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Techniques for adding emotion: using other “Voices” in your scene

Posted on August 21, 2012 by in From the Inside...Out, How do I write Emotions?, Story Crafting, Susan May Warren, Truth or Dare: Conversations with an aspiring novelist

I love to watch people. Especially in an airport. Yes, I admit I compare myself to others (it’s a woman thing, I think), and I discovered that it’s a great way to reveal the emotional landscape of a character.  

See, we often project how we feel in how we might describe a character. Consider this description from the POV of our test subject, Darla, a woman who is afraid to fly. She sees this woman in the gate area: 

Across from her, a woman’s sandaled foot tapped to unheard music, her eyes closed, her hand draped over her carryon bag. In her other hand, an empty coffee cup from Starbucks – had she passed a Starbucks on the way in? — as if she’d started her morning early. Sure, fatigue pressed into the wrinkles of her dress pants, flattened her blonde hair. Still, she hadn’t a hint of sweat, nor even a crease on her forehead as the gate attendant announced their flight. Indeed, in moments she’d bounded into line, handing over her ticket, wearing an expression that suggested she’d finish her nap in-flight. A regular Amelia Earhart.

Darla sees a calm, if not tired, passenger. Hopefully you can hear some envy from Darla, some wistfulness that she might be that calm, even accustomed to flying. 

This powerful emotional layer technique takes a person in the setting and uses it in two ways.  I like to call it the other VOICES in the scene. 

First, use these other people like a mirror to your character’s emotional state: 

This is from a book called the Second Coming of Lucy Hatch; about a woman who longs to figure out how to live away when her husband dies, and discovers that she never really did. Her description of a local country singer, Ash Farrell, is juxtaposed to the dismal life she has lived.

A flashbulb went off, illuminating the fact onstage, igniting an image from some dim, long buried corner of my memory. Ash Farrell. 

If I’d given him any thought at all, I have picture him on his bike, flying down some wooded highway with his guitar strapped to his back, his hair whipping clean back from his face as the center stripe beneath him blurred to solid white, taking him away from the rest of us and our small finite lives; I would not have thought East Texas could hold him.

Really, she’s wondering how it held her all this time.

Another way to use other people is to juxtapose them with the character. 

Here’s another line from Lucy Hatch – she’s in grief, but she sees her mother, also in grief…

She wandered the house in a dirty satin negligee, drinking whiskey out of a jelly glass…her future dragging behind her in the tail of her ratty robe.

We don’t have to have Lucy tell us that she doesn’t want to be like that.

This technique is just a matter of letting your character see someone who embodies the same or opposite emotion as your character, and letting them describe them in their voice, adding inflection, opinion, and using strong verbs and nouns to convey that emotion.

Try this: look around the scene. Who do you have in the scene who might have been there, done that, in terms of your character’s emotions. What do they look like now? Or, is there someone your character would like to emulate? Or even, is there someone your character would never want to be?

This is another way to “trick” your reader by layering in the emotions of your character without naming them, but rather bouncing them off an ancillary character.

Next Monday, we’ll continue this discussion with the strongest way to show emotions: ACTION!

Have a great writing week!

Susie May

 

 

P.S. If you’re headed to a conference, check out the new MBT book: The Truth about Conferences! How to have a successful writers conference! (currently a digital download (pdf. mobi. epub)) Look for the hard copy soon!  And, to attend the FREE Truth about Conferences Seminar, with insider tips and free MBT Goodies, sign up for our webinar HERE: http://www.anymeeting.com/PIID=E054DB848748

Quick Skills: Scene Creation Checklist

Posted on June 5, 2012 by in Action and ReAction Scenes, From the Inside...Out, How do I Fast Draft?, Quick Skills, Susan May Warren

I thought it might be helpful if I posted the Scene Creation Steps  you could use when crafting a chapter. If you’ve been following the blog for the past month, we’ve addressed each of these sections/elements in the blogs.

Part One

Keeping Scene Momentum: Character Journal

Ask the following questions:

1. What did you think about what just happened?

2. What are your choices?

3. What will you do next, and why?

4. What is the worst thing that could happen to you right now?

5. And, if it’s a romance –how do you feel about this person?  What do you fear happening emotionally?

 

Part Two

Create Scene Tension

Scene Tension Equation: Sympathetic Character + Stakes + Goals + Obstacles + Fear of Failure.

Step 1: Determine your Action Objectives

What kind of scene is it?

  •  Action: Goal, Conflict, Disaster
  • Reaction: Response, Dilemma, Decision

 

Ask: What does POV want? What does he/she want at this moment? Emotionally, physically? Answering this question will help you build the conflict.

Add in:    Why? (do they want this?)

                What is the Push/Pull?

Every scene has to have an emotional or physical push/pull (or combination thereof).  It’s the PUSH away from something negative, and the PULL toward something positive.

What’s at Stake: What will happen if they DON’T meet their goal? What fear hovers over the scene?

What is your character’s Goal? (this may be different from the Want, but be driven by the Want and the Why.)

 

Step 2: What are the Obstacles?

What will stand in the way of your character achieving this goal? Obstacles can be People, Situations, (weather, or machines, or even government), or even a person’s own emotions/values.

 

Step 3: Create A Fear of Failure

Will your character reach his/her goal?

ü  If not, then hint that they will in the scene, make them believe they’ll have victory, only to disappoint them at the end.

ü  If yes, then hint that they will fail, only to surprise them at the end.

 

Step 4: Start On the RUN!

Start with the character already in the scene. Can you move your character 5 minutes later into the scene?

 

Step 5: Create Sympathy:

Is your character doing something sympathetic? Something that makes us care about them? Are her emotions realistic?

 

Step 6: Where do you start? (Build the 5 Ws/Facts)

Start with the basics – the 5 W’s. Who, What, Where, Why, When. As the reader we need to know who is in the scene, where it is, when it is, what is going on around them, and a little about why they’re there.

ASK:

  • Who – Who are the players in the scene? (And how do they feel about being there?)
  • Where – What details stands out to the character? Why is this significant to the character?
  • When is it – what is the time of year, and how do we know that (we’re again looking for details here).
  • What – What other activities are going on in the scene? What is your pov character doing?
  • Why – why is she/he in this place?

 

Part Three

Find your First Line/First Paragraph

  • What are the Stakes?
  •  How will you create Sympathy for your character (Hero/Heroine ID),
  •  Are you starting with a sympathetic situation?
  • Are you starting with a relatable emotion?
  • How will your Anchor your reader into the scene with Storyworld? (Hint: Sight, Smell, Sound, Touch Taste)
  • Are you starting your scene On the Run – with the scene already in motion?
  • What Problem/Storyquestion will your character deal with?
  • Set the HOOK by asking:  Now, what is my character thinking right now.  How can I express this in a statement, question, action or determination.

Part Four

End with Bait for the next chapter. (How can I raise a new problem, or an “Uh Oh” that compels my reader to turn the page?)

It helps to talk through these steps with a craft partner. Take notes…and then sit down and write!

Have a great writing week!

Susie May

P.S. By the way, if you sign up for the daily Flashblog reminder in your email box, you receive the 5 Elements of a Best-Selling Novel. A quick class on those foundational elements ever editor is looking for! Sign up at: http://forms.aweber.com/form/35/866611135.htm

P.P.S Are you a MBT Voice? Join our FREE COMMUNITY at: http://bleachers.mybooktherapy.com

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Quick Skills: How to Build Scene Tension

Posted on May 15, 2012 by in Action and ReAction Scenes, b. Building a Scene, Editing Basics, From the Inside...Out, How do I write Tension?, Quick Skills, Susan May Warren, writing tension

I just finished book 2 of the Hunger Games series, Catching Fire.

Excuse me while I go pick up book 3 and spend the day ignoring my to-do list. This series is a lesson in how to create fabulous tension. Not only is the story premise powerful, but every chapter has that “can’t put down” quality.

Why? TENSION on every page (as the Master Donald Maas would say!)

But what is tension. Recently, I read approximately 1,768,639 contest entries. Okay, not quite that many, but it felt like it. And very few really wove real tension into their story. Obstacles and Activity are not Tension. Tension is a combination of a Sympathetic Character + Stakes + Goals + Obstacles + Fear of Failure. If any of these are missing, we don’t have tension.

Obstacles can be People, Situations, (weather, or machines, or even government), or even a person’s own emotions/values. But they are simply TOOLS to stand in the way of what the character WANTS. And that Want must be backed up with a powerful WHY.

But how do you build that tension into a scene? Here’s a step by step process that I use that helps me craft a scene. 

Step 1: Determine your Action Objectives: What kind of scene is it?

  • Action: Goal, Conflict, Disaster
  • Reaction: Response, Dilemma, Decision

Ask: What does POV want? What does he/she want at this moment? Emotionally, physically? Answering this question will help you build the conflict.

Add in:

  • Why? (do they want this?) 
  • What is the Push/Pull? Every scene has to have an emotional or physical push/pull (or combination thereof).  It’s the PUSH away from something negative, and the PULL toward something positive.
  • What’s at Stake: What will happen if they DON’T meet their goal? What fear hovers over the scene?
  • What is your character’s Goal? (this may be different from the Want, but be driven by the Want and the Why.)

Step 2: What are the Obstacles? What will stand in the way of your character achieving this goal? Obstacles can be People, Situations, (weather, or machines, or even government), or even a person’s own emotions/values. 

Step 3: Create A Fear of Failure: Will your character reach his/her goal?

  • If not, then hint that they will in the scene, make them believe they’ll have victory, only to disappoint them at the end.
  • If yes, then hint that they will fail, only to surprise them at the end.

Step 4: Start On the RUN! Start with the character already in the scene. Can you move your character 5 minutes later into the scene?

Step 5: Create Sympathy: Is your character doing something sympathetic? Something that makes us care about them? Are her emotions realistic?

Step 6: Where do you start? (Build the 5 Ws/Facts) Start with the basics – the 5 W’s. Who, What, Where, Why, When. As the reader we need to know who is in the scene, where it is, when it is, what is going on around them, and a little about why they’re there.

ASK:

  • Who – Who are the players in the scene? (And how do they feel about being there?)
  • Where – What details stands out to the character? Why is this significant to the character?
  • When is it – what is the time of year, and how do we know that (we’re again looking for details here).
  • What – What other activities are going on in the scene? What is your pov character doing?
  • Why – why is she/he in this place?

Now add: 5 senses: To really draw your storyworld you need to use the 5 senses to engage our emotions. Sight, Smell, Sound, Touch Taste

Now you’re ready to start your scene.

Quick Skills: Do you have all the components of a Tension-filled scene? Check the equation!

Sympathetic Character + Stakes + Goals + Obstacles + Fear of Failure.

Have a great writing week!

Susie May

P.S. As you might already know, MBT is now offering an advanced membership with access to our full library, advanced teaching through webinars and video talk shows and a monthly advanced class. For more info, check out: www.mybooktherapy.com/join-the-team/. Hope to see you at practice!

 

 

 

 

Conversations: What is Scene Tension?

Posted on May 14, 2012 by in Action and ReAction Scenes, b. Building a Scene, From the Inside...Out, How do I create the Inner Journey?, How do I write Tension?, Susan May Warren, The Hero's Journey Simplified, Truth or Dare: Conversations with an aspiring novelist, writing tension

“Happy Mother’s Day, Sally,” I said, while holding a plate of basil mashed potatoes and beef medallions. I couldn’t wait to get my hands on that broccoli salad – the house specialty – and eyed it as another patron of the Sunday Brunch dived in.

Sally looked up as she spooned smoked salmon onto her plate. “Hello.” She glanced behind me, and I saw one of her children, the six year old, heading into the buffet line.

“How’s the writing going?”

“Good,” she said as she reached around me, handing him a plate. “Don’t spill.” She stepped out of line. “I don’t know if we can meet tomorrow. I have a school field trip.”

“No problem, I said, we’re just going to talk about Scene Structure.”

She made a face. “Okay, I lied. The writing is not going well. My scenes just feel so…boring. I keep trying to add some action, even obstacles into the scene, but it just ends up looking like a lot of activity – James, that’s enough olives!” She made an apologetic face as she turned back to me. “Sorry. He’s like a football player – could eat you out of house and home.”

I laughed. “No problem. But I know what your scene is missing – Tension. It’s that sense that something could go wrong, that the character isn’t going to meet their goal.” Another patron bellyed up to the broccoli dish. Shoot. Maybe I could elbow my way in, take out that woman and her walker.

Sally, meanwhile, edged toward the buffet table, reached in and righted her son’s plate before his gravy could hit the floor. “But I can only put up so many obstacles before the scene seems silly.”

“Obstacles aren’t tension. Tension comes from the inside, from fearing something that will – or won’t -  happen, or even wanting two different things. For example, right now you fear James dumping his mashed potatoes and gravy onto the person in front of him.”

“You don’t know James. Last month, he managed to spill Kool-Aid across three plates at the church social.”

“I understand. You want to allow him independence and for him to succeed at getting his own plate of food, and yet you also don’t want to make a scene. Those two goals, and the obstacle that your son is young and you’re trapped talking to me is causing you great tension.”

She gave me a wry smile.

“Creating more obstacles doesn’t create more tension. Tension is created in two ways:

  1. By fearing something and trying to keep it from happening.
  2. From wanting two equally valuable things, and the inner dissonance that creates.

“In your case, you have both issues and right now, you’re just about to grab your son’s plate and tell him to go to the table, which could possibly create a huge scene, which is a fear, also.”

“You’re a mom, aren’t you?”

“Of three big sons who had their share of buffet moments. But every scene has tension embedded it in, you just have to figure out the fear that looms over the scene, and how to create some inner dissonance.” Oh good, the servers were adding more broccoli. I turned my back on it to focus on Sally.

“You do this by figuring out what your character wants, and why, and then using your obstacles to keep your character from achieving it. Or, if they do achieve it, by making us believe they won’t achieve it until the very end.”

She smiled as her son walked past her, a slab of roast beef draping over his plate. He made it all the way to their table. “So tension in a scene doesn’t have to be bombs blowing up, or people getting shot.”

“No. It can be simply a mom trying to keep her son’s Sunday shirt clean in the buffet line. The key is, it has to be something that matters to the character, something they want, for a good reason. The obstacles simply threaten that thing they want. And it’s this fear of failure that creates the tension. You can also increase the tension by having your character want two different things, and have an inner battle about which one is better.”

“Like standing in line talking to my mentor, or helping my son navigate the buffet line.”

“Right.” I smiled.

“So, instead of meeting tomorrow, how about if I figure out what my character wants and why, and what might stand in her way.”

“And stop by Tuesday’s blog and I’ll post an equation I use for creating tension in a scene.” I headed back into line to grab the broccoli spoon. “Happy Mother’s Day.”

Truth: Obstacles in a story are not Tension. Obstacles in a story CREATE tension by standing in the way of what the character wants. To create strong tension, start with what the character wants, and why, and then add the obstacles. This combination will create a fear of failure. And that fear is what causes Tension.

Dare: Do you have a fear of failure in your scene? How about two different things your character wants to create inner tension? If your story lacks this, go back and ask, “What does my character Want, and Why?” 

Happy Writing!

Susie May

P.S. By the way, if you sign up for the daily Flashblog reminder in your email box, you receive the 5 Elements of a Best-Selling Novel. A quick class on those foundational elements ever editor is looking for! Sign up at: http://forms.aweber.com/form/35/866611135.htm

P.P.S Are you a MBT Voice? Join our FREE COMMUNITY at: http://bleachers.mybooktherapy.com

 

 

Quick Skills: Tips and Tricks for building Scenes

Posted on May 8, 2012 by in Action and ReAction Scenes, b. Building a Scene, Editing Basics, From the Inside...Out, Quick Skills, Susan May Warren

There are three stages to the discovery stage of writing a novel: Character development, Story development, and Scene development.  Like building a house, the book takes shape as you craft each scene.

Yesterday, we went over scene rhythm, how an author knits together the story, through Action and Reaction scenes and the components of each. Here are some tips as you work through each component.

Action Scene Tips:

Goal – A character has an overall story goal, but inside those goals are smaller goals, goals derived by the situation, or his motivation, or the events happening around him. For each scene, make your goal specific, tangible, measurable and timely. This will give an urgency to your scene, and will make your character alive and interesting.  A character that wants something desperately is an interesting character – someone we want to know or emulate.  And this helps a reader bond with the character.

Conflict – A scene without conflict is a BORING scene.  The conflict can be internal, competing values, or external, something physical that stands in the way of the goal. There are to tips to creating great conflict:

  • Make it something visible to the reader – we need to believe that the conflict is real, not imagined.
  • Make it equal to the character’s motivation for completing the goal. Conflict that is too easily overcome isn’t a real conflict.  That’s why bad guys are stronger than good guys – because if they weren’t there wouldn’t be a story.  That’s why there is ALWAYS krypton in a Superman story.  So, make your conflict strong enough to defeat your hero.

Disaster – Another way to explain this is that there must be something new at STAKE at the end, something that raises a new risk, something that adds an element of looming disaster. The disaster must be something that contributes to the overall Black Moment of the story, so a disaster might actually be a victory or the character reaching their goal at the end of the scene.  For example, I might give my character a job opportunity with the caveat if she doesn’t do this well, she’ll lose everything. (which of course, then she does!)  As you plot the disaster that looms at the end of your scene, ask: How will this ending make the Black Moment blacker?

Your disaster must also be compelling enough to make the reader turn the page. If there is no sense of dread or disaster, or no sense of anticipation, then the reader won’t continue. Ask: Does my disaster make my reader care more about the character, enough to turn the page?

Here are some tricks to finding the disaster at the end of your Action Scenes:

The disaster can be found by asking the following questions:

  1. What is the worth thing, externally, (circumstance, or physically?) that could happen to my character?
  2. What is my character’s worst fear at the moment?
  3. What is the worst information my character can receive right now?
  4. What is the worst trouble my character can get into in this scene? Raise the stake so that they are further from their overall goals.
  5. Have I set up the danger  for the readers before the scene begins?
  6. Have I made my reader CARE about my character?  Can they  sympathize?  (Spell out the stakes often enough so the reader worries!)

Now, let’s take a look at the Reaction Scenes Tips:

Reaction – The importance of the Reaction scene is to understand what just happened, and give your character the proper motivation to continue his journey.  Here’s the key: A fast-paced story will have Reaction scenes cut down to the bone. A longer story will draw them out. And, you may even combine a Reaction Scene with an Action Scene to keep a story moving faster in Act 2, or near the end. But you must have a Reaction Scene, however long to build the right motivation into your Action scenes.

Dilemma – The key to building a great dilemma is to make sure your character sees all the options before him, and counts all of them in as he considers what to do.  When an author leaves out a perfectly reasonable option, the character suddenly becomes too stupid to live. To make sure the story and plot is believable, the character must see his options – and have a good reason for dismissing them.

Decision – Your character will finally make a decision, based on his values and his motivations. Here’s the key: It’s important that your character make the decision for himself, not have the events just push him along. But make the decision something that makes sense to the reader, one they can get behind.  If you have to make a decision that isn’t popular, make sure you rule out the obvious decision with a good reason.

If you use these tips and tricks in creating the components of your scenes you will build a strong rhythm of action and motivation for your story.

Have a great writing week!

Susie May

P.S. By the way, if you sign up for the daily Flashblog reminder in your email box, you receive the 5 Elements of a Best-Selling Novel.  A quick class on those foundational elements ever editor is looking for!  Sign up HERE.

P.P.S.  As you might already know, MBT is now offering an advanced membership with access to our full library, advanced teaching through webinars and video talk shows and a monthly advanced class.  For more info, check out:  www.mybooktherapy.com/join-the-team/.  Hope to see you at practice!

 

 

 

 

 

 

Conversations: Building your story through the rhythm of scenes

Posted on May 7, 2012 by in Editing Basics, From the Inside...Out, Story Crafting, Susan May Warren, The Hero's Journey Simplified, Truth or Dare: Conversations with an aspiring novelist

The sun tugged at the irises peeking from the dirt edging the coffee shop. Another month in the northland and spring might actually arrive, cascade into summer. I found Sally at our table, grinning at me.

“What?”

“Now that I know my characters, and my story structure, I think we’re coming to the best part – the scenes.”

“You’re right. At least, that’s my favorite part about writing. Because we can talk big picture and characters all day long, but when you create scenes, you are bringing the story to life. Think of every book as live action that we can observe, like a movie. In fact, for me, writing is not unlike viewing a movie…I close my eyes, see the scene and walk through it with the reader.”

“That’s what I see too. A movie in my head.”

“And people laugh when we say we hear voices. They’re real people talking to us.” I winked at her, and she laughed.

“There is a rhythm to storytelling with scenes, however, that is important to learn that will help you craft a book with the right motivation and pacing. And that rhythm is achieved by the right combination of Action and Reaction Scenes.

“See, an Action scene is something with activity, a scene where something happens. A Reaction scene is just that – the reaction to what just happened. I often use the example of the shootout at the OK Corral. The shootout is the action – the reaction is the part where they hide behind the haystack, reload and figure out what to do next. Then, after they figure it out, they jump out and start another action scene.”

“An Action scene has three parts – a goal, conflict and a disaster. For every SCENE, the pov character will have a goal (as will the other characters,). It must be specific and clearly definable, and it must be a proactive goal, something that makes our character alive and interesting.

“However, standing in front of that goal are obstacles your POV character faces on the way to reaching his goal, which causes conflict. You must have conflict in order to make the scene interesting, and ultimately to help your character grow.

“Your Action scene must end with a disaster that contributes to the overall black moment, and causes them to have to make a decision about their next course of action. We often call this the Y in the road.”

Sally nodded, her gaze past me, as if she might be thinking. “So, falling in love with the hero in the beginning of the book might be a disaster because we know he has a secret that will break her heart.”

“Exactly. Which bring us to the Reaction scene, or the emotional and physical follow through to the disaster. A reaction scene has three parts also – a reaction, a dilemma and a decision.

“Your POV character, and the other characters affected by the disaster, are reeling and will need to process and hurt and panic and be afraid. This scene gives your reader a chance to react to the situation along with your character.

“Then, your character must take stock of his situation, look at his options, worry and think through the what-ifs. This is the dilemma. Eventually, the character will come up with a decision.

“Once he makes a decision about what he will do next, your character establishes a new goal – one based on his values and his motivations, and most of all his Noble Cause. A Reaction scene ensures that you have the right motivation for every proactive decision and action your character makes.”

“Now, you’re back to a scene. This is the rhythm of a well-knit story, and is a powerful tool in creating a page turner.  Think about your book as a collection of scenes, and you will be able to draw your reader into the moment and create a book that will imprint on a reader’s mind.”

“So, would you suggest that I go through my first scenes and make sure they are Action or Reaction scenes?”

“Yes. Up until now, you’ve been writing by instinct. But if you want to make sure your pacing is right, you need to build the right rhythm into the story. Next week I’ll teach you a combination Action/Reaction scene, something you’ll use as you get into Act 2. But for now, identify each scene and make sure you have the basic components.

“As you start writing your scene, being with the question:  Is this an Action or Reaction scene?  Once you know this, you’ll know what components to build into the scene.  In later weeks, we’ll add to these components to help you build tension in either kind of scene.”

Sally closed her notebook. “I’m a knitter.  And when I start a project all I need to know is how to knit or purl. Then I start looking at the blueprint and begin to knit. Pretty soon I have knit an entire slipper. I feel like I’ve finally figured out how I might write this story all the way to the end.”

Truth: The rhythm of Action and Reaction scenes ensures that you have the right motivation for every proactive decision and action your character makes, and keeps your story moving along at a consistent pace. 

Dare:  Can you identify the Action and Reaction scenes of your novel?  Do they have the three components necessary in each scene? If you story lacks the right pace, or your characters lack the right motivation for their actions, try identifying the scene and do a realignment.

Tomorrow, in Quick Skills, we’ll touch on tips on how to build the three components in each scene as well as ideas on how to end your scene with a disaster.

Have a great writing day!

Susie May

P.S. By the way, if you sign up for the daily Flashblog reminder in your email box, you receive the 5 Elements of a Best-Selling Novel.  A quick class on those foundational elements ever editor is looking for!  Sign up at: http://forms.aweber.com/form/35/866611135.htm

 

P.P.S.  As you might already know, MBT is now offering an advanced membership with access to our full library, advanced teaching through webinars and video talk shows and a monthly advanced class.  For more info, check out:  www.mybooktherapy.com/join-the-team/.  Hope to see you at practice!