Before you continue, there isn't really an answer to this question.
No, that's not true. There is, but it'll be different for everyone. I've read so many articles by writers and editors claiming formulas to finding your story's best place to begin, but the truth is, you won't find it until you've written the end. Even then, you will need to go through several edits and revisions until you discover it beneath layers of pre-story.
So, if you do want one answer: write your story.
Below are several original openings to a stroy I'm working on. Each time I'd found a new opening, I was sure it was the right one. Then I'd edit and revise from that point only to discover a new place to start.
My current WIP is called STARS IN MY POCKET. It's a YA Dark Contemporary. Here's my current pitch: A teen believes he must replace his dad’s telescope if he’s to earn his dead parents’ forgiveness for the horrible thing he said when they died, but doing so puts his best friend in danger.
Here's how it went down for the first hundred.
A thorny bush wraps itself around our back railing like it owns the place. I used to believe the damn spiky she-devil stole my parents. I used to kick it, spit on it, yell at. Gran always says be careful around her. Her. Like the damn bush is alive. It is, I guess. It takes stuff. Its thorns grab hold, and if you go hunting underneath, you're bound to get hurt.
So of course when I finally fish my key from my back pocket and try to jam it into the doorknob, I drop it. Right into the bush.
"Damnbit!" I'm not exactly enunciating tonight. "Idiot."
What doesn't work: Too many female unknowns in first paragraph (bush, mother, grandmother). Flow is off.
What works: We are immediately pulled into the MC's world --anger, hurt, dysfunction.
Don't they know you can't see stars with ground lights on? Lame-ass skatepark. Those stupid street lamps have the park shut down for maintenance tonight, and I'm stuck dodging cars along the overpass with my dweeb of a guardian angel.
"Hey, Guy, watch it!" Jase grabs my shoulders and pushes me out of the path of a speeding semi, but I slip in its wake.
"Asshole!" I yell, flipping the driver the bird before I faceplant into a patch of dirt.
What doesn't work: Wrong place to start. We don't need the skatepark info first. That can wait.
What works: We are immediately pulled into the MC's world--anger, hurt, risk-taking. Dialogue sets tone and pulls reader into the scene. We meet MC and his pal, setting up friendship as a theme.
In fourteen days, I’ll make my sixth journey. Hah, “journey,” what a joke. It’s like a three-minute walk from my porch, but from where I stand right now that painful patch of dirt is as far away as Orion’s Belt.
Every year, for the past five years, I’ve trekked from my back yard to a patch of dirt in the town’s vacant wash land so I can leave my parents a gift. And every year I laugh at myself, this anonymous suburbanite who will do whatever it takes to see his dead parents one more time.
What doesn't work: The goal is unclear. Sarcasm isn't working. Why is he leaving gifts? How will they help him see his parents? Why does he need to see them--besides the obvious reason? Who is this kid, and why should we care about him?
What works: We are immediately pulled into the MC's world-- hurt, regret. Internal monologue sets MC's tone and allows us to feel his pain and inner turmoil. We are clear he misses his parents, that they're dead, and that he's trying to accomplish something by leaving gifts.
Round Four (and current contender:
In seven days, I’ll make my sixth pilgrimage to that painful patch of dirt where my parents died, hoping to see them one more time. It's a journey I've made every November for the past five years that's gone from hope to hopelessness. I mean, to be honest, I only call it a pilgrimage because I think it'll bring me peace.
It never does, and from where I stand tonight, that chance might be as far away as Orion’s Belt. In real life, it's a three-minute walk from my back porch that I take because the book I keep under my mattress says leaving my dead parents gifts will give me the chance to say I'm sorry.
What doesn't work: (my question for you)
What works: We are immediately pulled into the MC's world- hurt, regret, hopelessness, Internal monologue sets MC's tone and allows us to feel his inner turmoil: he misses his dead parents, and he's following some kind of legend or ritual in a book to help him earn their forgiveness.
Why this works best: We have a clear goal (earn parents' forgiveness), an obstacle (something magical needs to happen, and this is clearly an ordinary world), and sympathy (he's pained with regret for something). Finally, we have a reason to keep reading: will he achieve his goal? what will happen along the way?
What do you think? I'd love to hear which opening works and why. Please share your comments. Please also share your story's opening and why you think it does or doesn't start in the right spot.
That's my story, what's yours?
Everyone has favorites: double chocolate fudge, purple, David Bowie, Peru, that scene in Contact when Jodie Foster's character meets her dad on the beach in the moonlight (only it's not a beach).
Sometimes we know why we love a certain ice cream flavor--it reminds me of my dad. Sometimes we don't. My favorite color has varied since I was a little girl (pink) to high school (black) to now (cinnamon orange one day, deep purple another). One thing we know, what we love will change and grow throughout our lives.
For me, my list of favorite books changes from year to year...because I've read new books that must be on that list. (If you want to see more of my reviews, look here.)
I know that if I want to improve my writing, I need to read good books. There's a pile TBR on my nightstand, a collection in my Kindle, and a list on my phone. One day, I might even read them all, and my favorites list will be miles long!
Today, these are my top five favorites, plus a little reason why.
ARE YOU THERE GOD, IT'S ME, MARGARET by Judy Blume - read it in elementary school. Margaret asked all the questions I had about life, and she taught me how to be tough and caring.
PRIDE AND PREJUDICE by Jane Austen - read in high school. While my classmates groaned, I engaged in one-on-one conversations about the Bennett girls and their interests in marriage. Yes, I was that girl.
THE HEART IS A LONELY HUNTER by Carson McCullers - read it freshman year of college. Drove around to every used bookstore in Los Angeles, buying all of McCullers' books and devoured each one. This one introduced me to a different kind of love: that between the two men and that between Mick and her world.
LOVE IN THE TIME OF CHOLERA by Gabriel Garcia Marquez - read it senior year of college. Marquez' sprinkling of magic in all of his stories transports me to another time and place. The colors in this story still live in my mind.
THE GOLDFINCH by Donna Tartt - read it as an adult. Tartt's writing is equisite. I've loved all of her books (all three?), but this is my favorite because of how lovingly she wrote Theo's story. My heart ached for him, but I also shook my head at his unrequited love, his dangerous friendship, his wayward path. Then I got to cheer a little in the end. Beautiful.
I haven't finished THE MARTIAN by Andy Weir, but I'm halfway through it, and I'm sure it will be on my favorites list next. Why? Voice. I haven't seen the movie because I wanted to read the book first. I'm glad I waited. Wow. Again... Voice. This is a book I'm reading, laughing out loud, loving, but I'm also studying the writing (when I'm not lost in the story). Because he's nailed the voice of his MC so well, the technicalities in the story (I still don't have a clue what a Hab or MAV are entirely or how he can grow potatoes ) that are lost on me don't matter. This book is a classic. Mark Watney is a character to live as long as Sherlock Holmes or Holden Caufield. He's iconic.
What's your favorite book? What are you reading right now? Please share!
That's my story, what's yours?
I haven't blogged here in so long, I had to look up my website's password. Not good.
But, hey, I'm baaack!
How is everyone? More imortantly, what are ya'all writing?
I have been busy these past two months on two projects. One, a dark YA contemporary, STARS IN MY POCKETS. After some awesome edits via the incomparable Judi Lauren, I believe my story's truly alive. It's out in query-form to a few agents. Fingers crossed.
My second project was my NaNoWriMo2016. Yes, I won. Woohoo! But you can sense the lack of enthusiasm there, I'm sure. I didn't get a chance to plot the story before writing, so it's just a bunch of formless words on the page right now. More than 50,000 formless words, nonetheless. It's my first attempt at historical fantasy. Working title: JACKY INDIANA WEARS PURPLE POLISH. It's for the middle grade or younger young adult audiences.
Like my 2015 NaNo, this will sit for the next few months, marinating in its magical juices, until I return to it for major revision work.
Unlike bears who are preparing for their winter hibernation about now, I'm preparing to come out of my writing cave because this time of year always makes me want to connect more. So here I am, and I really did miss you all!
Right now, I'm revising my 2015 NaNo : MAGENTA WISE: PLASTIC WRAP. It's a young adult mystery--also my first attempt at this genre.
Although I spent all last summer plotting the story, after I finished it last November, I realized it wasn't what I'd expected. I revised it some, shared it with my critique partners and beta readers. Then I let it sit again while I worked on those above stories.
This week, I spent time at OneStopForWriters where I plotted it again. And let me just say, people, I love Angela Ackerman and Becca Puglisi. If you don't know OneStop, get over there! These ladies have put together an amazing closet of tools to prep and preen your pretty baby and make her shine.
So, enough about me. Tell me what you're working on. If you use OneStop, I'd love to hear what sparkles the most for you.
That's my story, what's yours?
As the darker months approach, I emerge from my summer writing cave, bleary eyed but invigorated. Because I am a teacher, I relish the off-time to work on my writing. This past summer, I spent ten-twelve hours each day editing and revising my current manuscript.
I'd like to share a little bit of my process with you, then I'd love to hear how you revise. Something I hear from other writers: how do you know when you're finished?
Revising is like running down hill: you have to put on the brakes at some point and try not to scrape your face. I think I am at that point. I think.
This post is not about setting up a new story. It's about what to do once you've written your first draft and combed through it at least once or twice to see what you've written. I don't consider those revision stages. That's still part of the writing. For me, when I'm pumping out my story, I just go. I have a plan, that's true, but I'm writing non-stop. When I get to the end, I go back, read it, fix stuff, read it again, fix more stuff. I do this until it feels solid.
Then I put it away.
When I come back to it--weeks or months later--I see it through fresh eyes. Now I'm ready to revise.
Here's what revision looks like for me:
1. Brew coffee
2. Drink coffee
3. Turn off social media
4. Gather resources nearby
5. Get chocolate
6. Eat chocolate; think about lunch; turn social media back on...
7. Return to step 1
8. Open my document (yes, there are distractions until I get down to business)
9. Send my document to my Kindle
10. Read my story like a book (this is an amazing trick I learned from an author)
11. Mark up awkward phrases, typos, grammatical errors, etc., using NOTES
12. Re-open my document (for me, this is in Scrivener); make corrections from my Kindle NOTES
13. Share my story, chapters, opening, whatever, with my Critique Partners
14. Review their feedback; decide what to take and what to leave (remember, it's your story)
15. Now I revise.
Revision is the tearing apart and reconstruction of your story. When you first sit down, you might not even know what the story is really about until you get to the end. That's how it is for me. Steps 1-14 are actually the foreplay to revising.
Revision is messy, heart-breaking, frustrating, really, really hard. You have to get rid of characters who are in the way, develop characters who are too thin, tighten plots, destroy plots.
It's not easy, but when you get through this process, you have a story. And that's a beautiful thing.
What is your process? I'd love to hear it.
That's my story, what's yours?
So you are working on your novel, and you think it's pretty good. Then you start querying it, and agents tell you they aren't "feeling it." You open up your manuscript and look for the holes, find where to add the spice, pluck out the bad bits.
It's kind of hit or miss at this point. You've been working on this baby for more than a year, so what do you do now?
Put it away for a week at least.
Take it back out, and read the whole thing like a book. That's what it is, right?
Whatever you do, you do not give up.
Cue, LOCKER ROOM SPEECH:
You write this book like it's Game 7 of the NBA Finals. Sure you were down 3-1, but you came back, baby. You stormed onto the home-team's court and played like a boss. Even after many had villified you for changing teams, they loved you when you returned.
You don't know the word NO, and you are not a loser.
You have coaches and trainers who guide and mold you, but at the end of the day, it's all up to you. You have to write like you mean it, edit like there is no tomorrow, polish and revise to make room for that trophy. This is it.
I write because I have stories in my head. I write because I love it. Never do I sit down and think, damn, I guess I have to write today. There is no place I'd rather be than in front of a story I am creating. I love my characters, and I want them to find readers who will love them, too.
Writing can be a solitary game, but you must remember there are people out there to help: critique partners, beta readers, editors, and agents, Listen to all of the advice and feedback. Then use what feels right. Just because the story came out of your head doesn't mean it doesn't need a little massaging. Flowers grow because we feed them, give them sunlight and water.
Feed your story. It's Game 7, and the heat is on. (Sure, go ahead and mix metaphors.) Do not give up. That is not an option.
You got this!
That's my story, what's yours?
No matter where you are in writing your story, weather can play a part in moving the action forward, defining a character, or throwing a wrench in the path of good or evil.
Great writers from Shakespeare to Steinbeck have successfully used weather in their stories. If it weren't for the drought, the Joads might never have set out to California. In The Tempest, we can't forget how Prospero used weather for his own good.
Here's how you can hurl lightning bolts at your villains or paint rainbows for your protagonists and get away with it.
PLOT. If you are stuck moving the action forward, change the weather. When your MC steps outside without an umbrella and is caught in a sudden downpour, does he slip into a cafe for a fortuitous encounter with someone? Does he hop on a bus to avoid the weather? Does that bus crash? Is it the wrong bus, and he ends up late for (work, a date, picking up a child)? Insurance companies don't take responsibility for acts of God. Neither must writers. Use storms, landslides, earthquakes. These things happen without notice.
CHARACTER. How do your characters respond to different weather events? Use them to reveal moods, fears, hopes, or long-lost dreams. Maybe every time it rains, your character is reminded of the day his dog died. Or whenever she sees a rainbow, she makes a wish. Don't go overboard. No one likes a cliche. Subtlety is your best move.
SETTING. Last but not least, we must talk about the obvious. Depending on where your story is set, some weather events just won't come up. It's unlikely an earthquake will hit in Iowa or that a monsoon will flood Arizona. If you are writing realistic fiction, study the weather in the area where your story is set. You might discover some freak storm that hit years back. You could use that for a tragic backstory, or it could be the reason for your character's behavior or motivation.
That's my story. What's yours?
Please share your ideas in the comment section below! Happy writing :)
Sitting in front of my laptop, day in and day out, tunneling inside my head to find the very last bread crumbs of creativity, I often wonder what I'm doing.
The short answer is: writing.
The long answer is much more complicated.
Telling a story is not easy. It's more than having an idea and some characters and a setting. There are layers. The idea needs to be complex, a conflict that branches off onto another path. The characters must be rich and flawed but believable. The setting requires details--but not too many--and imagery. It must all come alive before the reader's eyes and live within the reader's imagination.
Storytelling calls for all of this plus heart and movement.
Read all of the books you can on writing; study great writers; practice, practice, practice. It will still be hard.
No one said it would be easy.
Don't give up. Give in, and write. Every. Day. Every. Moment.
You are never not a writer. Even when you are doing the other mundane chores that humans must do, even then you are a writer. Writers must take out the trash, wash dishes, pee, buy eggs, carpool the soccer team, shop for new underwear.
You are human. Live your life, but always live it as a writer. Everything you do requires you to be on the alert for the next great line, quirky character, unusual plot, or brilliant setting.
This is not a pep talk, this is a shoulder hug, a you-can-do-it-stop-complaining self-talk, a remember-why talk. Don't write because you want to, write because if you don't, you would die, life would evaporate before your eyes, and you would disintegrate into a pile of dust to be swept under a rug.
Writing is the fire that burns inside me. I write for me. I write because I must.
That is my story. What's yours?
Every writer working on a story can tell you about the time she woke at 3AM with the key to fixing a failing plot. Or maybe it was a brand new story idea that interrupted a peaceful slumber. Perhaps, it was just before sleep took over, and he was distracted with that scene in chapter whatever about the guy and that situation...
Whatever it may be, a writer's mind thrives when it's quiet, and it's no quieter than the middle of the night.
If you want to tap into the midnight creative juice pool, take the time to quiet your mind.
As we are sensory input and output machines, there are a variety of ways to discover your inner peace. Here are my two favorites.
Tune Out. Do your best to create a silent world around you. Buy some inexpensive squishy earplugs used to drown out snoring partners or spend more money on sound-reducing headphones. If they sound of your own breathing is too much. Plug yourself into the music of someone like LIQUID MIND.
Black Out. I'm not suggesting typing with a blindfold--but if you can do that, try it! At the very least, place yourself in a space with no art work, no windows to the outside world, and no Internet. Rid your outer mind of external visuals and fall deep within your own imagination. Remember when you were little, and you would hide under your bedcovers to read or draw? Recreate that child's world if you can.
Try both of these suggestions for a week or more and share your results. Is your writing any better? Any easier? Any different at all?
Sometimes, we need sensory input. If you are seeking that help, try these previous blogs:
Employing the senses