The Big "W" and Joseph Campbell's Hero's Journey Story Arc

Writing a book is hard work.  So it helps to get help--anything that has worked before.  What makes a story satisfying?  What keeps us reading?  One writer who has solved this question for many of us:  Joseph Campbell, his Hero's Journey, and the W structure that evolved from his work.

Campbell offered a classic definition of mythic structure in storytelling.  The narrator, the hero, starts a quest and faces challenges that change him or her by the end.  It's the structure you see in so many films, books, and classic fairytales.  Most movies out of Hollywood follow this structure. 

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Finding Time for Yourself: The Value of Writing Retreats

Writers who take on a book learn that it is always connected to their lives, some way, somehow.  Even if the story is about another planet.  Even if the writer is making it all up.   

We can't write completely outside of who we are, especially when we're spending 300 pages doing so.  This means we must face ourselves squarely, look at our motivation for our project, as well as any oh-so-personal obstacles to getting there.

It requires being alone with our creativity.  Writing retreats are great places for this to happen.

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Studying Stephen King: Subtext and Dialogue Use by a Master

My April 2 dialogue workshop is almost sold out, so I wanted to give those of you who are coming (and anyone who can't come) a jump start on understanding subtext in dialogue.  Subtext is the undercurrent in written dialogue. 

It makes dialogue expand from information-giving to emotion- and tension-fostering.  It's what makes dialogue really work.  And what gets your manuscript past that round (rejection) file.

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Navigating a Big Writer's Conference--What's Best to Do, What Do You Bring, How to Make the Most of Your Time and Money

This spring, two major writing conferences happen.  One is the annual AWP (Associated Writing Programs) conference in Minneapolis on April 8-11.  The other is the Muse and the Marketplace, the premier New England conference sponsored by Grub Street writing school, on May 1-3 in Boston. 

Mega-conferences are high opportunity and high overwhelm.  Concurrent workshops, panels, and pitch sessions with agents tempt you to multi-task or bilocate.  But the best results often come from thinking carefully ahead of time about what you want to leave with--more skills, more contacts, a sense of where you are in the publishing process, a hopeful connection with an agent? 

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Dialogue Skills to Develop Real or Imagined Characters--And Help Sell Your Book to a Publisher!

Imagine a publisher sitting in front your manuscript.  By some wild luck, and your hard work, it has arrived in his or her hands.  Now it awaits trial.  Will it pass or fail?

The publisher skims the pages until a section of dialogue appears.  It's read and the entire book is judged on how the dialogue moves.  If it's good, the publisher turns back to the first pages and begins to read your story.  If the dialogue is clunky, the manuscript is set aside with a sigh (or a laugh) and the publisher moves on to the next in the stack.

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Structuring for Nonfiction Books--How Do You Do It, So Your Reader Can Follow It?

We were taught in school a three-part structuring tool:  Tell them what you're going to tell them, tell them, then tell them what you told them.

While this essay-structure helped me pass my high-school English classes, it never came in handy as I began writing books.  In fact, I had to unlearn that tool, pick up completely different ones.  No longer impressing a teacher, I had to impress my readers.  And a reader's mind gets bored with knowing what's coming.

This is obvious in fiction and memoir--we want to dive into the story, be surprised.

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Structuring Phase--The Second Stage of Building a Book

This two-part post discusses the two phases of book building.  If you missed part 1, just scroll down.

How do you know you are in the structuring phase of building your book?

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Gathering Phase and Structuring Phase--Two Stages of Building a Book

Writers who have published books know that there are two phases in the book-writing journey. They cycle back and forth during the time you’re planning, writing, and developing (editing) your book. They apply to all genres: fiction, memoir, and nonfiction.  

It’s good to know what phase you are currently in, so you approach your book-writing journey with the appropriate tools. Knowing your phase will also keep you from getting discouraged or overwhelmed.

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How Do You Start Your Chapters for the Most Punch? Some Simple--and Surprising--Structure Tips for All Genres

Michelle from New Zealand watched my video on story structure and sent some questions about how to begin a story.  

Although Michelle writes short stories, this question is important for book writers too. 

"Some stories begin with a problem," she wrote, "and it is solved through several small events.  I can't find how the other stories might begin. "

There are essentially three ways to begin a story (or book).   

1.  Through characters

2.  Through a location (usually a location that is vital to the story and ends up being as strong as a character)

3.  Through what's called a "triggering" event

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Writing in "Islands"--How I Wrote My First Memoir in Forty-Five Days

A novel in a month?  A memoir in six?  I never believed those promises, tooted by many writing books.  Not until I came across the concept of writing in "islands."

I'd already published five books, with the help of great editors, when I first heard of  "islands."  A writing friend knew I was struggling--a publisher was interested in my memoir and I had to deliver in three months.  I'd honed my skills in nonfiction, even won some awards, but memoir is a whole different animal. 

I was moaning to this writing friend about how to even get started, with such a deadline looming.  She suggested I check out a book by writing teacher Ken Atchity.  Called A Writer's Time, rereleased many years later as Write Time,  the book was not at all about time management but about the two-part process of book writing.  Atchity had noticed over the years of working with new authors that those who actually finished their books allowed random-access writing before any organizing happened.

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