a big deal on a societal and personal level—Might always makes right, so I’ll beat everyone up to get my way.

On Writers Helping Writers they say that the big thing is this: Your lie has to move the plot forward and it has to relate to your story’s theme.

They also break it down to inner and outer lies (which are a bit like character-driven lie and plot-driven lie, right?).

They write:

“Plot-driven stories often focus primarily on an outer-world Lie such as Hunger Games‘ Lie that “oppressive government is necessary” or Jurassic Park‘s Lie that “science should always be advanced.” Character-driven stories usually focus on an inner Lie, such as “men and women can’t be friends” in When Harry Met Sally or “money is the measure of worth” in A Christmas Carol.

“An inner-world Lie will affect the character’s outer world, sometimes even to the point of becoming the outer world’s Lie. And vice versa, an outer-world Lie will likely become crucial to the character’s inner conflict and self-estimation.

“The distinction is important not so much because of how the Lie manifests in the story as it is because of where the Lie originated. Where did this Lie come from? Who (or what) gave this Lie to the character? And what do the answers mean for the character’s motivations and ultimate arc within this story?”

Carrie is going to be talking more about this in the upcoming weeks, but we want for you to think about those questions for your own life too.

Is there something you believe that might not be quite right? Sometimes it might be that you’re bad at art or sports or school. Sometimes it might be that you can only be loved if you are perfect. Sometimes it might be that if you just work hard enough you can be Bill Gates rich.

Just like for your characters, your lie can be destructive to your own life.

On Writers Helping Writers, Angela Ackerman writes,

“We are often our own biggest critics, aren’t we? Whenever something goes wrong, we feel disappointed, frustrated, upset, or hurt. The fallout might cause others around us to suffer too, causing further anguish and guilt. When this happens, unless the situation was in no way tied to us, we tend to blame ourselves:

“When the character’s thoughts circle disempowering beliefs (that they are incompetent, naïve, defective, or they lack value) as a reason for their failure, it eats away at their self-worth. This, combined with a need to identify the pain’s cause will lead to a specific effect: an internal lie will form. This Lie (also called a False Belief or Misbelief) is a conclusion reached through flawed logic. Caught in a vulnerable state, the character tries to understand or rationalize his painful experience, only to falsely conclude that fault somehow lies within.”

DOG TIP FOR LIFE

Pogie’s big lie is that she’s a super toughie. She is not. Do you have this lie?

WRITING TIP OF THE POD

Think about your character’s lie. What is it that they wrongly believe?

LINKS WE TALK ABOUT

2 Different Types of the Lie Your Character Believes

SHOUT OUT!

The music we’ve clipped and shortened in this podcast is awesome and is made available through the Creative Commons License. 

Here’s a link to that and the artist’s website. Who is this artist and what is this song?  It’s “Summer Spliff” by Broke For Free.

WE HAVE EXTRA CONTENT ALL ABOUT LIVING HAPPY OVER HERE! It’s pretty awesome.

AND we have a writing tips podcast called WRITE BETTER NOW! It’s taking a bit of a hiatus, but there are a ton of tips over there.

We have a podcast, LOVING THE STRANGE, which we stream biweekly live on Carrie’s Facebook and Twitter and YouTube on Fridays. Her Facebook and Twitter handles are all carriejonesbooks or carriejonesbook. But she also has extra cool content focused on writing tips here.

Carrie is reading one of her raw poems every once in awhile on CARRIE DOES POEMS. And there you go! Whew! That’s a lot!

Showing Character’s Interior Lives

Write Better Now

If you’ve been hanging out with me this past week or so, you’ll have noticed that I’ve been talking about emotional interiority in writing characters for our novels or short stories. You may have repressed it all, that’s okay. I repress everything, too.

But in case you want to take a peek at the last few posts, here you go:

Making Your Writing Better

Showing Your Character’s Emotions

I continue all this today!

Mary Kole also has a checklist for developing character interiority, which is here:

· “What is your character doing right now (objective)? Why (motivation)? (The why is especially important.)

· What do they hope will happen?

· What do they worry will go wrong?

· How do they feel about themselves?

· How do they feel about their scene partner?

· How do they feel about their place in the plot in general?”

This is lovely, but the thing is that you don’t really want this for every single sentence of your story. Showing the character’s emotions and inner life is important in the beginning of the story. It’s important in a chapter of the story. It’s important in a scene usually. But it doesn’t have to be in every sentence.

Where is it most important?

It’s most important in the big moments and for the big emotions.

  • When you finally get your goal
  • When you learn that your dad is not your dad.
  • When you realize that because you are eight feet tall you will probably not get to do the bars on the Olympic team.
  • When a zombie is chasing you.
  • When you realize the zombie is actually your secret crush and he’s just playing.
  • When you have to ask your boss for a raise.
  • When you get fired.
  • The inciting incident of your story
  • The darkest moment of your story
  • The finale of your story.
  • When your character realizes they had it all wrong.

EMOTIONS AREN’T THAT SIMPLE

In the picture book world it often feels easy:

Jane was sad. What a bad day she had.

But as you move up through the age groups, emotions on the page become more and more complex. A character isn’t just lustful. They are afraid of their lust maybe? They are proud of it maybe? The emotions layer on.

THE CHAIN

Storm Writing School discusses the chain of interiority through the lens of the 2017 short story “Cat Person.”

And they create interiority as a chain of events.

1. Something stimulates a response.

2. The feelings associated with that response happen before the thought.

3. Chained interiority.

He writes that this fancy word is just:

“The stimulus for interiority is usually external but can sometimes be other interiority. That is, an external stimulus might lead to an emotion and/or a thought, which in turn leads to an emotion, which then leads to another thought.”

Robert Olen Butler says, “Moments of reference in our past come back to us in our consciousness, not as ideas or analyses about the past, but as little vivid bursts of waking dream; they come back as images, sense impressions”

When that happens it can branch into:

  • 4. Memory.
  • 5. Future and imagination.

6. Implied and unstated interiority

7. Complex feelings.

8. Indirect interiority.

9. External reaction.

10. POV character judgements.

11. Seeming

So, in this chain some things will happen, usually in this pattern, right?

Here let’s try to map it out.

Let’s start with a random tale of a Piglet betrayed by a Pooh.

Pooh bear’s face was inside Owl’s honey pot. Piglet recoiled. That was his honey pot, full of sweet honey. Pooh had told him just an hour ago that he had the best honey and given him a hug by the big tree. Will they ever hug by the big tree again?

“Are you still seriously hungry?” Piglet asked.

“I’m a still seriously many things,” Pooh said, “although maybe not so seriously.”

Piglet laughed along with Pooh even though the honey globbing down the bear’s face made Piglet’s own tummy rumble in a very unpleasant way. Maybe now, he thought, Pooh would realize that life was about more than honey and honey pots; it was about friendship, but by being jealous was he maybe hurting Pooh, too? Was life about more than friendship?

Pooh took a step back and looked away. To have been caught with his head in Owl’s honey pot like that!

Pooh gave Owl the honey pot and waddled forward, arms open. “Oh, Piglet! I am so sorry. Your face is so sad making, all frown lines and tears. You must feel terrible!!”

He was apologizing and being all nice again. Piglet knew that Pooh felt bad for his betrayal; he could tell by the extra tremor in his obviously wobbling voice and how he seemed to be trying to shoo Owl away via a hand movement behind his broad, furry back.

Pooh’s arms wrapped around Piglet in a sticky hug and his belly was soft against Piglet’s face and it seemed—for just that moment—that maybe he could possibly stop eating other animals’ honey. Or maybe that was just Piglet’s own mad hope.

1 Something stimulates a response.

Pooh bear’s face was inside Owl’s honey pot

2. The feelings associated with that response happen before the thought.

Piglet recoiled.

3. Chained interiority.

That was his honey pot, full of sweet honey.

4. Memory.

Pooh had told him just an hour ago that he had the best honey and given him a hug by the big tree.

5. Future and imagination.

Will they ever hug by the big tree again?

6. Implied and unstated interiority

“Are you still seriously hungry?” Piglet asked.

“I’m still seriously many things,” Pooh said, “although maybe not so seriously.”

7. Complex feelings.

Piglet laughed along with Pooh even though the honey globbing down the bear’s face made Piglet’s own tummy rumble in a very unpleasant way. Maybe now, he thought, Pooh would realize that life was about more than honey and honey pots; it was about friendship, but by being jealous was he maybe hurting Pooh, too? Was life about more than friendship?

8. Indirect interiority.

Pooh took a step back and looked away. To have been caught with his head in Owl’s honey pot like that!

9. External reaction.

Pooh gave Owl the honey pot and waddled forward, arms open. “Oh, Piglet! I am so sorry. Your face is so sad making, all frown lines and tears. You must feel terrible!!”

10. POV character judgements.

He was apologizing and being all nice again. Piglet knew that Pooh felt bad for his betrayal; he could tell by the extra tremor in his obviously wobbling voice and how he seemed to be trying to shoo Owl away via a hand movement behind his broad, furry back.

11. Seeming

Pooh’s arms wrapped around Piglet in a sticky hug and his belly was soft against Piglet’s face and it seemed—for just that moment—that maybe he could possibly stop eating other animals’ honey. Or maybe that was just Piglet’s own mad hope.

And there you go! Interiority as a chain in action. If you check out the Storm Writing School link below, you can see some elaboration on those steps.

Happy writing! And say hi in the comments if you’re into it.

LINKS TO LEARN MORE

Developing Character Via Interiority in Literature

https://www.stormwritingschool.com/cat-person-interiority/

Elements of Pacing Your Novel

There are a lot of components to pacing in your novel. You can think of it as:

  • The big picture, how fast and slow your whole novel goes. How scenes link together.
  • The scene, how fast and slow the individual scene moves
  • The page, how sentences and white space and even punctuation influence how quickly or slowly the reader moves through the story. This is the pacing of each line.

It’s linked to your novel’s structure in those individual scenes and how those scenes cycle through your story (some more active and others not so much). It’s also linked to your style and tone (your sentence length, word use, paragraph length). It also is linked to genre expectations.

When we settle in to Outlander or Game of Thrones, we’re expecting a slower pace than if we’re opening up a Tess Gerritsen novel.

So, it’s a lot, right?

It’s up to us writers to know the expectations (potentially even subverting them) and then slowing the speed up or down.

Typically, the story is the fastest paced at these moments:

1.     In the opening

2.     In the middle

3.     In the climax.

The story tends to go faster when:

1.     There’s action happening. So, an action scene. Most authors try to avoid long sentences full of clauses and detailed description and transitions here.

2.     Dialogue without a lot of setting details, transitions or other things involved.

3.     When there’s a cliff hanger. That’s basically just when the reader is compelled to turn the page to find out what happens next in the story.

4.     Scene changes.

5.     Scene changes in rapid succession.

6.     Shorter chapters.

7.     Shorter scenes.

8.     Your words are simple and concrete and your sentences are short.

9.     Your words are harsh. What do I mean here. Just when they have hard sounds. Like Gs and Cs and Ks.

The story tends to go more slowly when:

1.     There’s no action happening. So exposition or setting or a pondering scene.

2.     There are a lot of setting details, internal monologue (in paragraph form), backstory and exposition.

3.     Longer chapters.

4.     Longer scenes.

5.     Your words are complex and abstract and your sentences are long and full of colons or semicolons and clauses.

6.     Your words are softer. There aren’t those hard consonants and they make you think of more mellow things, so passive language.

Wow. I went very list-focused for this post. I hope you don’t mind. If you ever want me to explain anything more (in this post or any other), just let me know in the comments, okay?

How To Get Moody In Your Story

So, I’ve been talking a lot about creating the atmosphere or mood in a story because it’s really super important. Two weeks ago, I talked a bit about creating mood or atmosphere in your story, and last week, I shared some cool ideas from other humans.

This week we’re going to summarize and expand a little bit. So, let’s get moody together.

SETTING

Talking about the world outside your character really helps people get the mood of the story.

But to do that effectively you need . . .

MOODY WORDS

Seriously. Word choice is key when creating atmosphere and mood.

I walked to the bar. I ordered a drink. I sipped it.

Pretty dull, right? Kind of reads like bad stage directions. But look what happens when we start trying to show the character’s mood and the atmosphere of the setting.

I sashayed to the bar’s disco-ball lit corner.

“One super hot and sexy turtleneck sweater with extra cuddles,” I announced to the super hot and sexy bartender. He took my credit card with five quick fingers and a wink.

Two seconds later, the warm mug was in my hand, the smell of mint and rum wafting into my nose.

Let’s try another mood.

My feet stuck to the beer-soaked, beer-dried, beer-imbued wooden floor as I pushed past the giant football players that formed a wall between me and the most disgusting, germ-filled objective in my recent future: the make-shift, plywood dorm room bar that Bill and Ted set up in the edge of their quad.

“Dude? You want some?” Bill surfer drawled when I got past the barrio of testosterone and Axe body spray. He held out the keg’s hose. Something brown crusted near the nozzle. Something brown that was definitely not beer.

Swallowing hard, I managed to stay upright as someone pushed behind me. My palm struck the plywood. A splinter tore into the flesh and stuck there.“Yeah. Yeah, I guess I do.”

The difference here is the details and the words, right? In both bits someone wants a drink and goes to the bar to get there but they are very different moods.

A walk is not a sashay is not a tiptoe is not a gallop is not a slog. Whenever you can use verbs, nouns, adjectives and details that convey how your character feels.

To become a magistrate of words, you can check out a thesaurus. It feels like cheating, but it’s super helpful.

Those little word choices are subconscious hints to the reader that tells them things. They think, “Oh, sashaying, how happy they must be, how confident.”

Dialogue

When our characters talk to other people and they are the thrilling or overbearing or confusing or just plain quirky or mean, it helps create the mood that’s happening in the story.

If your characters have to whisper that can change the mood. The same goes for yelling, screeching, singing, preaching.

Sentence Structure and White Space

Readers subconsciously pick up on a lot of things that us writers put out and one of those things is sentence structure and white space (the part of the page where no words are).

The shorter the sentences, the higher the tension and faster the pace the reader goes over that page. That can make things feel more tense, more agitated, more suspenseful.

The longer the sentence and bigger the paragraph creates a more languid feel and slower mood that the reader has.

DO NOT TELL THE READER THINGS.

In my example of the bar earlier, one of the main differences is I didn’t do a ton of telling what they were doing. But I did in that first example where there was no mood:

I walked to the bar. I ordered a drink. I sipped it. I felt happy because I was going to get a drink and was looking forward to that Shirley Temple.

The details that us writers choose are meant to show the reader things rather than constantly telling the reader things.

I pretty much sashayed over to the bar, hand up, credit card out. “Hey, girlie!” My voice skipped over to Donna of Shirley Temple mixing fame. “I am so ready for my daily fix!”

Different right? I never say that she’s happy, but we can feel that she’s happy. And that’s what atmosphere and mood is really all about. We want to make the reader feel things.

The Power of Personal Narrative

Write Better Now
Write Better Now
The Power of Personal Narrative
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Hi, I’m breaking format this week, for once. Our high school had a credible and serious threat yesterday, staff and teachers and kids were locked down for hours and I want to talk about how people telling their stories makes things much more real than cut-up newspaper reports.

And that’s important.

Don’t forget how powerful writing is, okay? Don’t forget how powerful you are either.

It is Super Natural: Four Basic Elements To Your Story

Write Better Now
Write Better Now
It is Super Natural: Four Basic Elements To Your Story
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When I talk about novel structure, I talk a lot about Dwight Swain who wrote  Techniques of the Selling Writer.

Swain has some really cool elemental aspects that he talks about and no, they don’t have to do with inciting incidents or the climax—at least not initially, and I thought it would be fun if we had a little series where we explored this both here on the podcast and on my Write Better Now newsletter for the next week or two.

Let’s get started!

So, think of basic elemental structure and creating your novel in four steps, and we’re going to start with step #2, but here are the four steps.

  1. Making cool characters.
  2. Grouping your sentences and paragraphs into motivation reaction units.
  3. Grouping those motivation reaction units into scenes and sequels.
  4. Grouping those scenes and sequels into story patterns.

A motivation reaction unit is all about the cause and the effect.

So Motivation Reaction Units (MRUs) are what Swain calls the smaller bits of cause and effect that happen in a story. You want the cause and effect in your story to make sense for the world and for the character. In Swain’s writing world and/or writing model the motivation is the cause and the reaction is the effect.

So a motivation is the stimulus outside your character that affects the character or makes them (causes) react.

Examples are things like:

  1. Turns out the character’s wife is cheating.
  2. Their dog jumps onto the kitchen table.
  3. Their teacher announces a calculus test.
  4. The rice on the stove catches fire.
  5. Someone says something.
  6. They trip over a hamster.
  7. They trip over a president.

Then the reaction happens in response to the motivation/cause.

So your character might:

  1. Tell his bff about the wife.
  2. Rush over to the kitchen table to coax the dog off.
  3. Pretend to be sick.
  4. Throw water on the rice.
  5. Says something back.
  6. Fall over the hamster.
  7. Get arrested for assault or be saluted as hero, who knows?

The proponents of the MRU theory/plan want to make sure that you order things in your story in a very specific way, which they believe is this:

  • Motivation/causes
  • Reactions

You have to show the reader the cause before the effect or the motivation before the reaction.

Reactions are things like:

  • Feelings/thoughts
  • Action
  • Speech.

On the blog, thewritersaurus.com, H.Duke writes,

“If “Scene and Sequel” are large-scale scene structure, then “Motivation-Reaction Units” are small-scale scene structure.”

And there are three components that comprise the reaction. These are taken from AdvancedFictionwriting.com

  1. (involuntary) feeling
  2. (involuntary) physical reflex
  3. (voluntary) action and/or speech

I’ll have more about that in the blog/newsletter I was talking about tomorrow, so you should go check it out.

Thanks for listening to Write Better Now.

The music you hear is made available through the creative commons and it’s a bit of a shortened track from the fantastic Mr.ruiz and the track is Arctic Air and the album is Winter Haze Summer Daze.

For exclusive paid content, check out my substack, LIVING HAPPY and WRITE BETTER NOW. It’s basically like a blog, but better. There’s a free option too without the bonus content but all the other tips and submission opportunties and exercises are there.

https://katieganshert.com/katie-ganshert/dwight-swain-techniques-of-the-selling-writer/d

Three Hot Tips To Make Awesome First Pages

Write Better Now
Write Better Now
Three Hot Tips To Make Awesome First Pages
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Hi, welcome to Write Better Now, a podcast of quick, weekly writing tips meant to help you become a better writer. We’re your hosts with NYT bestselling author Carrie Jones and copyeditor extraordinaire Shaun Farrar. Thank you for joining us.

Carrie has been talking to a lot of her authors lately about the beginning of their stories and how to make them awesome. And Carrie has a lot of tips for the writers she works with, but we’re going to be fast here.

Make it Tense AF

You don’t want to make readers in our time wait for the good stuff. Nobody is into waiting right now. It’s all instant gratification all the time. This is even true for most books. Too many details. Too much setting or exposition. And too little tension means that readers aren’t going to want to read on. Your first page should make the reader ask a question that they want the answer to.

Show Us What Your Book and Character Are About

This tip really means we want to see the core of your character and what they are yearning for on the very first page. If your book is a mystery, let us see it. If your book is an erotic novel about a hamster and a gerbil, we need to know that, too. The first thing the reader sees your main character doing? That shows the reader who that character is. If she’s running to rescue someone because she hears yelling? That tells us something about her. If she’s running away because she hears yelling? That tells us something about her, too.

Show Us Where They Hell We Are

Nothing is more annoying than a book that has no grounding elements. Let us readers know where the characters are hanging out. Are we in this century? This world? A cold climate? A warm one? What part of the year is it? Let the reader know where your characters are.

Bonus Tip: You don’t want a prologue unless you really need it and you probably don’t need it. We know! We know! It’s super sexy to start with all that backstory instead of trying to expertly twist it into the forward-moving scenes. But it’s also super lazy. And agents don’t like them if you’re trying to get traditionally published.

Spoiler: You can’t just give up after the first ten pages. You want to make sure that your whole book is fantastic and keeps hooking the reader and making them want to read more.

Thanks for listening to Write Better Now.

The music you hear is made available through the creative commons and it’s a bit of a shortened track from the fantastic Mr.ruiz and the track is Arctic Air and the album is Winter Haze Summer Daze.

For exclusive paid content, check out my substack, LIVING HAPPY and WRITE BETTER NOW. It’s basically like a blog, but better. There’s a free option too without the bonus content but all the other tips and submission opportunties and exercises are there.

Let’s Get Fighting BECAUSE Conflict in Stories Is Good

Hey, everyone! We’re having a wee bit of drama in our lives, so we’re taking this week off in the podcasts. Gasp! I know! We never do that.

But it means that we’re going to bring back one of our podcasts for a lovely redo.

It’s great! Here you go! And we hope you’re all doing well!

In our random thoughts, we talk about:

  1. Killer trees in Maine
  2. FBI agents looking for gold
  3. Chainsaws being a hot stolen item.

One of the big things that pretty much every traditional story in Western culture needs is conflict.

CHARACTER + WANT + OBSTACLE = CONFLICT

In your story or your life, you have wants? Sometimes there are obstacles in the way. They keep you from getting your want. Therein lies the conflict. The story becomes interesting because of how you or your character deals with that obstacle.

A lot of writers wait a long time to get that conflict into their stories.

Don’t do this. It is usually boring when you do this.

Nobody wants to be boring. There are two overall types of conflict – internal (inside the character) and external (outside the character), but they can be broken down even more.

AND THERE ARE TONS OF DIFFERENT TYPES OF CONFLICTS. CHOOSE ONE. MAKE THAT LITTLE JERK YOUR FRIEND.

First off, there are all sorts of lists about the types of conflict in novels. Sometimes you’ll see four. Sometimes you’ll see three. Whatever. Nothing is ever set in stone.

Character vs. character -Podcaster Carrie is trying desperately to not get an explicit rating, but her co-podcaster, Shaun, likes being explicit. How will Carrie make $5 a year off her podcast if it is banned?

Character vs. society – Podcaster Shaun must fight against an overly oppressive society that doesn’t like his explicit nature. How can Shaun survive in a society that crushes his inherent Shaunie-ness?

Character vs. nature – Nature or an aspect of it is about to kick your ass. Think Jaws. Think tidal waves. Think the moon messing up the Earth’s axis. How will there be a podcast if you are fighting off a Sharknado?

Character vs. technology – Your submarine breaks and you have only hours to fix the tech and live. Your mechanical love doll decides to kill you. Your downloads keep buffering. HOW WILL YOU PODCAST?

Character vs. supernatural – The ghosts have invaded the podcast studio and keep whispering, “WHO YOU GONNA CALL” over the audio. HOW WILL YOU PODCAST?

Character vs. self – The Reedsy blog states

Internal strife will stem from a debate that occurs within a character. It might originate from any combination of the character’s expectations, desire, duties, and fears.

Reedsy

Carrie has massive social anxiety, but also a hammy tendency. Every time she has to do a podcast, she panics and paces the house. Will she get it together enough to podcast? Can she get over her reluctance to speak aloud because her s’s are sloshy in order to finally have a voice?

Character vs. fate – Think Greek tragedy or boy wizards and prophecies. You are fated to die at the hands of a monster, in battle, via evil male wizards. You are stuck throwing an evil ring into a volcano. You are stuck becoming a podcaster in a prescribed fate sent from God. How do you deal with this once you know? How do you fight your fate?

WRITING TIP OF THE POD

Put lots of conflict in your story. Put it in early. You can use more than one kind.

DOG TIP FOR LIFE

Don’t create drama in your life when you’re bored or for attention. We all know people who try to create grievance and controversy out of random events. We all know people who go trolling on Facebook or Twitter or try to create drama and get that negative attention in their own post or life.

Spoiler: Negative attention isn’t the best kind of attention. Go for the positive.

RESOURCES

Articles mentioned in random thoughts are all linked here. And here.

SHOUT OUT!

The music we’ve clipped and shortened in this podcast is awesome and is made available through the Creative Commons License. 

Here’s a link to that and the artist’s website. Who is this artist and what is this song?  It’s “Summer Spliff” by Broke For Free.

AND we are transitioning to a new writer podcast called WRITE BETTER NOW! You’ll be able to check it out here starting in 2022!

We have a podcast, LOVING THE STRANGE, which we stream live on Carrie’s Facebook and Twitter and LinkedIn on Fridays. Her Facebook and Twitter handles are all carriejonesbooks or carriejonesbook.

Carrie is reading one of her poems every week on CARRIE DOES POEMS. And there you go! Whew! That’s a lot!

Here’s the link.

I Lost My Damn Theme How Do I Find It

Write Better Now
Write Better Now
I Lost My Damn Theme How Do I Find It
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Hi, welcome to Write Better Now, a podcast of quick, weekly writing tips meant to help you become a better writer. We’re your hosts with NYT bestselling author Carrie Jones and copyeditor extraordinaire Shaun Farrar. Thank you for joining us.

Last week on our podcast we talked about theme, and we’re going back there again.

We know! We know! So scary. Why risk it again? We risk it for you, dear listener. Like a matyr-parent from the early 2000s, we’re writing your college essays and yelling at the soccer coach and doing the work.

Once again, what actually is a theme?

So, the theme is the central idea of your story.

According to aresearchguide.com:

“A theme in a story is the major idea that the story leans or surrounds. It comments on human experience, and more often a story relates to real life situations. All stories have at least one theme.

“A theme gives the general view of the story. It gives the reader the insight into how the story characters live to pursue something good, the results of conflicts and how all these choices come to pass in their lives. In a story, there can be major and minor themes.

   A major theme is an idea the writer keeps on repeating in his work, portraying it as the most significant idea.

   The minor theme is the idea that appears briefly in the story.

“A theme needs to be compelling and captivating. You need to think carefully when choosing a theme for your story.”

Let’s go simple: It’s the idea your story is about and it’s good to include a verb in that idea and a noun/subject.

Some writing coaches will say to never ever explicitly state your theme. Some coaches will say you should absolutely have a character state your theme early on in your story (first act) but have your main character not get it.

Over on the blog writerswrite, they give examples of themes:

Crime pays.

Honesty is the best policy.

Who dares wins.

Fools rush in where angels fear to tread.

Home is where the heart is.

The past is a foreign country – they do things differently there.

You never really know anybody.

People are predictable.

People with nothing to lose are dangerous.

Love conquers all.

Blood is thicker than water.

You can choose your friends but you can’t choose your family.

What does not kill you makes you stranger.

That site uses the Lajos Egri Theme Cheat Sheet, which is from Ljos’s book: The Art of Dramatic Writing.

This is from the writerswrite blog.

And, according to Amanda Patterson who wrote that fantastic post, a theme is important and helps you actually write your novel because you then can make sure that every scene in your novel works toward that theme.

Over on the aresearchguide, they say,

“A theme gives a story meaning and hence creating an emotional impact. A theme creates a difference between a great story that readers can relate to and a mediocre one. The theme adds an in-depth and creates a connection to the story. It is necessary for an author to have a good and clear understanding of the theme (h)as this is the key to crafting great and awesome stories that readers will love.”

But it’s over on Amanda’s brilliant post that the three steps, the three really helpful steps, show up. These are a direct quote.

Thanks for listening to Write Better Now.

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What is Theme?

Write Better Now
Write Better Now
What is Theme?
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Thanks for listening to Write Better Now.

The music you hear is made available through the creative commons and it’s a bit of a shortened track from the fantastic Mr.ruiz and the track is Arctic Air and the album is Winter Haze Summer Daze.

For exclusive paid content, check out my substack, LIVING HAPPY and WRITE BETTER NOW. It’s basically like a blog, but better. There’s a free option too without the bonus content but all the other tips and submission opportunties and exercises are there.

What is theme?

This is the first in our three-week series about what theme is and how to find this abstract bugger and even develop it in your own stories. And to start things off, we have to define theme. Turns out there are a lot of different takes on this bad boy, but for today we’re going with LitCharts.

According to LitCharts,

A theme is a universal idea, lesson, or message explored throughout a work of literature. One key characteristic of literary themes is their universality, which is to say that themes are ideas that not only apply to the specific characters and events of a book or play, but also express broader truths about human experience that readers can apply to their own lives. For instance, John Steinbeck’s The Grapes of Wrath (about a family of tenant farmers who are displaced from their land in Oklahoma) is a book whose themes might be said to include the inhumanity of capitalism, as well as the vitality and necessity of family and friendship.

And you can have more than one theme in your story, but we’re just going to be focusing in on one right now.

The theme is something you have to develop in your story and it has a significant impact on your main character.

Your book will have a plot – the things that happen in the story.

Your book will have character development – how your character evolves or doesn’t in a story.

Your book will have a theme – the more abstract concepts that your story involves.

Themes can be broken into concepts and statements.

A concept would be:

Love

Grief

A statement would be:

Human love is imperfect.

Living with grief is permanent.

And your work as the author is to embody those themes in your character as they navigate the plot and world of the story.

Sara Letourneau is a poet who also writes for diyMFA and coaches. She has a great piece about developing themes in stories and a worksheet on her website. 

She advocates when developing a theme for your character’s story, you can do so in their big choice in act one of the story.

A pause for a refresher. Act One is the beginning of your book where you establish the character, setting, story problem, character goal’s, etc. And it is also the place where the character’s world begins to change. This usually happens in the inciting incident.

Because of the inciting incident, the character that you’ve developed has to make a big-time decision. Will they keep on with the same old, same old or will they make a change that gets them involved with the story, a choice that makes it so their life isn’t going to be the same old, same old at all?

When they make this choice, the story usually enters ACT TWO, the place where everything is different for the main character, a point of no return.

So, what is this choice?

According to Leternous, it has the following elements:

  • “It typically occurs around the 25% mark, and signals the end of Act I and the beginning of Act II.
  • It shows the protagonist becoming fully engaged in the external conflict.
  • It further establishes the protagonist’s story goal.
  • It raises the stakes and underscores why the story goal matters to the protagonist.”

She writes (and I love this),

“It’s easy to confuse the inciting incident and the Act I choice, since they occur so close together. However, while the inciting incident invites the protagonist into the main conflict, the Act I choice is her RSVP. It shows the protagonist committing to her involvement and taking the first step out of her comfort zone. In other words, it’s her internal response to an external change in her status quo. And like with the inciting incident, it has the ability to reflect a story’s themes.”

So, what does theme have to do with this?

The inciting incident is where your character’s desires are triggered or maybe it’s her fears. It pushes her towards the choice that becomes her story goal.

She uses the Hobbit as an example:

“J. R.R. Tolkien’s The Hobbit:
Bilbo Baggins, the titular Hobbit, meets the wizard Gandalf, who invites him on an upcoming quest. Bilbo initially refuses, claiming he’s not the adventurous type.”

But then things change a lot because there is that choice. And your main character has to pick the option that makes the story happen. They have to want it more than they want to stay in their safe, same-old, same-old life.

The theme comes into play because your character’s goals and desires, and fears are all involved in this choice. What thematic/abstract ideas relate to your character’s choice? That’s a big hunk of your theme.

For Bilbo that choice has to do with courage. He chooses adventure and exploring.

She has a GREAT worksheet if you want to check it out and the link is in our podcast notes at carriejonesbooks.blog.

Click to access act-i-choice-themes-worksheet.pdf

https://www.litcharts.com/literary-devices-and-terms/theme

Developing Themes In Your Stories: Part 8 – The Act I Choice

Thanks for listening to Write Better Now.

The music you hear is made available through the creative commons and it’s a bit of a shortened track from the fantastic Mr.ruiz and the track is Arctic Air and the album is Winter Haze Summer Daze.

For exclusive paid content, check out my substack, LIVING HAPPY and WRITE BETTER NOW. It’s basically like a blog, but better. There’s a free option too without the bonus content but all the other tips and submission opportunties and exercises are there.

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