Yes, You Can Be a Story Genius!

If you’ve been a Seekerville regular for a while, you may remember a post from a few years ago by Seekervillager Mary Curry entitled, “Story: Your Brain on Drugs.” Mary based her post on Wired for Story: The Writer's Guide to Using Brain Science to Hook Readers from the Very First Sentence, by Lisa Cron. If you haven’t read Mary’s blog, be sure to check it out later, because it contains some fascinating insights into why we love stories so much—and why they matter.

Lisa Cron has since published another book, Story Genius: How to Use Brain Science to Go Beyond Outlining and Write a Riveting Novel (Before You Waste Three Years Writing 327 Pages That Go Nowhere). After coming across this book recently, I devoured it, highlighting dozens of passages that not only reinforced points from Cron’s previous book but also (re)opened my eyes to several vital aspects of storytelling.

It starts with “what if . . . ?”

Maybe you’ve played the “what if” game and come up with a general premise for your story. What if a girl is swept up in a tornado and lands in a magical place threatened by a wicked witch? What if a small, furry-footed creature is called upon to destroy a powerful ring before an evil lord uses it to take over the world?

Intriguing ideas, to be sure. But are they stories yet? Not until we know something about the central characters and have been given a reason to care.

That’s why I agree completely when Lisa Cron states: 

“Ultimately, all stories are character driven—yes, all stories.” 

Why? Because a story really isn’t about what happens. It’s about how the central character makes sense of what happens. And if the author hasn’t made the reader care about why any of this matters to the protagonist, there goes another book slammed shut and tossed aside.

What every story must have, according to Cron, is “the third rail”— kind of like the powered rail that drives a cable car or subway train. Cron explains the “third rail” in terms of the protagonist’s internal struggle to achieve a goal or strong desire while at the same time remaining true to the fear that is keeping her from fulfilling that desire. 

In other words, it’s the emotional power source that keeps driving the story forward. So, if you want your reader to stay connected to the story, then every action, description, and plot point must somehow connect with that “third rail.”

We care about Dorothy in The Wizard of Oz because we can relate to her frustration and discouragement when everyone seems too busy to pay her any attention. We care about Frodo in The Lord of the Rings because on some level we know what it’s like to feel small and insignificant, to be compelled to accept a task seemingly beyond our abilities or our courage.

Does your story make a point?

But again, story isn’t about what happens. The things that happen in your story should ultimately make a point—the overarching theme, or, as we’ve discussed here in Seekerville before, the Moral Premise. “The point,” Cron writes, “is what is borne out in the protagonist’s inner struggle.”

One of the first things you need to know about your story, then, is what your protagonist wants. Keep digging to discover the answers to the following questions:

• Why does your character want this? In other words, what will getting it mean to her?
• What is the misbelief that is keeping her from getting what she wants?

A misbelief is a belief that feels right to your character because of something that happened in her past. The belief may even be considered a universally accepted truth, until carried to extreme. Whatever the belief, it has skewed the lens through which your character views her world, and not in a positive way. 

How the character overcomes her misbeliefs is what your story is all about.

So the real story actually begins long before page one of your novel. As you dig deeper, Cron recommends actually writing out the scene where your character first forms her misbeliefs. While the scene may not appear in your novel except in brief references or flashbacks, the insights gained will flesh out your character’s background and help to ensure her actions and decisions are consistent with who she is.

Cron’s book walks you through the full process of discovering your story—far too much to cover in a single blog post—but here are a few of the important steps:

• Identify three key turning points in the story that will help you develop the escalating arc.
• Figure out the one thing that will catapult your protagonist into action at the beginning of the story.
• Make a list of obstacles that could keep your protagonist from reaching her goals.
• Sketch out the scope of your story—the time frame covered, the external plot and internal struggles. Beneath each “what,” always be asking yourself “why?”

Being a “story genius” takes time.

To thoroughly work through each step presented in Cron’s book will take a significant amount of time and brain power. I confess, I haven’t gone through the entire process yet, but reading Story Genius with my own wip in mind definitely gave me some new insights. When I’m ready to start my next book, I’m planning to implement even more of Cron’s techniques.

Lest anyone think this is going to transform me from pantser to plotter, though, don’t count on it! No matter how much preplanning I may convince myself to do, when it comes to actually writing the story, I’ll always leave room to be surprised by my characters!

Question: Writers, think about the story you’re working on right now. Readers, think about the book you’re currently reading. Can you identify what the protagonist wants most (dig deep here!) AND the misbeliefs keeping her/him from achieving it?  

Today’s giveaways: Writers, would you like your own copy of Lisa Cron’s book? I’m giving away one copy today! Also giving away a copy of my historical romance Castles in the Clouds (Flowers of Eden, book 2), recently named a finalist in the 2017 Selah Awards and the 2017 National Excellence in Romance Fiction Awards. Just mention your interest in the comments to be entered in either or both drawings.

About Myra: Award-winning author Myra Johnson writes emotionally gripping stories about love, life, and faith. Myra is a two-time finalist for the prestigious ACFW Carol Awards and winner of Christian Retailing’s Best for historical fiction. Originally from Texas but now residing in the beautiful Carolinas, Myra and her husband love the climate and scenery, but they may never get used to the pulled pork Carolinians call “barbecue”! The Johnsons share their home with two very pampered doggies who don’t always understand the meaning of “Mom’s trying to write.” They’re also currently harboring their younger daughter and family (six in all plus a kitty!) as they transition toward their next missionary calling. With grandkids underfoot ranging in age from 14 down to 3, there’s never a dull moment! 

Website

Facebook

Twitter: @MyraJohnson and @TheGrammarQueen 

Goodreads

Instagram

Pinterest

Sign up to receive Myra’s quarterly e-news updates here!

Using the Five Senses for Evocative Description

Writing description is a delicate balancing act.

Too little, and your readers are left hungering for character and setting details that would bring the story to life in their imaginations. 

Too much, and the action slows to a crawl. Worse, you might be accused of writing “purple prose.”

Too late, and by the time you reveal the important details, readers will have made up their own. And believe me, when they discover the image they’ve locked in on doesn’t match your description, they’ll be completely thrown—maybe even mad enough to throw the book aside!

It takes practice and skill to know when description will enhance the story, what kind of description fits this particular scene, and how much you need to draw the reader in.

The Five Senses are the basic building blocks of description, so let’s take a closer look at each one. (And just because I can, I’m going to indulge in some shameless self-promotion with brief examples from Castles in the Clouds, book 2 in my Flowers of Eden series, now available for pre-order and scheduled for release next August.)

1. Sight. This one’s the most obvious. We take in vast amounts of information just by what we see around us, so it’s important not only to effectively describe the appearance of our story characters but also to place them in very specific settings: a café, a forest, an art gallery, the beach. Here’s how Larkspur Linwood describes her literature professor:

He would look so fine today, dark hair slicked back and shiny, broad shoulders tugging against the fabric of his starched white shirt.

And here’s an example of a visual description as Lark’s younger sister sees a dust storm approaching.

“Oh, no. No, no, no!” Standing in the middle of the cotton field, Rose Linwood looked west toward the darkening sky. 

Not rain clouds, which would have been bad enough this close to the cotton harvest. Not clouds at all, but a roiling reddish-brown mass of topsoil blown in from the drought-parched farmlands of Texas and Oklahoma.

2. Sound. In analyzing our surroundings, the sounds we hear are right up there with what we’re seeing. Voice tone and cadence give us vital clues to a speaker’s meaning. A noisy neighborhood lawnmower can drive us to distraction. A wailing siren warns of danger. In this brief example, Lark and her family have just enjoyed Thanksgiving dinner with new friends.

As the ladies served dessert following the simple but delicious meal, a pattering on the roof alerted them to the light rain beginning to fall.

3. Smell. It’s a proven fact that our memories are tied very closely to the sense of smell. I’ve even heard real estate agents suggest that their clients bake cookies right before a house showing to create a homey and welcoming ambiance. Here’s what Lark experiences when friends welcome her with a home-cooked meal:

The mouthwatering aroma of roast beef filled the kitchen. Lark and her family hadn’t had to tighten their belts quite so much at the farm in recent months, but even so, she hadn’t smelled anything so good in ages. Her stomach growled in response.

4. Touch. Temperature, texture, dryness or dampness—all these play into our sense of touch. In this snippet, Anson, the story hero, comforts Lark during a difficult time.

She felt so good in his arms, so perfectly right. If only the circumstances were different. If only it hadn’t taken a moment of need for her to let him hold her this way. He tipped her head back, cradling her messy bun and wishing he had the right to loosen the pins and lose himself in those silky golden tresses.

5. Taste. When it comes to description, taste is probably the most underused of the five senses, but it can be a valuable tool. Here’s how taste is used in a scene where Rose Linwood must deal with the aftereffects of the dust storm described above.

How many meals had they eaten that grated between their teeth and left their mouths tasting like a sandy creek bed?

And for something a bit more romantic, here’s Anson imagining a kiss with Lark.

Could he bear to be near her every day and keep things strictly platonic, when there were moments—too many of them lately—when all he could think about was how her lips would taste beneath his kisses?

Are you taking full advantage of all five senses in your story description? One way to do a quick spot-check is to gather five different colors of highlighters or colored pencils, then print out several pages of your manuscript. Assigning a different color to each sense, mark descriptive words or phrases with the appropriate color for whichever sense was used. A visual survey will tell you very quickly which senses you rely on most often, as well as which ones you haven’t used much and might want to consider working in. 

When using description, be specific. Choose the most accurate words.

More tips for using description effectively:

1. Describe only what your viewpoint character is consciously and logically aware of in the scene.
2. Use concrete nouns and active verbs, avoiding adjectives and adverbs except as necessary to flesh out the image.
3. Don’t go crazy with your thesaurus. Use it wisely to find the best and most accurate descriptors. 
4. Especially don’t go hog-wild finding unique words to substitute for “said” in dialogue tags. Better yet, skip the “said” phrase and instead use a beat (character action) to identify the speaker.
5. Be selective. Decide what description really matters in any given scene. Leave the rest to the reader’s imagination.
6. Work description smoothly into the forward-moving action; don’t do a “description dump,” especially not in your opening scene!
7. When describing your viewpoint character, try to be a little more creative than having her looking in a mirror or other reflective surface.

What other tips would you offer about writing effective description? If you’re brave, share a line or two from your wip where you’ve used one or more of the five senses.

Join the conversation for a chance to win your choice of one of Myra’s published books (including The Sweetest Rain, Flowers of Eden, book 1), OR a copy of Word Painting Revised Edition: The Fine Art of Writing Descriptively, by Rebecca McClanahan 

Award-winning author Myra Johnson writes emotionally gripping stories about love, life, and faith. Myra is a two-time finalist for the prestigious ACFW Carol Awards, and her Heartsong Presents romance Autumn Rains (November 2009) won RWA’s 2005 Golden Heart for Best Inspirational Romance Manuscript.  Myra and her husband are the proud parents of two beautiful daughters who, along with their godly husbands, have huge hearts for ministry. Seven grandchildren take up another big chunk of Myra’s heart. Originally from Texas, the Johnsons moved to the Carolinas in 2011. They love the climate and scenery, but they may never get used to the pulled pork Carolinians call “barbecue”! The Johnsons share their home with two very pampered doggies who don’t always understand the meaning of “Mom’s trying to write.”

Find Myra online here:

Website

Facebook

Twitter: @MyraJohnson and @TheGrammarQueen

Goodreads

Instagram

Pinterest

And sign up to receive her quarterly e-news updates here!

It's all in the details

A few days after Christmas, my husband and I drove over to Asheville, NC, to tour the Biltmore Estate. Wow! Think Downton Abbey, Carolina-style! The Biltmore became the country home of George Vanderbilt, grandson of the famed industrialist and philanthropist Cornelius Vanderbilt. Construction began in 1889, and the house was opened to family and friends in 1895. In 1898, George married Edith Stuyvesant Dresser, and they raised their only child, Cornelia, there.

Can you imagine a family of three living in a 250-room house? According to the website, “The finished home contains over four acres of floor space, including 35 bedrooms, 43 bathrooms, and 65 fireplaces.” The estate grounds cover more than 8,000 acres!

We weren’t permitted to take photographs inside the house during our tour, but you can click this link if you’re interested in taking a look.

In my photos of the exterior, though, you can’t help but appreciate the intricate details that make the house unique. Every angle and curve, all the adornments and statuary, the turrets, the pitch of the roof—each feature engages the eye and enhances the dramatic style of the house.

By now, you’re wondering what any of this Biltmore trivia has to do with writing. The answer?

It’s all in the details!

Details—specific, focused, and distinctive to our story—are crucial to drawing readers in and making them believe the story world is even more “real” than the room in which they’re sitting.

It’s the difference between “Olivia put supper on the stove” and “Olivia added a pinch of fresh basil to the simmering marinara, her grandmother’s recipe, handed down through six generations of Bellinis.”

Now, obviously, if we went into this depth of description throughout our manuscripts, several things would happen. Number one, we’d soon be way, way over our target word count! Number two, we would bog the reader down in unnecessary information. Number three, if the story ever did make it into print, critics would likely call us to task for writing purple prose.

So the key is to decide which details are most relevant in each scene.

Scenario #1. Your heroine is called to her boss’s office, where he tells her she’s fired. What will she be most aware of in that moment? A chip in her nail polish? The distinguished cut of the boss’s designer suit? The pungent smell of the lemon-scented furniture wax the cleaning staff used on his desk?

The answer? It depends. If she’s in denial, she might focus on the nail polish chip and the manicurist appointment she hasn’t had time to make. If she’s resentful because her snobby, rich boss holds all the power, she might zero in on his expensive suit. If she’s so sick of that lemony smell every time she gets called on the carpet for some minor infraction, she might be more than ready to blow this pop stand and look for work elsewhere.

Scenario #2. Your hero’s dog just got hit by a car and is near death. The hero rushes to the vet, where an attractive tech (your heroine) hurries to help. Is he likely to pay much attention to how great she looks in scrubs, or the beguiling way one errant curl dips across her alabaster forehead? I doubt it. In that moment, he’ll be focused on comforting his beloved pet while pleading for the vet to save him. Yet I’ve read more than a few romance novels in which characters in dire circumstances often seem unrealistically distracted by each other’s appealing qualities.

Historical novelists face another challenge: incorporating the ideal balance of historical detail to set the stage without flaunting every morsel of research they unearthed. It may not matter exactly how your heroine stokes a wood-burning stove as much as the fact that she’s cooking on one—unless she’s never done it before and the hero has to demonstrate.

In my historical novella Settled Hearts, coming in April as part of Barbour’s The Oregon Trail Romance Collection, I knew I couldn’t describe in full detail what it was like for my characters to travel for months over rough country, all their provisions packed into a 4-by-10-foot covered wagon. But I did have to do the research so I knew what they were facing.

Then I salted in the specifics when it mattered most. I listed a few of the supplies they purchased before setting out. I described the biting flies as they traveled along the Platte River. In one scene, the hero has to hitch the oxen to the wagon, so I found a YouTube video showing exactly how it’s done, then sprinkled in the details as the hero interacts with the heroine, standing nearby.

The key to writing effective, evocative description—prose your readers won’t skim to get to the real action—is to make it relevant. Include the details but choose them carefully. Make each detail matter to the viewpoint character in that moment. When you understand what your character would most likely notice and why, it’s just a matter of describing the scene from that character’s perspective.

Remember, it’s all in the details!

~~~~~~~

Late-breaking addition!

(can't believe I forgot this!!)

One lucky commenter will win a copy of  
The Heart and Craft of Writing Compelling Description 
by Sharon Lippincott

~~~~~~~

Myra and hubby at the Biltmore

Although currently residing in North Carolina, Myra Johnson proudly claims her heritage as a native Texan, and she sorely misses real Texas barbecue! Myra is a two-time ACFW Carol Award finalist, winner of the 2005 RWA Golden Heart, and winner of the 2014 Christian Retailing’s Best Award for historical fiction. Married since 1972, Myra and her husband have two bright, beautiful daughters, two mission-minded sons-in-law, and seven amazing grandchildren. The Johnsons share their home with a couple of very pampered rescue dogs.

Coming in April and now available for pre-order: 

The Oregon Trail Romance Collection

Nine romantic adventures take readers along for a ride on the Oregon Trail where daily challenges force travelers to evaluate the things that are most precious to them—including love. Enjoy the trip through a fascinating part of history through the eyes of remarkably strong characters who stop at famous landmarks along the way. Watch as their faith is strengthened and as love is born despite unique circumstances. Discover where the journey ends for each of nine couples.

True Lies: Writing Stories that Resonate

Myra & friend at a recent book signing

Writing fiction is easy, right? We just make stuff up!

Wrong!

For anyone writing either historical or contemporary fiction, I don’t expect any arguments about the necessity of research. We gather information about places, customs, fashions, careers, historical events, and much more, all because we want our stories to reflect the truth about the setting and era we’re writing about.

Even fantasy, sci-fi, and speculative writers can’t entirely escape a certain amount of research. At the very least, they must plan carefully so that the “facts” of their imagined worlds remain consistent and believable.

But today I’m not talking about research or fact-finding. I’m talking about a different kind of truth, the kind that will resonate with your readers long after the story ends.

We’ve talked in Seekerville before about theme and Moral Premise (see links below to a few of those posts). These are the “big truths” your story portrays. As Dr. Stanley Williams states in his book The Moral Premise: Harnessing Virtue and Vice for Box Office Success,

“Good stories tell us something that rings true about our experience as human beings.”

This truth is what readers are hungry for, even if they don’t consciously realize it. It’s the truth that gets them in the heart, revealing aspects about themselves, their relationships, or their worldview, possibly in ways they may never have considered.

How do we, as fiction writers, incorporate the kind of truth that resonates?

Three-dimensional characters. By making our characters fully human, not just stereotypical cardboard cutouts, we give our readers someone “real” to connect with. Think about your character’s fears, dreams, mannerisms, or likes and dislikes. For example, Sandra Leesmith’s Skye Larsen in Love’s Refuge dreads the changes coming to her peaceful island in Puget Sound. Resistance to change in something many readers can relate to.

Universal emotions. Lisa Wingate’s novel The Prayer Box resonates on several emotional levels: a mother’s constant worry about her children’s wellbeing; fear of one’s past catching up; yearning for real love; searching for God. Even something as simple as describing a rainy day or the smell of new school supplies can strike a chord of emotional truth in your reader.

Shared experience. In Ruth Logan Herne’s Running on Empty, Anne Kellwyn carries a painful secret that destroyed her marriage. Readers who have experienced anything similar to what Anne went through can easily empathize with her anger, shame, and determination to create a better future.

Challenging beliefs and perspectives. Tamera Alexander’s historical romance To Whisper Her Name explores attitudes in the South following the Civil War, particularly the convictions of one man who was branded a traitor when he chose to fight for the Union. The growth he and the other characters experience can shed light on how each of us responds to cultural pressure.

Difficult choices. In my novel When the Clouds Roll By, Samuel must choose between remaining loyal to a friend or pursuing the woman he’s falling in love with. When there are no simple answers, such as when either choice could hurt someone the character cares about, what core truths will the character draw upon to make important decisions?

Wise mentors. Tina Radcliffe covered this topic in depth last week. If you missed it, check it out! Mentor characters can illuminate truth by pointing out our central characters’ bad choices or skewed values. Mentors are often the “accountability police” for our stories, guiding the hero or heroine toward the right path.

Can you think of other examples of how stories reveal truth, whether through the “big picture” or in smaller, more immediate ways? Share from your own writing or from a favorite book or movie.

Read related discussions in the following Seekerville blog posts:

Melanie Dickerson: Theme: How can I use it for a more powerful reading experience?

Theme: How can I use it for a more powerful reading experience? - See more at: http://seekerville.blogspot.com/2014/03/theme-how-can-i-use-it-for-more.html#sthash.AUhEi2D7.dpuf

Theme: How can I use it for a more powerful reading experience? - See more at: http://seekerville.blogspot.com/2014/03/theme-how-can-i-use-it-for-more.html#sthash.AUhEi2D7.dpuf

Theme: How can I use it for a more powerful reading experience? - See more at: http://seekerville.blogspot.com/2014/03/theme-how-can-i-use-it-for-more.html#sthash.AUhEi2D7.dpuf

Stan Williams: Seekerville welcomes Dr. Stanley Williams, "The Moral Premise Guy"

Mona Hodgson: The Truth in Fiction

Missy Tippens: Charting Your Way to a Story--The Moral Premise

~~~~~~~~

Mention your interest in a comment to be entered in a drawing for an autographed copy of Myra’s latest release, Whisper Goodbye (Till We Meet Again, book 2), from Abingdon Press.

Crippled both physically and emotionally by his war injuries, First Lt. Gilbert Ballard struggles to find himself again in civilian life. After breaking his engagement to Annemarie Kendall, he has found solace in the arms of Mary McClarney, a spunky Irish immigrant nurse he met at the Army and Navy Hospital in Hot Springs, Arkansas. Yet Mary’s love for Gilbert goes unreturned.

If it’s not Gilbert’s insane jealousy over his former fiancée’s new marriage, it’s his addiction to pain killers and gambling that thwarts Gil’s own happiness. Worse, Gilbert’s mother, Evelyn, continually reminds him of what he lost when he pushed Annemarie away. Under Evelyn’s critical eye, Mary fights to believe in her worth, wondering if she will ever be enough.

 As Mary longs for the day when Gilbert will finally let go of the past and learn to love her as she loves him, she realizes that the only way to open Gilbert’s heart is to whisper her goodbyes . . . and pray God will bring them back together.

Subscribe to Myra's e-news updates here!

Follow Myra on Facebook and Twitter

When a pantser has to plot

Good morning, Speedbo-ers! Myra here. It’s no secret around Seekerville that I’m a confirmed seat-of-the-pants writer. I’ve tried a variety of plotting systems and formulas hoping to find an “easier” way to get my books written, but I always end up ditching them and going with what works.

And what works for me is setting the characters free to tell me their own stories.

That doesn’t mean my stories have no plots. It just means I get to discover the plot as the story unfolds.

(For an in-depth discussion on plotting versus pantsing, check out these posts by Seekerville friend Vince Mooney: Part 1 and Part 2.)

But even a pantser needs a plan, and with Speedbo heading into week 2, if you don’t have some kind of plan for your story, you may find yourself stalling out. At the very minimum, you need to know who your central characters are, what they want, and why they can’t have it (yet). A hard-core plotter will also pre-plan every twist and turn the story will take and know exactly how it will end. If you’re one of those . . .

Ahem. Moving on.

Wherever you are on the pantser-plotter continuum, you may find help from the “plotting recipe” I first learned while taking the Institute of Children’s Literature Writing for Children and Teenagers course. Lee Wyndham, in her book Writing for Children and Teenagers, presents a “Twelve-Point Recipe for Plotting,” which I adapted over time based on what works best for me.

By pondering the following 12 questions, I can begin to get a handle on who and what my story will be about.

1. Who is the main character? Is he or she someone your readers will care about and identify with?

2. Who (or what) is the antagonist? Have you created a worthy opponent, whether in the form of another person or a daunting situation?

3. Who are the other people in the story? In a romance, you’ll have both a hero and heroine, and probably some friends or family members. What roles will the subordinate characters play in your main character’s life?

4. What does the main character want, and why? Is it a worthy goal? Does it suit your character’s situation and personality? Is it attainable?

5. How important is it for the character to get what he or she wants? Is it vital? Are there serious consequences for failure?

6. How does the antagonist prevent the character from achieving these goals? What is the antagonist’s stake in the outcome?

7. What does the main character do about the obstacles? What event sets off the story action? Is your character taking an active role in overcoming the odds, rather than relying on luck or coincidence?

8. What are the results of the character’s initial actions? What new difficulties arise? How will things get progressively worse?

9. What do these struggles lead to? What is the Black Moment, when things can’t possibly get any worse?

10. What is the climax? What hard decisions will your character have to make? Have you made your character strong enough to prevail in the final battle?

11. Does the character accomplish his or her goals or abandon them in favor of something else?

12. What is the theme or central truth illustrated through the character’s action and reaction? What does your character learn as a result of his or her struggles? How has the character grown and changed?

You may not know the answer to every question before you begin writing, but if you keep this recipe close at hand and refer to it as you write, the questions will help you stay on track and grow your story toward its satisfying conclusion.

I have to add one final word of advice from Lee Wyndham’s book:

Never begin writing a story before you know how it will end.

Even for us pantsers who have no idea what will happen in the middle of the story, if you can keep your eye on the ending you want to create for your characters, you have a target to aim for.

Share your story planning strategy in a comment, and let’s talk! One of our visitors to today’s blog could win your choice of a $10 Panera Bread or Starbucks eGift card! Just mention your preference in your comment.

~~~~~~

And . . . I’m thrilled to announce my first independently published novel, Pearl of Great Price, available now for Kindle at Amazon.com!

An abandoned Arkansas lake resort holds the key to a young woman’s past . . . and her future.

Raised by her grandfather after her mother died, flea market manager Julie Pearl Stiles promised herself she’d postpone the search for her absentee father until the truth could no longer hurt Grandpa. Then one crazy June day ushers in a series of discoveries that threaten to turn Julie’s peaceful, small-town life upside down. Her encounter with Little Rock socialite Renata Channing seems more than coincidental, but equally disconcerting is her grandfather’s immediate dislike for real estate entrepreneur Micah Hobart.

Haunted by a devastating childhood mistake, Micah turned his back on God a long time ago, but success has proven a poor substitute for the inner peace he craves. Everything changes when he’s blindsided by the outspoken flea market manager who quickly captures his heart.

Renata Channing has devoted her life and ample bank account to helping underprivileged children. But no amount of philanthropy can blot out the emotional abuse she endured at the hands of a mentally ill mother, and all the money in the world won’t restore the precious “pearl” lost twenty-five years ago in the depths of Lake Hamilton.

As Julie is drawn deeper into the tragic past Micah and Renata share, she finds herself questioning everything she’s ever believed about herself, her family, and her future.

Also for your viewing pleasure, these pix of my newest grandchild, Evangeline Joy, born just over a week ago! Isn’t she precious???

~~~~~

Head-hopping: the bane of the beginning writer

Stepping into the kitchen, Katherine caught the aroma of her mother’s pumpkin pie in the oven. Memories assailed her--happier times of Christmases long past. If only . . .

“Katherine. I thought I heard you arrive.” Phillip suppressed the rage boiling up inside. His prodigal daughter would choose today, of all days, to intrude upon their lives.

“Really, Dad, you thought I wouldn’t come?” Katherine kept her expression neutral. She wouldn’t let her father see how his cruel tone affected her.

Hearing voices in the kitchen, Joan hurried downstairs. At the sight of her sister Katherine standing by the window, she gasped, a thrill of happiness raising goose bumps on her arms. “Oh, Kat! I’ve missed you!”

If this were the opening scene of a novel, which character would you identify with--Katherine, Phillip, or Joan? They all seem to have something important at stake. Confusing, isn’t it?

Why? Because this is a classic example of what is termed “head-hopping.”

Head-hopping occurs when a writer jumps willy-nilly from one character’s point of view to another’s throughout the scene. In the scene above, just when we’re starting to identify with Katherine, suddenly we’re ripped out of her viewpoint and thrust into her father’s. Then we ping-pong back to Katherine, and before we can figure out what’s going on between the two of them, in pops Joan, and we’re yanked inside her mind.

It’s enough to give a reader whiplash!

For anyone who’s been writing for very long, especially if you’ve entered contests or joined a critique group, you’ve encountered the term SINGLE POV (point of view). Writing in single POV--and doing it well and consistently--is among the most important skills a writer must learn.

So what’s the big deal? Don’t readers want to know what’s going on inside each character’s head? Of course they do, at least for the central characters.

But if you feed your readers everyone’s viewpoint all at once, you deny them the one thing they want most from a good novel: deep and personal identification with a single--and singularly important--character.

The trick is to give them one main character they can relate to in this scene, and then, if the story calls for it, possibly a different but equally important character in the next scene. The scene-by-scene shift between the hero’s and heroine’s POV is typical of popular romance novels. If your plot dictates, you may even introduce one or more additional viewpoint characters (prominent supporting characters or possibly the antagonist) a little farther along in the book--and only after you have given your readers ample time to connect with the protagonist. 

BUT YOU MUST LIMIT YOURSELF TO 

ONE VIEWPOINT CHARACTER PER SCENE.

Mastering single point of view takes practice, but it’s a skill any writer can learn. And the truth is, it isn’t as hard as you might think. The first step is understanding exactly what viewpoint is, and Dwight Swain, author of Techniques of the Selling Writer, sums it up best:

Viewpoint is the spot from which you see a story. It’s the position and perspective you occupy in order best to savor a fictional experience.

Swain goes on to say:

Ordinarily, that vantage point is inside somebody’s skin.

Keep this advice in mind as we examine the various types of viewpoints an author might use.

OMNISCIENT VIEWPOINT. Just as the name implies, narration in omniscient viewpoint hovers over all the story action. In many ways, it’s like the example given at the start of this post. But we could even take the scene a step further by adding a paragraph such as this:

What none of them realized, however, was that a killer snowstorm lurked just over the horizon. Any moment now, it would swoop in and destroy any hopes this family had of salvaging Christmas.

The problem with omniscient viewpoint is the distance it places between the reader and the characters. While we’re getting some interesting insight into each of them, we never get the chance to connect deeply with just one of them. And since the paragraph I just added to the scene steps all the way into the omniscient author’s point of view, revealing a plot twist none of the characters has any awareness of or control over, the separation between reader and character is stretched even farther.

FIRST PERSON VIEWPOINT. In first person, the narrator is either the main character or an involved observer, and only first-person pronouns (e.g., I, me, my) are used when the narrator refers to himself or herself. A good example of the “involved observer” is Nick, the narrator of F. Scott Fitzgerald’s The Great Gatsby. Though Nick is mainly reporting what he learns about his neighbor Jay Gatsby, Nick has a stake in the story because his relationship with Gatsby will change him profoundly.

To write in first person means to limit yourself to describing only what that character knows, thinks, feels, sees, experiences, or learns in the course of the story. The character can make judgments or assumptions about other characters, but the reader will experience the plot only through the narrator’s perceptions.

The challenge with writing first person is to keep the narration sounding natural, not stilted. In first person it’s also tempting to tell rather than show by fully dramatizing a scene. Too many sentences that are basically “I did this” or “I said that” get old very fast for your reader.

Certain skilled novelists such as Lisa Samson have successfully used multiple first-person narrators within the same novel, alternating narrators from chapter to chapter or changing narrators at crucial plot breaks. However, this is a technique best left to more experienced writers.

THIRD PERSON VIEWPOINT. Third person (he, she, him, her) is by far the most common writing style. It has some characteristics of omniscient viewpoint in that the author can access as many viewpoints as the story requires. Because third person by its very nature adds a layer of distancing between reader and character, it gives the author more flexibility than first person for providing natural-sounding description, inserting necessary background information, or interpreting events.

LIMITED THIRD PERSON, the viewpoint editors and modern readers find most comfortable and natural, requires staying tightly connected to a single viewpoint, and only one viewpoint per scene. It’s almost as close as first person, and the language and syntax will be similar, with the exception of the pronouns used, because the narration is strongly tied to the character’s natural expression. Limited third person also gives the author some freedom to elaborate on description and background without sounding stilted or forced, as it might come across if told in first person.

How, then, do you decide who your viewpoint character will be? And once you decide, how do you remain firmly locked in that viewpoint?

The answer to the first question is simple: Your viewpoint character should be the character who has the most to gain or lose in this particular scene. Know your scene goal and you’ll know whose viewpoint to focus on. (See these Seekerville posts by Winnie Griggs and Janet Dean for more on scenes and scene goals.)

Now, to ground yourself firmly in that character, you must mentally put yourself inside his or her head. See the scene unfold through this character’s eyes. Hear what the character hears. Feel what the character feels. If someone walks into the room, imagine how the viewpoint character perceives the arrival.

Remember, THE READER CANNOT KNOW ANYTHING YOUR VIEWPOINT CHARACTER IS NOT CONSCIOUSLY AWARE OF IN THAT MOMENT.

Bearing all this in mind, let’s rewrite my opening example, this time strictly in Katherine’s viewpoint:

Stepping into the kitchen, Katherine caught the aroma of her mother’s pumpkin pie in the oven. Memories assailed her--happier times of Christmases long past. If only . . .

“Katherine. I thought I heard you arrive.” Rage flashed in her father’s eyes, and her stomach lurched. Clearly, she wasn’t welcome. 

“Really, Dad, you thought I wouldn’t come?” Tamping down her emotions, Katherine kept her expression neutral. She wouldn’t let her father see how his cruel tone affected her.

Footsteps sounded on the staircase, and moments later, Katherine’s younger sister Joan burst into the kitchen, her sunny smile eclipsing their father’s scowl. “Oh, Kat! I’ve missed you!”

Can you see the difference? We still sense how upset Katherine’s father is that she came, and we still recognize how thrilled Joan is to see her sister again. But this time we’re experiencing the scene exclusively through Katherine’s perceptions. Doesn’t it make you care about her all the more? Doesn’t it fill you with curiosity about what she may have done (or not done) in the past to evoke these very different responses from her family?

Your assignment: Choose ONE character from the descriptions below and write a short scene exclusively in that character’s viewpoint. Pull out all the stops--sight, smell, sound, taste, touch. Include thoughts, feelings, and internal reactions. Share your scene in the comment section and we’ll see how you did with single POV!

LISA. College student arriving home for the holidays. She doesn’t want her parents to know she is failing a class.

TED. Lisa’s boyfriend. He wants to break up with her, but it’s Christmas.

KAREN. Lisa’s best friend. She has a crush on Ted but feels loyalty to Lisa.

JOE. Lisa’s father, a widower. He needs to tell Lisa he is planning to remarry, and he knows she won’t be happy about it.

For more help with point of view, check out these Seekerville posts:

Missy Tippens on "My View on Point of View"

Seekerville guest Lynne Marshall

Julie Lessman on "Confessions of a POV Queen"

Your host today, Myra Johnson

Myra Johnson's latest release is When the Clouds Roll By (Abingdon Press, book 1 in the Till We Meet Again series). Watch for book 2, Whisper Goodbye, next spring, followed by Every Tear a Memory in the fall.

 

Annemarie Kendall is overjoyed when the armistice is signed and the Great War comes to an end. Her fiancé, Lieutenant Gilbert Ballard, is coming home, and though he is wounded, she is excited to start their life together. But when he arrives, her dreams are dashed when she learns Gilbert is suffering from headaches, depression, and an addiction to pain killers. This is not the man she had planned to marry. After serving in the trenches, Army Chaplain Samuel Vickary is barely holding onto his faith. Putting up a brave front as he ministers to the injured soldiers at the hospital in Hot Springs, Arkansas, he befriends Gilbert and eventually falls for Annemarie. While Annemarie tries to sort out her confused feelings about the two men in her life, she witnesses firsthand the bitterness and hurt they both hold within. Who will she choose? Will she have the courage to follow her heart and become the woman God intended her to be? As the world emerges from the shadow of war, Annemarie clings to her faith as she wonders if her future holds the hope, happiness, and love for which she so desperately longs.

Weaving in the Inspirational Thread

Debby Giusti here!

Have you ever watched a weaver create cloth? With her shuttle and loom, she pulls different threads together to form an intricate pattern, just as we do with our manuscripts. The character arcs, suspense, romance, plot, perhaps a few red herrings, an antagonist or villain, a mentor and/or best friend are all woven together to create a satisfying story.

In inspirational romantic suspense, which I write, the romance needs to be equally balanced with the suspense. The faith threads are usually woven more loosely through the work, yet they play a significant role in the story and are the topic for this blog post.

Since June 14 was Flag Day and the Fourth of July is
right around the corner, I'm posting patriotic photos
in honor of our brave men and women in uniform.
Photo courtesy US Army.

You may have heard me mention that my early rejections included comments about the characters not being compelling enough. The word compelling always seemed a bit nebulous or abstract. “What makes a character compelling?” I often asked published friends, who responded with obscure explanations that left me even more confused.

Eventually, the light bulb went off when I made a slight shift in my secular suspense stories and added a faith element. Suddenly, I had compelling characters. Was it the Christian angle that made the difference? Not exclusively, but it did deepen the internal conflict, which, in my opinion, is the key.

Photo courtesy US Army

If you struggle to portray memorable—and compelling--characters, beef up their internal conflict. I’m convinced that aspect of the hero or heroine’s journey is the make or break issue. Adding a faith element enhances that conflict and makes it even stronger.

Readers—and editors—love flawed heroes. No one relates to a perfect person. All of us feel connected to the underdog. Most of us carry some extra baggage, and we identify with characters that balance a lot on their shoulders as well. We want to root for the weak and watch as they triumph and succeed in spite of seemingly insurmountable odds. Adding a faith element to that flawed character ups the emotional impact for the reader.

Photo courtesy US Army.

What if Joe Cop, our wounded hero, has something in his past he tries to hide? Perhaps he inadvertently ignored his partner’s call for help, which left the partner in a dangerous situation without backup. Partner died or was seriously maimed, and Joe is still carrying the guilt. Even if he wasn’t personally responsible. That in itself is good internal conflict and could make a compelling character. But let’s add the faith thread and see how Joe’s pain deepens.

If Joe feels his mistake is so huge that even God can’t forgive him or so heinous that Joe can’t bring himself to ask the Lord’s forgiveness, his personal guilt becomes even more profound. He doesn’t like himself. He can live with that. But if he imagines God doesn’t like him, the internal pain becomes unbearable. Without God, Joe feels total rejection.

A word of caution: readers don’t want a Bible lesson or a let-me-tell-you-everything-I-know-about-the-Lord exposition mixed in with their fiction. Less, in this case, is more.

Photo courtesy US Army

A verse from scripture can remind the heroine of her past life when she was in right relationship with the Lord. Here’s an excerpt from The Colonel’s Daughter:

Lance’s picture smiled at her from the dresser. She opened the top drawer and saw the Bible he had given her. A book she hadn’t read since his death. 

Her gaze fell on a small framed verse she’d received as a child. All things work together for good to those who love God. 

After everything that had happened, she couldn’t trust the Lord. Not now. Not ever. 

A short prayer recited at a time of need can bring comfort and peace. The heroine in Nowhere To Hide finds strength from a prayer stitched on a sampler.

Reaching to turn off the bedside lamp, Lydia noticed a small cross-stitch sampler perched near the clock. 

Jesus I Trust In You, was stitched in tiny Xs across the fabric. 

“If only I could,” she mumbled as she turned off the light. 

At her darkest hour, she repeats the prayer and finds the strength to confront her greatest fear. 

Lydia’s heart broke. Her son shouldn’t have to die in this dark cave because his mother didn’t have the courage to save him. 

Matt believed in her. She had to believe in herself. And even more important, she had to believe in God. 

Jesus, I trust in You. 

Photo courtesy US Army.

A religious symbol, such as the gold cross necklace Kate Murphy finds in Scared to Death, can remind the heroine of God’s faithfulness and love. Isolated and alone, my gal slips the cross around her neck and feels a connection with her grandfather who taught her about the Lord.

A lump formed in Kate’s throat. Her hands shook as she opened the box and pulled out the gold cross that had been missing from her life for over three years. 

Grandda’s cross. 

She fingered the heavy Florentine metal and slipped the chain over her head. A sense of security settled over her as comforting as her grandfather’s warm embrace. 

Wearing the cross, Kate races to save an unborn child. This excerpt starts when the unwed mom mentions her fear.

“I’m…I’m scared.” 

So am I, Kate wanted to add. “We’re almost at the hospital.” At least she hoped they were. 

“Will you pray for me, Kate? Pray for the baby.” 

“I can’t.” Kate focused on the road and held the steering wheel even more tightly. “God doesn’t listen to my prayers.” 

“Pl-please,” Tracy pleaded, her face contorted as she started to push. 

Kate had tried so many times to reach the Almighty, but her prayers—even her pleas for help—had turned on seemingly deaf ears. Why would today be any different? 

Because a tiny baby’s life hangs in the balance. 

The thought flew through her mind. Kate pulled in a strengthening breath. If only she could find the right words. 

“God…?” 

Would He hear her? Kate glanced at Tracy’s face twisted with pain. He had to hear her. 

“Tracy and her baby need help, Lord. Get…Get us to the hospital before this baby comes into the world. And most of all, keep both of them safe.”

Photo courtesy US Army

 Not sure where to add the first faith thread?

At the beginning of the story, after the hero and heroine are introduced, some reference should be made to where they are in their faith journey, especially if their relationship with the Lord is flawed. Usually I include a line of introspection that gives the reader an idea of their struggle.

After introducing Lydia Sloan in Nowhere to Hide, I added the following in her point of view:

She had asked God to help her learn the truth. So far, He’d ignored her request. 

In the middle of the book, the hero and heroine or the protagonist and mentor/best friend can have a brief discussion about God, such as this conversation in Protecting Her Child:

Sheila’s eyes were filled with questions. “Eve says her faith and her suffering make her stronger. I wish I could believe what she tells me. But it’s hard. If God has the power to change lives, why didn’t He cure my son?” 

The same question Pete asked himself concerning Eve. 

“Eve told me the dark times come from our human condition,” Sheila continued. “But God can bring light into the darkness. She said Brice is now free of disease and pain and the uncertainty of when or where the next tumor will appear. He’s whole and healthy and surrounded by everything good. She called it the fullness of eternal life.” 

“Did her words help? 

“They brought peace. I still grieve for my son, but I no longer worry about him. Can you understand that?” 

“I’m not sure.” 

He pulled the china cup to his mouth and took a long swig of the hot coffee. What about Meredith? Did she have VHL? Would she learn that her baby was affected as well? Seemed that a loving God wouldn’t let an innocent child be stricken with a fatal condition. 

“I’m not sure I can believe in anything except what I can influence, Sheila.” 

He glanced up at the bedroom window where Meredith was sleeping. If he couldn’t save Eve, maybe his research might benefit Meredith and her unborn child. 

And what about God? 

Would Pete ask for His help? 

Not now. 

Maybe not ever. 

Photo courtesy US Army

At the climax, I try to take everything away from the main character that previously offered him security. He’s on his own to save the woman he now realizes he loves. Then I compound the situation with inclement weather or an injury or wound that hinders him in confronting and/or battling the antagonist.

When the hero has nowhere else to turn, he must turn to the Lord. Usually, my guys acknowledge their past mistake and ask God, in spite of the wrong they may have done, to help them now because of the woman they feel IS worthy of God’s mercy.

A hostage situation in my novella Yule Die, featured in Christmas Peril, forces the hero to turn to the Lord. 

Joe’s eyes fell on the tiny manger and the babe who came so that all might have eternal life. 

Malachi? Would he see the face of God? 

Robbie? Oh, Lord, he needs medical care. Keep him alive. 

And Callie? Keep her safe. 

Take me instead, Lord. 

Even after turning to God, the hero still has to fight the antagonist (the problem can’t be solved with a miraculous intervention), but he’s renewed with a sense of hope. In spite of the odds, the hero is willing to sacrifice everything for the woman he loves, knowing God has listened to his cry for help. 

This excerpt from The Officer’s Secret provides an example:

Nate picked up his cell phone and pushed the speed dial for Jamison. “I’m approaching the bridge. Water’s spilling over the sides, but it looks navigable. I’ve got a visual on the red Mustang parked in the underbrush near the cabin. I’m moving in.” 

“The bridge from the south is washed out, Nate. We won’t be able to get to you.” 

"What about from the air?” 

“Not in this storm.” 

“Then I’ll have to handle this one on my own.” 

When Jamison failed to respond, Nate glanced at his cell. Call Disconnected. No bars. No reception. He threw his phone on the passenger seat, knowing he couldn’t rely on anyone else for help. 

Anyone except the Lord. 

Pulling in a ragged breath, he gripped the steering wheel even harder. “I don’t deserve Your help, God, but Maggie does. Let’s work together to save her.” 

The bridge lay ahead. Water washed over the wooden planks. Nate shifted into low gear and eased the car onto the bridge, keeping an even pressure on the accelerator. If the engine died, he’d have to risk hoofing it to the other side. Feeling the pull of the water, Nate knew he’d be sucked into the river and washed downstream. 

“Stay with me, Lord,” he muttered. Without railings, he could be headed off the bridge and straight into the swirling mass of water. Once the wheels gripped pavement on the far side, he let out a sigh of relief. Maybe God was listening after all. 

In the end, once the danger has passed and he’s reunited with his love, the hero sees his past mistake through new eyes. Because God has forgiven him, the hero is able to forgive himself. He is redeemed and once again made whole. With God’s help, he can accept love and walk boldly into the future.

I concluded The Officer’s Secret in this way:

“Oh, Nate, I love you so much.” 

“Promise…” He hesitated, soaking in the feel of her in his arms. “Promise you’ll love me forever?” 

“Longer than forever.” 

As he lowered his lips to hers, he thought of the journey they had traveled. Both of them had carried heavy burdens from the past that, at the time, had seemed insurmountable. Now, holding the woman he loved more than anything, Nate vowed to enjoy this moment and every moment God gave them, knowing the Lord had a wonderful future planned for their lifetime together. 

Photo courtesy US Army.

Although sometimes subtle, the faith thread can change a ho-hum hero and heroine into compelling characters that sell your book.

How do you weave faith into your stories? As a reader, what do you like or dislike about the faith journey in inspirational fiction? Leave a comment to be entered into a drawing for one of my books, winner's choice. 

Today’s breakfast is light—bagels with cream cheese and jelly, fresh fruit and grits.

Happy writing! Happy reading!

Wishing you abundant blessings,
Debby Giusti
www.DebbyGiusti.com
www.craftieladiesofromance.blogspot.com
www.crossmyheartprayerteam.blogspot.com

THE GENERAL'S SECRETARY
By Debby Giusti
Trusting the Wrong Person Can Be Deadly... Lillie Beaumont's dark past has just turned up on her porch--fatally wounded. The dying words of the man imprisoned for killing Lillie's mother suggest hidden secrets. Criminal Investigations Division special agent Dawson Timmons agrees. He has his own motive for seeking the truth, and it gives Lillie every reason to doubt him. But even as they reluctantly begin to face painful secrets together, Dawson fears that a murderer is waiting to strike again. And this time, Lillie is right in the line of fire...

All of my books can be found at Amazon.com. Watch for The Soldier’s Sister, to be released in September. The sixth book in my Military Investigations series, The Agent's Secret Past, will be out in March 2014.