Susan May Warren

About Susan May Warren

Former Russian Missionary Susan May Warren is the best-selling author of more than 40 novels and novellas with Tyndale, Barbour and Steeple Hill, and Summerside. A Christy award and RITA winner, and multiple finalist for the RITA, Christy and winner of Inspirational Readers Choice contest, Susan currently has over a million books in print. A seasoned women’s events speaker and writing teacher, she is the founder of http://www.mybooktherapy.com an online community for writers, and runs a fiction editing service teaching writers how to tell a great story. Visit her online at: http://www.susanmaywarren.com.

Author Archive | Susan May Warren

Help! How do I make my reader care?

I sat on the tarmac on my way to Florida for five hours last week (#IloveMinnesotaweather), and while we were waiting, I stirred up a conversation with my seatmate.

“What do you do for a living?”  I asked.

“I break into building to check their security.”

#Cool!

Poor guy suddenly discovered the dangers of sitting next to a novelist. By the time the plane took off, we’d plotted a story about a man living two different lives – a spy living in suburbia, posing as a regular guy.

Then came the moment when we had to figure out the first scene.  “We need to make him relatable,” I said to 24B.  “Someone who the reader can relate to.”

“Why?” 24B asked. “He’s not a regular guy.”

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Extreme Book Makeover: Help! How do I hook my reader?

Any book can be fixed – it just needs and Extreme Book Makeover. Over the past month we’ve been diagnosing common problems of a boring plot and how to fix them. We touched on Story Stakes – and the importance of understanding what your character has to lose. We talked about the Story Question – the fuel for the inner journey. And we discussed the difference between High Concept and Low Concept plots. But those are all big picture issues with plot. Once you solve those, an author must understand the key elements of the Three Act plot to keep the momentum going in the story. Briefly, Act One is the ignition – it sets up the character(s)’ wants, goals and fears, then sets them on a journey into Act […]

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Extreme Book Makeover: Help! I think my plot is boring!

I have to admit, I’ve never met an aspiring author who has said their plot is boring. Usually, what I get is a detailed waxing of the story, without any major explosions except the ones happening inside the author’s head. And lest you think I’m harsh, I’ve often been one of those authors! You know if you are boring someone, however, if they keep smiling at you while glancing away, or better, nodding, sighing and saying, “Wow! All that in one book?”

I was mentoring an aspiring author this weekend, and she said…well, why is my book different from every book out there? My answer: because she is different, and her voice is different, so she will tell her story differently.

But that still doesn’t make it sellable.

Sellable books come in two categories: High Concept and Low Concept.

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Extreme Book Makeover: Your story simply isn’t compelling.

We’re learning how to overhaul our stories this year, and we’re going to start with one of the biggest criticisms authors hear: Your story simply isn’t compelling. In order to overhaul a weak story, you have to start by standing on the outside of our book and asking the big question: WHY.

Why will someone care about our story?

A story usually starts with a story seed, something that has niggled at the author’s attention and made them ask, what if? From there, an author begins to build the story, adding in characters and plot. Sometimes, authors simply dive into the story from there, writing their way through it. Others step back and plot it out, seeing the big picture, and then diving in.

Regardless of your method, however, an author must consider the reasons someone might pick up your story before writing, or rewriting your book. This big WHY will comprise the backbone of your pitch, and keep your story on track as you write it.

The WHY of your story is answered in the STAKES of your story. And here’s the key – they are external stakes. Often, an author wants to pitch the internal stakes of the story – will she find true love? Will she learn to forgive? Will she overcome her fear? Of course she will – that’s the point of the story. And this question is posed in the Story Question/Theme of the book (which we’ll get to in an upcoming blog). The Stakes of the story are the external risks of the hero’s journey. What will happen if your character doesn’t complete his goal?

How do you find stakes? First, let’s take a look at the three types of stakes:

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