Why I Love Debra Dixon's Goal, Motivation and Conflict

We were thrilled to have Debra Dixon with us on Monday, but interestingly enough the visitors who were in Seekerville that day seemed to fall into two groups: they were either GMC guru's or those who never pondered the pages of Deb's fabulous classic:

Goal, Motivation & Conflict: The Building Blocks of Good Fiction

So I decided to share with you a little bit about why I love GMC.


1. GMC is a foundational plotting book. The beautiful simplicity of it is you're able to plug not only your hero and heroine, but also every single character in your book, including the villain into the GMC chart and VOILA! you have your internal and external conflict and your log-line. Amazing.



2. GMC explains GMC in detail even I can understand.

(parenthesis phrases are my interpretation)

It begins with WHO. Your character.

Goal = What (what they want)

Motivation = Why (why they want it)

Conflict = The Why Not (what stands in their way)



From The Rancher's Reunion (Love Inspired January 2011)

Who: Will Sullivan, Oklahoma rancher.

External GMC: Will Sullivan wants to save the ranch that is his heritage but Mother Nature and a scandal threaten to destroy everything he's worked for.

Internal GMC: Will doesn't plan to ever marry because he may have another Sullivan legacy, but his love for Annie Harris stands in his way.

Log-line: A rancher must save the ranch that was left to him, while he battles with the knowledge that he can't tell the woman he loves how he feels because he may be carrying another family legacy.


There it is. See how easy?


Okay well, GMC does a much better job than I have of showing Goal, Motivation and Conflict with a detailed chapter for each topic using a universal book/movie, The Wizard of Oz to demonstrate. The back of the book utilizes a few more movie classics to demonstrate, including Ladyhawke, The Client, Star Wars, Casablanca and The Fugitive.


That's the basics, but GMC is stuffed with information on topics such as:

• Show Don't Tell
  

• The Black Moment

• Writing Scenes

• Basic Writing Tips

• Query Letters

• Turning Points

and much more


As a newbie writer (I bought this book in 1996) I starred many things in the book as light bulb moments -seriously, until this book, well, WHO KNEW?

• "The heroine's goal in a romance novel is not to fall and love and get married."

• "If you can see it, touch it, taste it, hear it, or smell it..that's external."
  

• "Learn to deliver back story through characterization and dialogue."

• "Motivation drives your characters."

I reread GMC yearly if not more often and every single time I go back to the book I uncover more nuggets of writing and plotting wisdom such as:

• "...the reader is supposed to identify and empathize with your character from the moment the character makes an entrance."

• "Urgency always pushes the plot and the pace."

• "The first chapter must establish what's at stake..."

• "First chapters are like a first impressions-you only get one chance. So don't blow it."

I'm barely scratching the surface of this excellent resource.


Keep in mind that Monday's post walked hand in hand with the basics of the hero's journey, which is a whole post in itself. But you can find more information by picking up Joseph Campbell's The Hero with a Thousand Faces, or Christopher Vogler's The Writer's Journey, or Chris Vogler and Michael Hauge's The Hero's Two Journeys.


Now if you're a GMC fan pull out your copy and share with us what pages of your copy of the book are worn and marked up.

And if you dare----share with Seekerville your Hero or Heroine's GMC. Internal and External.

If you're a clever reader, tell us the GMC of a character in a Seeker book you've read.

What's in it for you? Comment and you could win a copy of GMC. (We gave away one Monday too!!) or the Seeker release of your choice (currently available on Amazon or Christianbook.com).

Two prizes. Two winners.

Let us know if you want to be in this giveaway.


Remember your name goes into the drawing for the Kindle with any comment posted today.

Welcome Debra Dixon!

Missy, here. I'm so happy to welcome special guest Debra Dixon to Seekerville today! I've known Deb for years through Georgia Romance Writers and BelleBooks. She is one busy woman who wears many hats! Deb is President and CEO of BelleBooks (I'll be eternally grateful for the ladies of BelleBooks taking a chance on this newbie and publishing my short story!), is a well-known speaker (I've LOVED all of her workshops I've attended), and is also a writer of fiction and non-fiction. Oh, and did I mention business consultant and software developer? Impressive!

Many of you probably know Deb through her amazing writing how-to book, GMC: Goal, Motivation and Conflict. It's one of my favorites! And I'll be giving away a copy today in a drawing from among those who comment. Remember, your comments will also put you in the Seekerville birthday party drawing for a Kindle!


Oh, and before I give the floor to Deb, I need to also mention her fantastic book that she co-wrote with her dad, When You're the Only Cop in Town. It was a huge help to me in writing my upcoming book from Love Inspired! (If you win the drawing and would rather receive this book, just let me know.)


And now, from Deb...
*******

Hello! Thanks for having me. Because I understand that a lot of writers hang out here, I thought I'd share something I do which helps me understand story. I'm a great believer in mythic structure. When I find I'm watching a movie for about the 3rd time, that's my signal to "journal" the story. What is making me come back to that story? So, I get out my trusty movie journal, restart the movie, and begin to take notes about anything and everything.


THE HOLIDAY is a movie with two entwined, yet parallel stories. Below you'll find my journal, stream of consciousness. Because of the two storylines, I wanted to look at the 12 steps of the hero's journey. What I'm looking for when I journal is very simple: "How'd they do THAT?" How does the writer make me like a character by directing the action of the scene, with dialogue, with insight? How do I know what the movie/story is about? What information am I gathering that helps my subconscious understand the story?


I normally don't do this with a movie if I've never seen it before. (You get too distracted watching it!)

Let me know what you think and if you have an insights about THE HOLIDAY you'd like to share? Do you think I got wrong? How? Inquiring minds want to know. And we also want to know which movies you think we should journal.

My journal:





“Journaling THE HOLIDAY”
© Debra Dixon
Any reproduction or posting of this journal material requires the permission of the author.


This seemed like such a good idea. Who doesn’t like to watch movies? But let me warn you, this is a *long* blog. This is stream of consciousness. Thoughts that occurred as I watched the movie. I normally try and think about Hero’s Journey as I analyze a film, but remember that Hero’s Journey is not always in perfect order.

For instance in Amanda’s journey, I think that her reward comes before the finish of the ordeal. Plus you have multiple story lines in this one. Have fun. This is all up for debate. Normally I would watch the movie. Wait a couple of days and watch it again to do the analysis. Then study my notes, add some thoughts, organize them and then watch the film again. What you’re getting here today is hot off the press without even a serious attempt at correction. I did these on the computer and remembered why I use an actual paper journal. It forces you to get to the point instead of rambling. I can type much faster than I write. So...long blog.

I will note anything that appeals to me, because I want to remember how details support the themes, the internal conflicts. How contrast can make points for us, etc. Plus if you have trouble writing a synopsis this is a dandy way to give yourself practice "cutting to the chase" and moving the story along.

Okay, here we go...

Nonlinear structure to start, it’s all about "compare/contrast" what love is versus what we idealize it as. These vignettes offer something to learn about the characters in this contrast. I love compare/contrast. I think the reader learns so much.

6 different types of love or love phases. 1 perfect (movie being scored) 2 holding on too tight "blind" to who’s really in the relationship (Miles) 3 love that is fading (Amanda) 4 love lost (Arthur) 5 one night stand or "fleeting" love (Graham) 6 unrequited (Iris)

Discovering Iris - we see her with a beautiful package but no real joy in that gift. It’s sad for her. It has to be hidden away like her unrequited love. Love the metaphor. Inordinate attention to detail. With what he’s done wrong. Her inability to hold back the tears and conversation with friend are clear signal that she’s not come to grips with this situation. The friend is a mentor to tell her she’s not supposed to do his blooming laundry! We get Iris’ confusion about whether Jasper really is gone for good or if he’s maybe coming back. In an ironic twist she is a wedding writer. She writes about the happily ever after that she can’t have.

Ordinary World
Her ordinary world is the newspaper, specifically the office in which she is isolated from the others. The lie about him having bought her a gift creates embarrassment and "undeserved misfortune" which bonds us to a character. Her gift to him is a thoughtful one.

However, the excruciating embarrassment is to be publicly assigned to sleeze boy’s wedding. This is clearly an ambush which he allowed to happen.

NEED FOR CHANGE.
If your characters aren’t getting it you have to punish them. On her way to the cottage it is the perfect picture of her "aloneness." No community. Single girl, tiny but charming cottage. Lived in. Her house is a hodgepodge and she’s also a mess.

Amanda’s world.
She has a boyfriend but he’s cheating on her. In some ways because she’s a workaholic. Her house is perfect and her life is a mess.

COMPARE CONTRAST with Iris. Amanda confronts a problem. Iris avoids. Iris bawls her eyes out. Amanda can’t cry. Amanda wants the blunt truth. Iris is happy with a sweet lie. Amanda will strike a blow and draws a line in the sand. Iris waffles.

The viewer is offered a contrast. A choice. Who do we like better? Neither one is in a good situation. Each handles herself differently We see Amanda being competent at her job.

Call– The emotional call to adventure is to put sleeze boy behind. The physical call is to trade houses and get away to reevaluate her life. Amanda’s call to adventure is the breakup which forces her to face her life...that she doesn’t have one. It’s all work. So, she’s going to take that time, rest, relax. She needs a vacation. Amanda is all about controlling her world.

Their computer exchange offers more characterization. How characters present themselves, the nature of their answers gives the viewer information. refusal– Iris has a little refusal of the call to forget sleeze boy when she briefly considers ending it all by sucking in the gas from her stove. The duration of the thought and the charming "What are you doing? Low point! Low point!" Help us quickly move on and give a bit of comedy to that sad moment.

Mentor– The jingle of the computer instant message jolts Iris out of her gas stove moment. In an odd way the jingle is a momentary mentor.

(AFTER THE POSTING CORRECTION: I couldn't stand the typos so I'm clearing some and in the process I think I'll mention that the jingle is actually the herald of the call to adventure.)

Amanda’s fictional life trailers offer her mentoring.

Cross threshold– Compare/Contrast in how they get to their destinations. Amanda appears to be tested before she’s ever really crossed the threshold into the adventure. We like this. This is prepayment for the good stuff later. This blonde chick with lots of money and great sweaters is earning a little sympathy and then her charming happiness at the cottage makes us like her. Iris is stunned, does nothing hard to cross the threshold, but she goes through a gate, through the door, taking us on a tour of the special world. We know we’re not in Kansas anymore and she’s already earned a little good will from us because of sleeze boy. Amanda needs intimacy. Iris needs to look up and see the great big world of possibilities. Is it just a happy coincidence that their physical accommodations for Christmas are metaphors for what the girls need to learn? I think not.

Tests allies enemies Amanda - Walking the country lane, driving, finding food, making fire, dealing with her inability to just "be" and relax, her tragic inability to sing. And then comes Amanda’s decision that this relaxing stuff is not for her, she’s getting out her suitcase. Refusal of the call. Iris- trying to open the gate-test. Miles will be an ally, someone to help her discover new things.

(AFTER THE POST CORRECTION: Miles is actually a mentor by bad example and in a classic move the mentor is stripped from Iris when Maggie calls him back/away from Iris who must then face Jasper alone.) The girlfriend is obviously an enemy in the sense that she offers no encouragement to Amanda and retrieves Miles from Iris’ clutches.

Foreshadowing for when she takes him away again. The old man shuffling by will be a test for her.

The story of the wind is a mentor. "Anything can happen when the winds blow."

Characters need to take the texture of their worlds and apply it to their lives.

Amanda– An ally shows up in the form of Iris’ drunk brother, Graham. He’s a great example of how to take a character who could be negative and presenting him with charm.

Despite being drunk, he has manners. He asks if it’s okay to sit. Little things tell us he’s a good guy. He doesn’t drive drunk. Beautiful misdirection as well. He’s the charming wastrel who will transform into the lost widower. Amanda’s new call – Will she share the house with Graham for the night and that transforms to will she share her vacation with him which transforms to will she share her life with him when he’s everything that is wrong for her. The kiss between Amanda and Graham is a test.

EFFECT is important. Her little stumble afterward is the first moment that we’ ve seen her out of control. Big signal. First step in transforming Amanda from the controlled person she is to someone who feels deeply. Graham’s call to adventure is sex with Amanda which he is reluctant to accept because he’s cast in the role of "cabana boy."

COMPARE/CONTRAST Graham’s approach to sex with Amanda’s approach to sex. What are the conflicts to the adventure with Graham? She’s not staying. Women call him. He’s got one foot out the door the morning after because he assures her there is only grief to be found with him because he’s a mess. He has no follow through. She promises she won’t fall in love with him.

They’ ve very clearly drawn their conclusions that this is a non-starter from all angles. But, he tosses out a bone about a dinner with friends at a pub.

Amanda says it when she says there’s something about a stranger. Starting fresh in terms of expectations. At the airport, her film trailer mentor encourages her to stay in the adventure, to let life unfold.

Enemy for Iris is Jasper asking her to read pages and starting his assault on her resolve.

Test for Iris is helping the old guy who becomes her mentor. He gives her the best advice about being the leading lady of her own life instead of the best friend. Not that secondary character she’s been playing.

What she’s finally learned is how she shouldn’t be behaving. She has yet to learn how she SHOULD be behaving.

This is that first nudge toward change. An important character realization. Iris is rewarded for her kindness by discovering that the old guy is actually a distinguished writer with fabulous stories to tell of an interesting era. He becomes the doorway to her discovering how good men feel about their wives, how gentlemen treat women, how she should be treated.

Test for Amanda and Graham is the "morning after" they didn’t. Graham proves he’s hero material because he didn’t sleep with an unconscious woman. Calls from women create superficial conflict.

She’s one of many, not special. The drunk/not sleeping provide scene tension created by Amanda’s embarrassment. Lunch is a getting to know/trust you tests for both. He proves he can handle strong women because of his mother.

Amanda comes clean about the event that triggered he decision to shut down her really deep emotions.

COMPARE CONTRAST. We discover that Graham weeps like a baby at the drop of a hat.

Conflict is that Amanda is leaving. She’s not ready for complicated. She puts the brakes on.

What I love about this is the lovely, charming way they part without melodrama. Gosh, just like grown-ups. The see the place of perilous danger and uncertainty–a relationship that has so much against it because of the distance and not coincidentally Amanda’s fear of deep attachment.

Back in LA, Miles arrives to complicate Iris’ vacation. He’s a complete contrast to Jasper.

We see a little growth in Amanda as she recognizes the blank card is another nail in a coffin. She tosses the pages aside, doesn’t put them lovingly or regretfully down. We see Iris create community.

We learn about Miles as a "one woman at a time guy." We see how alike Miles and Iris are. Miles is making plans with the guys. Miles makes connections, like Iris. Neither are pretentious.

Test is the leave taking at the door with the "twice kiss." But he manages to make it humorous rather than sleezy, hitting on her.

Amanda’s film mentor returns to chastise her about her unwillingness to change and how she pushes guys away.

This goads her to action, to pursuing the thing that might turn out badly.

Approach inmost cave Graham’s house functions as the inmost cave, that place of perilous danger and uncertainty.

Her brave new offer is shut down as soon as she realizes he’s not alone. Oops! She discovers these are the "women" who have been calling Graham. Lovely flip of people’s expectation!

Ordeal- Widower status is revealed, changing everything she thought about Graham. Meeting Graham’s kids, surviving the night with all of them.

Reward Moment in their tent when she realizes how much she and Graham have in common about what family life should be like for little girls – "three musketeers."

Amanda is one of a group for the first time in the show instead of being the boss or controller. Life is happening around her and she’s letting it happen. The girls adore her and invite her to sleep over.

Maybe this can work. What did the ordeal cost? Graham doesn’t know how to do this-dating/relationship. Once it becomes serious, he has to back away. He’s afraid of what it might to do to him and his girls if he lets someone in he may never see again. She’s just someone he had sex with once and slept with twice.

NOTE: Graham and Amanda are pursued on the road back to their normal lives by the opportunity to chat through Iris. In which the sex is revealed to Iris. Also its clear that their time alone now weighs on them.

And of course, Graham showing up at the door later is a big pursuit.

At this point Iris accepts another call to adventure which is to get Arthur to the award ceremony.

Arthur refuses the call.

Iris becomes his mentor, encouraging him, etc.

Iris ordeal ?? I believe it may be her reliving the loss of Jasper with Miles playing "her" role. In helping Miles she faces her pain in the sharpest way yet.

She finally confronts her situation with Jasper in bold black and white. No more fudging on Jasper and how he made her feel. The loss is sharp, fresh and cutting. Miles articulates Jasper’s devious plan to keep Iris from starting fresh.

What does she lose? That little bit of a lie she’d still been holding on to that she wasn’t that stupid. That she hadn’t been so pitifully pathetic and easy to manipulate. But she was.

It’s very clear in retrospect. No more hiding from the fact that she was every bit to blame for letting this happen. Iris reward is the song Miles writes for her. resurrection After sex the same old problem rears its ugly head.

Amanda isn’t willing to fully commit. She can’t face the possible loss so she buries the relationship before it starts.

And when he says he loves her, she can’t respond from her heart. Her head is still winning. She won’t jump in and commit just as the guy we saw in her first scenes has said.

In the limo on the way out, she can’t handle her emotions. For the first time in a long time. She cries and has to run all the way back to Graham, willing to jump in with both feet now. Of course he’s a weeping mess which is great. And when he’s afraid his having the girls will scare her off New Year’s eve, she says that will be perfect.

For Iris her resurrection begins when watching Miles jump to Maggie’s tune again. Here it is. She’s being shoved aside again, #2 in the scheme of things. And to top it off Jasper arrives to romance her but is still engaged.

He leads her on using the same half-truths and omissions designed to give her hope. Iris will continue to be a door mat unless she changes, makes different decisions that she has in the past. She has to become the leading lady of her own life.

This time she doesn’t accept vague language that her heart wants to hear. She wants blunt words with no ambiguity. She stands up for herself and has the confrontation that has been brewing for three years.

We dramatically see her resurrection as someone who is more than she was before. She’s no longer in love with Jasper. She’s going to live her life.

Return with the elixir- We see what Iris offers to Arthur. We see her visually lending him strength when she grips his hand, showing that she has enough to spare. Miles arrives just in time. Knowing her has helped him break off the toxic relationship with Maggie and he’s obviously not pining. The girls have a mother again. Iris and Miles pursue their relationship.
******
Missy, again. We'd love to hear from you! If you haven't seen the movie yet, go rent it! Then let us know what you think about the steps of the hero's journey as Deb has shared in her journal. Have you ever studied movies, tried to analyze them? I think it's a great way to learn writing techniques. I hope you'll share any thoughts on the post or on studying movies. Remember to leave your email address if you want to be entered to win a copy of GMC (or Only Cop in Town) and to be entered for the month-long contest for the Kindle!


P.S. After you leave your comments, you may want to check out my previous post where I show an example of GMC for one of my books. Click here.


Also, visit Deb at www.debradixon.com.