Disconnected and Interconnected

In disconnecting from the mobile phone and allowing only a few minutes a day on the internet, I found myself . . . and I didn't even realize I was missing!

For the past few days, I have streamlined outside contact in order to connect with 1) the final book of the five-book Young Adult Paranormal Thriller series, 2) myself to physically and emotionally ground with the idea of wrapping up the series, and 3) my husband who has been quite patient and supportive during the last several months while I have been submerged in writing.

In a post-apocalyptic world, more than likely there will be no internet, no cell phones, no communication outside interaction other than one-on-one connections with other survivors. Since Book #5 features such a world, what would it be like to not have continued electronic access to others and the world?

First off, I found me. In staying so busy, I avoided a centering and a grounding within myself that I failed to realize was missing. The constant interaction outside of myself assisted me in not focusing on health issues or dealing with emotional stuff I have been avoiding since my parents deaths. Guess what? I learned to daydream again! Not only am I able to daydream, I can visualize potential scenes in my mind. How could I have lost such a wonderful ability along the way? I can also sit in silence with myself and meditate, just focusing on the flow of breath or studying an object or talisman for minutes at a time to increase my length of focus.

I have so enjoyed writing this series, that I am saddened by completing the series and am struggling with letting go. In quiet time, I realized that their story is not finished, and the main characters will return in a later series. So, I am not saying Goodbye, I am saying To Be Continued or Until We Meet Again. Had I not taken time away from electronics, I would not have realized the possibility of a second series, featuring the characters.

Thirdly, I had truly forgotten how funny and creative that husband of mine can be. Over the past few days we have gone on drives in rural areas, where had I chosen to check my phone, No Service would have been the status shown most often. For the past few months, while I have been writing, he has been enjoying hunting seasons, so this week, we both slowed down and got reacquainted with one another. He's a part of my life that encourages me to look forward to each and every day. We have laughed and held hands, and he even volunteered to brainstorm potential plot points of a future standalone book with me. There's more than one novel in that man, and I look forward to reading one of his books some day.

In our drives, we have encountered some wonderful friendly people with whom we've enjoyed talking with and getting to know. In meeting these pleasant folks, I've come to realize that not only do I crave connection with people, I long for positive building up, rather than tearing down, interaction. Share with me, yes; but drown my ears in whining about things that you are going to do nothing about, no. Please allow me to listen, be caring and supportive, without serving as an audience for a senseless soon-to-be-repeated drama dump. I am now aware of the amount of energy I have expended being concerned about others health situations or supposedly dire life circumstances, when they are not interested in making healthy choices for themselves. (Amazing what a little introspection and alone time can accomplish!) In the future, I will be able to direct more energy at home, with my writing, and toward my husband, by eliminating drama-filled encounters.

Book #5 is plotted, and I have begun the first draft. In a few days, um maybe a week from now, I look forward to returning calls and playing catch up with those positive caring people in my life.

Next time I choose to take a break from electronic connectedness, I will make sure to get the word out ahead of time. To not let folks know that I planned to disconnect and that all is well in the meantime was irresponsible. Or perhaps a quick note on FB and on the blog to indicate I am off the grid. I like that!

Off to discover more epiphanies during my time of disconnect and interconnectedness.

One More Time, Times Three (Series Writing)

I begin 2013, with the first drafts of the first two books in my five book Young Adult series completed, by starting the planning and plotting of Book #3 of the series. The stakes for my characters are higher and the conflicts greater. Which, with a series, is as it should be.

Question: Is writing a series like writing one big book, divided into smaller parts?

Answer: Yes and No. There is the overall story of the series, yet each book is a stand-alone story within itself. Each book tells a story, then together they make up the full story of the series.

Book #3 is leaning toward depicting a world gone wrong, as well as bad. Together, the children provide support for one another. Perhaps it's time, as the ruthless author, to tear them apart, to separate them, and let them fend for themselves the best they can in an even more hostile world? Or, is it time for them to first band together to bond even more closely? To only be separated a little later on?

Time to get out Cathy Yardley's Rock Your Plot Workbook (Highly Recommend Rock Your Plot!) and begin, one more time!

Pressing the Reset Button

For my thriller series (Series #1), after I received Cathy Yardley's developmental edit, my hand has been wavering over the reset button.

The first book in the series is undergoing a major overhaul, to include:

• Fewer point of views
• Smaller number of scenes due to combining or deleting scenes
• Addition scenes added that need to be written
• Clarification of main character's story goals
• Increased emphasis on scene goals for main characters
• Addition of secondary characters

From this experience, I have learned that I need more work and clarification upfront, so that I have a clearer direction once I begin First Drafting.

So, from now on, I will spend more time working with Cathy Yardley's Rock Your Plot on the front end, to more so clarify the Character's story goals [Goals, Motivations, Conflicts (GMCs)] and story problems. Also, I need to plot each character's scene more clearly to get a better idea of their Goal, Motivation, Conflict and Disaster (GMCD). (Ah, those lovely acronyms.)

So, more plotting and characterization should lead to a more solid first draft in the end.

This go around, with such drastic changes, this level of revision can't be considered a second draft; therefore, I'm diving into writing my First Draft once again.

The story and series will benefit greatly from this unexpected reset. I know that. YET pushing that button.... Not so easy.

My hand hovers over, not quite touching, the reset button.

I was thrilled with finishing the first draft so quickly. The completion of the draft brought to fruition a lifelong dream and validated that I could write books for a living.

Still, resetting, basically starting over? Ouch. I have been frustrated and disappointed in myself and in my efforts.

However, this is not starting over. Not really. The first First Draft gave me a foundation upon which to build the entire series. Wasted words? Maybe. Maybe Not. Even though some scenes will not make it into the newest First Draft, they led me toward the current version, just via a road that traveled the long way around the destination where I and the story needed to arrive.

Better initial plotting and characterization efforts on my part should lead me to a straighter and more direct route in getting my first drafts written; therefore, with much excitement, tempered with a dollop of sadness, I now press the reset button.

No Goal, No Scene (GMCD in Action)

From the photo, you can see that my scenes are depicted by different colored index cards for each point of view (POV) character in the story. (Notecarding can be fun and Index Cards can be your friends!)

The cards are laid out in order of occurrence by character (or color), which leads to the next step of placing them in the main character's storyline, so that I end up with a blend of colored cards that depict a forward-moving story.

Once the cards in order, my next step is to figure out the character's GOAL for the scene.

For the first scene, which is also the Inciting Incident, the main character, Junior, is going about getting himself recaptured by the bad guys, on purpose, so that he can help his friend that's already been recaptured; therefore, Junior's goal IS to get get recaptured.  It's that simple.

For each scene, I look at, "What is the character's MOTIVATION for wanting what he or she wants?"

Junior's friend has been recaptured, and he was unable to prevent the friend being taken. He cares about the friend. His deepest need is to belong, so he considers this friend to be part of his family. That's his motivation for wanting to get recaptured. Again, simple.

So, what CONFLICT is preventing him from getting recaptured? Who or what is standing in his/her way of getting what he wants?

The captors certainly aren't expecting Junior to walk up and turn himself over to them, so Junior must get their attention, then things go wrong with his attempts to get their attention.

The DISASTER at the end of the scene answers the question of whether the character achieved or reached his goal.

Did Junior get himself recaptured?

Yes, however, Junior is injured, and because he's been recaptured we know that bad things are in store for him.

There you have the Goal, Motivation, Conflict, and Disaster (GMCD) for the Inciting Incident and also the first scene of Book #2, Series #1.

Without a character's GMCD within the scene, a scene, at least in the genres I write, doesn't serve a purpose, so without the GMCD follow-through for each scene, there is no scene.

So, with seventy plus (70+) scenes to go, I'm off to learn my GMCDs.

Notecarding Fun!

Author Holly Lisle has a great explanation of the Notecarding process and does an awesome job of describing the process I use.

One thing that I have added to Ms. Lisle's technique is that I color-code the index cards by Point of Views (POVs), so that I can get a better visual of the scene layout, as follows:

- White: Main Plot Points (Main Character's POV)
- Light Green: Junior (Main Character)
- Light Blue: Character A
- Light Orange: Character B
- Light Yellow: Character C
- Light Purple: Character D
- Light Pink: Character E

Most of my scenes average between 1,000 and 2,000 words, with the overall novel running at a minimum of 60,000 to 70,000 words, which means, using 1,000 words as my baseline, I will have a total of 60 to 70 scenes.

Since I have a general idea of where the story needs to go (my main plot points are in place, thanks to Rock Your Plot), I start brainstorming and writing down one sentence descriptions of scenes. Anything goes. I will discard some, use most. Bottom line, I am storytelling in a simple, straightforward way.

So, I'm off to play with Index Cards, because they are my friends, and have me some Notecarding Fun!

Expect, Plan, Prepare

The manuscript for Book #1, Series #1 has been submitted for developmental editing. I'm experiencing excitement and expectation, topped with nervousness and uneasiness.

This will be my first experience with this sort of feedback. From Cathy Yardley's Rock Your Writing website, this is my limited knowledge of a full manuscript or developmental edit: "I will analyze how your plot is working, and check if your characters are built with believable motivations to match the story you’ve got. I’ll also  recommend fixes for any story issues I see cropping up."

The edit is scheduled to be completed in a couple of weeks; therefore, I will be better able to blog about what a full manuscript or developmental edit is or is not in a few weeks.

In the meantime, I will not be sitting with my hands in my lap waiting (although it may feel that way on the inside, big time.)

What I will be doing, since the beginning of Book #2 became a bang-up ending for Book #1, is planning and plotting out Book #2, as well as sketching out the rest of the series in more detail. To help me progress more quickly once I begin the first draft, in addition to filling out index cards with my one-line scene descriptions, I am going to attempt to pre-plan the Goal, Motivation, Conflict, and Disaster (GMCD) for as many scenes as possible. (Look out, MS Word table, here I come).

For me, having a better idea of where I'm going (sort of like creating a map and having that map as a reference later on), will help me produce more solid first draft material in a shorter period of time.

My third month of writing full-time did not go well or as planned due to health issues, etc.; however, I'm looking forward to month four being much more productive and fulfilling, writing-wise and otherwise.

So in the meantime, while waiting on the results of the developmental edit, I write.

So, in the words of Dennis Waitley, “Expect the best, plan for the worst, and prepare to be surprised.”

Eureka! (NOW, I've got it!)

Eureka!

Last night, in reviewing Book #1, I realized why Book #2 doesn't "feel" right.

The first 1/4 of Book #2 is actually a bang up, better ending for Book #1.

Although I hadn't planned it that way, I have my solution!

In a wink of understanding, Book #1 went from a 60,000-word to a 75,000-word first draft, and Book #2 is now at zero (0) word count.

Book #1 was a cohesive, good first draft. With this change, the Book #1 first draft is fast-paced and the ending has much more oomph.

In speaking with the developmental editor's assistant, I now have until the 10th to pull all my scenes together and send in Book #1.

If all goes well with that, I will discard the index cards for Book #2 and start over with the plotting of Book #2 during that time as well. (Likewise, if Book #1 staging doesn't go well, plotting for Book #2 will begin on the 10th, once the Book #1 draft has been turned into the editor.)

Love those eureka moments. Yes!

But HOW Do You Write a Book? Step 7

In a previous Alexa Writes Books post, Index Cards Are My Friends, I shared the method I use to track the scenes of my book.

This index card method is Step 7 of But HOW Do You Write a Book?

Basically, for each potential scene, I write a few words, in fine-point Sharpy marker so that the cards are readable from a distance. (Ink or gel pens, even bold tips, do not provide large enough lines/lettering.)

The cards might include scene descriptions or a few words, such as:

At cabin, family still missing.

Water floods cave.

Back home.

Cross in garden.

Grave empty.

Things to consider might be using a certain color for your main plot points and another color for your love scenes. OR if your writing in multiple point of views (POVs), using a different card color for each individual POV.

Next, I tape them on the cork board, white board, door, or wall to see how the story works out.

Seeing my story laid out, even if it's in ever-changing rainbow lines of index cards, helps me to visualize or imagine what happens, what's next, and where the story goes from there.

Step 7 of But HOW Do You Write a Novel? is listing scenes on index cards and displaying them for easy viewing. 

But HOW Do You Write a Book? Step 6

In line with baking a cake, the next part of But HOW Do You Write a Book?, includes following the recipe (steps) included in Cathy Yardley's Rock Your Plot, which sells for $2.99 for an electronic download on Amazon.com. (Please note that you don't need a Kindle device to read, because there are free reading aps from Amazon that allow you to read books on your smart phone, tablet, and/or computer.)

Cathy has successfully used the basic system in Rock Your Plot for seventeen novels, and the system is working for me; therefore, this is the next step that I use and would recommend.

Rock Your Plot provides an easy to understand and easy to follow process that actually works. The book can be read and the system can be implemented in a short period of time. The process addresses: Story Idea Testing; Goal, Motivation, Conflict; Character Sketches; Plot Points; Pinch Points; Trouble Shooting; Scene Construction Basics; and Creating an Outline.

Step Six of But HOW Do You Write a Book? includes several simple steps that are part of the system shared in Rock Your Plot.

Rock Your Plot by Cathy Yardley

Rock Your Plot is a simple, powerful, and action-oriented guide to plotting your novel. It gives an overview of three-act structure, defining plot points as well as providing clear examples of each, and suggesting easy-to-follow assignments. It's an espresso shot of information that will give your story the boost it needs to carry you through to a finished novel.

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Cathy Yardley has been so helpful by sharing her plotting and writing process with me. She's published 18 books and has just published her e-book, Rock Your Plot. For $2.99, you get a lifetime worth of experience and a process that actually works!

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I would definitely recommend Rock Your Plot! Please visit Amazon to download and enjoy!

Index Cards Are My Friends

I've spent the last few days since my final work project ended playing with and shuffling index cards, and brightly colored index cards at that! (I had no idea plotting could be so much fun!)

Author and Writing Coach Cathy Yardley shared with me about her use of post-it notes, so decided adapt the idea to the unlined side of index cards due to my tired eyes and give it a try.

First I focused on the main plot points, using the Not-Really-An Outline method, then jotting down possible ideas for other scenes. Notice I say POSSIBLE. What is written on an index card is not chiseled in stone. These colorful cards can be edited, shuffled, written on on both sides, and/or tossed.

I wrote quick, few word descriptions, such as:

Index Card: Her family is missing.

Index Card: Water floods cave. Knows who's responsible.

Index Card: Finds grave in garden.

Index Card: Son has disappeared. Frantic.

I taped the index cards up on my cork board and whiteboards, or if I use reusable post-it type tape, I can tape them directly to the wall. (AND there are sticky index cards as well, but I like the color selection for regular index cards better.)

Like shifting pieces of a puzzle to see if they fit, the cards can easily be moved around and relocated. As in, this would be better if it happened here, rather than happening there.

Yellow for main plot points. Different characters stories (points of view) get their very own color (usually orange or green). If applicable, romantic scenes are written down on pink. (I'm using a fine-point black sharpie marker so that the notes are bold and readable.)

As you can see by the picture, my wall is bright and colorful (I used the Oxford Glow index cards, which are almost florescent in color.)

Today's Goals:

Today, I pick the next card in line for my story -- the next scene -- and write a few words (no more than a paragraph or two) about what I'm going to write about today, then I'll write at least a scene or two. (In the next few days, my goal is to see how many scenes I can comfortably and realistically write in a day.)

3 x 5 index cards. So simple. Makes me realize how overly complicated and difficult I've made things for myself all along.

Goggle Eyes and Gars and Gators, Oh My!(The Similarities between Fishing and Writing)

Up at 5:00 AM to go fishing. (I love fishing and I've got my Angler Management and my Fishouflage t-shirts to prove it!)

Just after sunrise, I'm dangling my feet off the edge of the boat so that the soles of my boots are just above the water. (This was before hubby mentioned the Gator. More on that to follow.) As I enjoyed a slight breeze and early morning sun on my face, I casted cast after cast and considered how similar fishing and writing are.

You don't just GO FISHING. You have to get a lot of things in place to be able to go fishing. Boat, trolling motor, trolling motor battery (man, that sucker's heavy), fishing rods, lures, catch basket, etc.

Hubby got most everything ready the night before, so all I, still sleepy-eyed and groggy, had to do this morning was fumble into my clothes and waterproof hiking boots.

Still, I'd even gotten the clothes and boots ready the night before.

So, I'm thinking to myself, You wouldn't go fishing without at least a fishing pole and a lure or some kind of bait.

SO -- this is where the writing part comes in -- why would you expect to just "write." Most writer's have heard the saying, "Writer's write," and of course writer's do write, but for me, just like for fishing, I need to do a few things to be prepared to write.

Like sketching out a bit of what the stories about, perhaps using Jennifer Crusie's  the Not-Really-An Outline for Plots, filling out index cards using a few words to description of each possible scene, and writing a brief paragraph about what I will be writing about for the day. These three things have given me a direction that I've been missing in my writing life.

So today, just like when I'm going fishing, I'm prepared to write.

As I was considering these outstanding -- at least in my sleep-deprived early morning state it seemed to be -- comparisons of fishing and writing, hubby begins to talk about a previous visit to the lake.

"We were coming over the dam," Hubby said. "And we saw the gator just over there."

"Gator?" I lifted my feet and rested my boot heels on the edge of the boat.

"Maybe seven or eight feet long."

"There's an alligator in here? In this lake?" I asked, tucking my boots under my seat.

"I doubt he'll even come out during the day."

A few minutes later, from another boat, my hubby's friend called out, "Did you see him?"

"See what?" Hubby asked.

"You didn't see him? You just floated right past where the gator was."

Needless to say, BEFORE the gator sighting, we caught several fish. AFTER, not so much.

During our fishing, hubby caught a couple of Goggle Eyes, which is a fish that's body looks like a brim and its head and mouth look like more like a bass. It looks as if it's all put together wrong and is considered by most folks to be an "ugly" fish.

Hubby also almost caught a Gar. Gar's have a long snout and their mouths are filled with needle-like teeth. Yeah, fish with teeth, in the lake where I'm fishing.

"Why don't you tell me these things before we get on the water?"

"I know you like fishing so much." Hubby grinned that boyish grin of his. "I just wanted you to be able enjoy your fishing."

Well, all righty then.

As I write over the next few months, I may encounter oddities and uglies like those Goggle Eyes or get stuck in a scene or tangent off course, and, of course, that bites just like a Gar, and something unknown may surface from my imagination or come up during the process, like that Gator lurking in a hideaway along the bank or in the water. Hungry. Waiting. Stalking. (Enough of that! Shudder.)

One thing's for sure, as I go along, I WILL be on the lookout for and prepared for, as best I can, those Google Eyes, Gars, and Gators, Oh My!

In 30 Words or Less - Your book is about WHAT?

A waiter brought the appetizer, a spinach, artichoke, and cheese dip and bread.

To Ms. Author sitting across from me, I asked, "So, what's your book about?"

One meal and dessert order later, Ms. Author is telling me all about her story, and has been doing so for forty-five minutes.

Forty-five minutes.

And she scheduled to pitch her book to an agent in a ten-minute slot the next day.

As we cut a huge slice of cherry cheesecake into halves to share, I said, "So for your pitch tomorrow morning, what are you going to say?"

"I just told you." The author beamed. "What do you think?"

What did I think? My first thought was that my eyes hadn't glazed over at the thirty minute mark as much as I had feared. My next thought was there's no way she's going to condense forty-five minutes into ten, which would actually equal eight minutes or so, due to introductions and niceties. My final thought was that her story was actually intriguing, in a long, drawn-out sort of way.

I took a deep breath and blurted out, "I think I need for you tell me about your story, in twenty-five words or less."

She gasped. "I couldn't possibly."

I grinned, rummaged a pen from my the depths of my purse, and handed it, along with a grocery receipt, to Ms. Author, and said, "Sure you can." 

As storytellers, if we can't describe what our story is about in thirty words or less, how can we expect an agent, editor, and, most especially, readers to be excited about what's the story is about? You know, like those movie quick, snappy movie descriptions.

For example:

When a Roman general is betrayed and his family murdered by an insane and corrupt prince, he comes to Rome as a gladiator to seek revenge. (Gladiator) [26 words]

A young man and woman from different social classes fall in love, must outwit her abusive fiance, and find a way to survive aboard an ill-fated voyage at sea. (Titanic) [28 words]

One of my one-line descriptions or loglines might be:

Children forced to become weapons of mass destruction must escape their captors, survive in a world that's turned against them, and stop the apocalyptic devastation they set in motion. [29 words]

So, how about it, what's your story, in 30 words or less?