How To Get Nothing Done: The SHERLOCK Edition

So. I am sick. Very, very sick. 

*coughs*

Naturally, my sickness has led me to Netflix. Again. Oh, how my sickness messes with daily plans... 

Anyway. Netflix. I was browsing through a bunch of shows I haven't seen yet, trying to decide which one I'd dive into after the awesomeness that is Merlin. There's this one show that kept taunting me with its presence. The same show I SWORE to anyone and everyone I'd stay away from.

Anyone and everyone: "But it's a great show, Amparo! You should watch it!"

Me: "No. I am not interested."

Anyone and everyone: "But it's a great show with great acting! Watch it now!!!"

Me: "No."

Anyone and everyone: "BUT WHAT IS WRONG WITH YOU YOU ARE MISSING OUT."

Me: "HAHA NO I'M NOT."

You know what I'm going to say. You know who ended up losing this futile war of wills.

BBC One's Sherlock

Sherlock owns my soul. It owns my soul the way puppies with wagging tails and clumsy feet own my soul. It is the kind of love that is healthy and unhealthy at the same time. The kind that glues me to the TV while coughing and burning up and crying from my congestion and makes me forget I'm coughing and burning up and crying from my congestion.

The writing? Clever. Hilarious. Touching.

The acting? SUPERB (I know Cumberbatch is a favorite of many peeps, but OMG, Martin Freeman is a subtle genius).

The villain? THE VILLAIN???? I. Am. Obsessed. With the Moriarty on this show. I CANNOT even tell you. No. I really can't. I often quote him and mimic his voice and it's just not something I should be confessing. But there you go.

Also, Mrs. Hudson. *gives her ALL the hugs*

For those of you who aren't huge Sherlock Holmes fans, I'm right there with you. I wasn't excited about starting this show at all. But as a writer, a lover of stories, and a lover of stories about allies who fight against crime, I am fascinated with the tight, unapologetic plotting of twists and LOL moments. It's an art, really. An art I do not master. The relationship between Sherlock and John is far more heartwarming than I was expecting, too. They work and live together but they're not friends but oh wait yes they are but nope they're arguing again but nope they've made up but OH SNAP Sherlock has just ruined it again. 

One of the most awesome roller coasters in the land of television.

I cannot wait for Season 3---> words I thought I'd never say. *sigh*

Do you watch Sherlock? If so, what's your favorite thing about the show?

(Worldbuilding) Rules Are Meant To Be Broken

HELLO, blogging buddies!! It has been A WHILE since I've been around. *slaps wrist* No worries. This week, I kick off my return to ze blogging world! I'm aiming toward a 3-day a week blogging schedule, so let's see if I stick to it. *crosses fingers*

So. Today, I'm here to talk a bit about a movie I saw last week that ruled. My. World. And it did so by breaking ALL the rules. 

Folks, this movie is brilliant. Yes, it's a horror movie, complete with your cliche characters and frequent  (at times cheap) scares. But WHOA. It's not your average gorefest. The film, co-written and produced by the uber-awesome Joss Whedon (Buffy! Angel! Firefly! Dollhouse!), is so, so clever. You think the premise sounds familiar, and you think you know exactly what's going to happen.

You are wrong.

Why? Cabin In The Woods is that type of movie that's aware of the genre it belongs to. So aware, in fact, that it takes its rules and conventions, then twists them in a way that's never been examined before.  In appropriating the rules and conventions of the horror genre, Cabin In The Woods creates its own rules and conventions, the kind that no other horror movie's ever had, or probably ever will. 

This is why I liken it to writers worried about the next hot trend and whether they should pursue it or not. To me, you can chase after any trend you want, but if you spit out the exact same thing with different character/place names, nothing will come of it. You want to stand out? Snag an agent and editor? Study the rules and conventions of the genre you're writing in, then turn them upside down. Don't just challenge yourself as a writer, challenge the genre as a whole. Push it toward new, uncharted directions. That, to me, is what makes a successful story.

Now tell me: have you seen any movies/read any books that challenged their genre lately??? Recommendations are always welcome! 

Happy Monday :)

WIP Playlists And Why They Rule

So. I love music. Some genres more than others, but overall, I'm an equal opportunity music listener. My poor iPod is filled with songs by artists who would NEVER duet in real life. 

*cough Marilyn Manson and Taylor Swift cough* 

Before I start drafting, I love to put together a playlist for the project. Sometimes I create two playlists--one for the main character, and another for the MC's relationship with the love interest. 

Why, yes, I do have way too much time on my hands...

Seriously, though, I think writers should be open to music when drafting. To me, a playlist is useful for three reasons:

1) Songs that help with character development/voice

These are the easiest ones to pick for me. They're usually songs that deal with what my MC faces in the story, or is about to face. Either way, they give me an idea of how my MC would react or feel in certain situations, and I write accordingly. Out of all the songs I pick, these get the most plays.

2) Songs that help with plot

This is where I usually feel like I'm cheating. Songs are stories, after all. There's an outcome the singer is either happy or sad about, right? Well, whenever I get stuck with my plot, I sit back and listen. The lyrics make me come up with brand new scenes, goals, obstacles, and resolutions. They don't have to be exactly what the lyrics refer to, but a good chunk stems from them.

3) Songs that help with mood

Battle sequences = Metal. A huge breakup = Ballads. Party scenes = Dance/Pop/Hip Hop. I think atmosphere for the writer translates into atmosphere for the story. Of course, there are writers who can whip out these scenes without music, and they come up with sheer brilliance. Me? Not so much. *hangs head in shame*

So. There you have it. Playlists save fake people's lives.

Tell me: do you create playlists for your WIPs? Any specific kind of music you keep gravitating toward?

Sequels: What I Like As A Reader

So. I seem to have a bit of an obsession with book series. 

Which means I read more sequels than standalones. 

That's changing, though, with my 30 Contemp Books Challenge, in which I aim to read 30 YA contemporary novels this year. I'm reading a lot more standalones in YA contemporary, and I love them. The minute I finish, I have all the freedom in the world to discover another author. 

But when it comes to series, that's not the case.

And it is because of this that I've compiled a list of Things I Like In Sequels As A Reader:

1) A new question/mystery

I love sequels for two main reasons: a) I get to spend more time with the best characters ever, and b) I get to see them react to different dangers/problems and higher stakes. BUT these dangers/problems and higher stakes are much more enjoyable for me when they're a product of a new question or mystery. Sequels that are pretty much the characters dishing out new information and plotting against the baddies are okay, but not as compelling to me. So yeah. New story + New question/mystery = Awesome sequel.

2) Deeper characterization

Since I already know the MC and supporting cast, I want to be surprised. What secrets are they hiding? Do they have talents they didn't know about? Did they get a crush on that girl/guy they thought sucked at life? To me, it's all about taking those characters into new directions, and peeling a layer off them. Fears and goals can be either strengthened or changed. Anything to get a clearer picture of who I'm reading about is fine with me.

3) Fresh world-building

Sequels can have brand new settings. Or, if it's the same setting, new rules. In some cases, it's a new villain, instead (usually stronger and more dangerous than the last one). Whatever the case, I think it's exciting to throw some curve balls at characters in terms of what they can accomplish in their world, and how that world is an ever-evolving character itself. And the more unexpected and impossible-to-deal-with that world seems, the more exciting it is for me.

So there you have it, blogging buddies. If a sequel doesn't have any of those three things, I'll still read on, but not as quickly and as engaged. 

But I'm curious: what do you like to see in sequels? Are there any authors you think write super awesome sequels?

Origin Stories: How Do You Do It?

So I saw this movie yesterday. It is called X-MEN First Class.

Maybe you've heard of it. Maybe.

Anyway, the cast was amazing. Particularly these two gentlemen:

James McAvoy (Professor X) and Michael Fassbender (Magneto)

What I really enjoyed about their performances was that, in the back of my mind, I kept remembering Patrick Stewart and Ian McKellen, the actors who play these characters "in the future". And all the while, I kept telling myself, "I can totally see these two growing up to become those other two." 

In other words, their backstories were great, but the way they interpreted how those backstories make them the men they will become was flawless.

So I got to thinking: how do you do it? Does a character's backstory come first, or is the character's future much clearer to you during the brainstorming process? 

Also, go see X-MEN First Class. Even if you hate superhero movies. It's just that good. :)

Outlining With Robert Pattinson: The Resolution

At long last, we come to the final installment of my Outlining with Robert Pattinson series *sigh*

The part I'll be discussing today is the one most readers are dying to get to. What will happen after all those pages of conflict/backstory/world building/superamazeballs action??? 

Yep. Today I'll be tackling...

THE RESOLUTION

Or denouement, if you prefer the term. 

So. Your main character has faced the antagonist. They have battled it out, WWF style. There are bruises and broken bones and tears. But there's also a victory. Either your main character came out on top, or your antagonist did. Whoever won, your story's inciting incident has now been laid to rest. 

Sort of.

You see, in the resolution, your MC deals with the aftermath of his victory or loss. Their internal/external conflicts have been resolved. Lessons have been learned. Your MC has done a 180 degree change--their emotional arc has morphed them from who they were during the setup to a) someone different or b) the same person, but with a different outlook. 

This new outlook can be a product of one of two things:

1) Your MC wins the battle, but has lost something valuable 

2) Your MC loses the battle, but has gained something they never thought they'd value

This makes your resolution a bit more complex than saying, "We won, we won, we won! Now let's go PARTY!" or "FML, we lost... F. M. L!!!!!!" Everything in your manuscript has been pretty layered so far, right? Why not make your ending just as interesting? 

Other things to worry about at this stage of the story: 1) have I answered all the questions I introduced during Acts I and II?; 2) is there any plot hole I forgot to fix?; 3) are my scenes full of tension?; 4) do my scenes propel the plot forward, or drag it down? (cut those that drag it down!); 5) is my resolution a product of the hints I've dropped throughout the manuscript? (no Deus ex Machina, please!). Of course, you'll come up with more details to work with, but these are the ones I'm always freaking out over.

So. During the resolution, your MC has two options. They could be walking around like this:

"Don't look at me... I'm in a mood. A BITCHY mood"-- direct quote from your WIP

or like this:

"Leonardo DiCaprio can suck it. I'M the king of the world!!!!!!"-- direct quote from your WIP

It's up to you to see which Robbie P fits best with your story: loser or king.

Aaaaand that's a wrap! Hope you've enjoyed my outlining series, and that Robbie P has been useful to your manuscript! Because, come on, the dude is useful for almost every writing analogy ever made.

Now if you'll excuse me, I must go work on my outline...

Tell me: how do you feel about the resolution? Do you know how your story will end before you even start writing it? Or do you figure it out as you go?

Outlining With Robert Pattinson: The Inciting Incident

Last week, I discussed the Setup of your story. Today I'll tackle what comes next:

THE INCITING INCIDENT

a.k.a. My favorite part to write *fist pump*

This is when you make things difficult for your main character. You throw him/her a curveball by forcing them to face a problem they must solve throughout the entire novel. Whenever I sit down to brainstorm possible inciting incidents, I ask myself this question: what makes my main character uncomfortable? What would totally freak them out and send them crying to their mommy? What would make readers stick around to find out if he/she beat his/her biggest fear?

There's also genre to think about. Is your story a mystery/sci-fi/contemporary? Genre will have an influence in the type of problem your MC will have to solve, as well as how he/she solves it (unfortunately, you can't have someone shoot laser beams out of their eyes in a contemporary... *pouts*). But to me, a great inciting incident does two things:

1) Propel the story forward in a new direction 

2) Boost your main character's internal conflict with an external one

Sure, #2 gets developed along the way with other parts of the story (which I'll discuss in later weeks), but you get the idea. Basically, during the inciting incident, your main character walks around with a pissy face because you pretty much ruined their life. Like this:

"Really, Inciting Incident? Really??? I HATE YOU!"--direct quote from your WIP.

There you have it, folks. The Inciting Incident makes Robert Pattinson very. Angry.

Stay tuned for next week's post: the Turning Points.

Now tell me: do you come up with the Inciting Incident as you go? Or is it the first thing you think of when brainstorming ideas for a new WIP?

Outlining With Robert Pattinson: The Setup

Ever since I've become a plotter, my life has been... weirder.

Why? Because of Robert Pattinson.

You see, whenever I sit down to work on my outline, his face is RIGHT THERE. Remember that post on how my writing stages mimic his hair? Same thing is happening with outlining, but not with his hair.

With his face.

So, for the next few weeks, I'll be starting a new series called Outlining With Robert Pattinson. Said series will go through my process of figuring out my manuscript in big picture terms (don't worry, no chapter/scene goals for this one. More like a map of the whole thing). For Part One, I'll start with...

THE SETUP

This is where the story starts, which means your main character's boat has not yet been rocked. Or maybe it has, and you carefully blend in backstory with his/her current circumstances. Some authors love opening with character (voice), others with action and character. To me, this second option is what works best--revealing character through action. I don't mean having your MC kick someone's face and say, "Who's your daddy, biatch?!!!" I mean putting your character in a situation that makes him or her react as only they would. 

Basically, your MC is a rock star in the setup. Those first twenty/thirty pages show him/her at a really awesome/sort of okay place, depending on your story. You are quite literally setting him/her up to face something that spins their world out of control. 

During those opening pages, your main character walks around looking like this:

"Oh, hello, love. Have you heard I'm awesome? Because I totally am."--direct quote from your WIP.

So. That' the Setup, folks. 

Next week, I'll tackle... the Inciting Incident. *cue ominous music*

Now tell me: how do you like your manuscripts to open? Character? Or action and character? 

Fess Up Friday: To Kill Or Not To Kill

Confession: I am a HUGE Southland fan. 

What is Southland? The most awesome cop show ever. 

Why? Because it's awesome.

Okay, okay... I'm not making much sense, BUT trust me. Grittiest streets of L.A. + Flawed yet relatable characters + Emotionally charged plot arcs + Up-close filming that makes you feel like you're in the scene =

AND Ben McKenzie from The O.C. in it. *fist pump*

So. Why I am talking to you about Southland today, you ask? In this week's (super awesome) episode, a character died. A character I l-o-v-e-d. But this character's death was important to move other stories forward. To make other characters change their priorities and reevaluate who they really are. 

Even so, the death hurt me. A lot. *sobs*

That got me thinking about books. Specifically, about creating characters we become attached to as writers, then having to let them go in order to propel the plot in the best direction for the story. 

This week's question: how do you choose which characters to kill in your stories? Do you like dropping the axe on them, or do you sob like me?

Oh, and quick reminder: Operation Awesome's Across the Universe giveaway is still in full swing!!

Word Count vs. Content

So. My WIP is evil. You see, I have a final word count for the manuscript in mind. A nice lil' goal I want to meet. Knowing myself, the first draft will be much longer than my intended goal. 

When I sit down to write, I try not to dwell on word count. It's not about how much I write. It's about what I write--content. Otherwise, I'd just put whatever sparked my fancy on the page in order to get to X amount of words, you know? So, like the word count rebel that I am, I haven't cared that much about it. Until now. You see, there's this chapter that WILL NOT END. 

Well, I sort of... finished it this morning, but... you get the point...

Anyway, Chapter From Hell is long. Very, very long. And it hits the 30k mark of my first draft. Which is supposed to be the halfway mark of the manuscript. Problem? Chapter From Hell isn't the halfway mark. Not even close. That makes my first draft much longer than my intended goal.

In a way, keeping that goal now is sort of useless, right? I'll just surpass it, then meet it again during revisions. Which leads me to the following tips:

1) For the first draft, focus on content. 

I get it all out, even if it's messy and makes zero sense. Blocking scenes, playing with dialogue, raising the stakes and putting my MC face-to-face with more conflict--you name it. I tend to write chronologically, so I go from Point A to Point Z without losing myself or the story. Yes, content is a top priority in every stage of the writing process, but during that first draft, I think it should be the only one.

2) For revisions, focus on everything else.

Here's where I pull out my axe and start cutting, cutting, cutting. Or improving, which means keeping something, but making it sparkle to the best of my ability (with help from others, of course). Word count should matter during this stage to me, mainly because here's where I decide if Chapter From Hell is as relevant as I thought it was when I wrote it. But I can only see that in hindsight--after the deed is done. Word count for the sake of word count will only give me the worst headache of the century during revisions. And it'll probably happen to you, too.

There you have it, folks. For me, content wins every time. 

Now tell me: what do you think about this epic battle between word count and content? Who takes the lead during your first draft?

Fess Up Friday: What Say You About Deus ex Machina?

Plot devices are tricky. Some writers use just a handful and ignore the rest. Other writers use everything they can get their hands on to force sense into their story. 

Here lies the problem: forcing sense.

Not making it. 

An example of this is a plot device you may or may not be familiar with--Deus ex machina. 

Definition from the Merriam-Webster's Learner's Dictionary:

[singular] : a character or thing that suddenly enters the story in a novel, play, movie, etc., and solves a problem that had previously seemed impossible to solve.

In terms of writing, I confess. One of my manuscripts has a Deus ex machina moment. *blushes* But now I steer clear of this device, mostly because: a) it confuses/irks readers; b) it just plain irks agents/editors. 

BUT this plot device is not just a plot device to me. It's something that happens. In life. Sort of.

You see, I believe in signs. Yes, I just said it. Stop looking at me like that...

Yesterday, a sign presented itself to me. A sign to take a chance. A chance that had n-e-v-e-r appeared to me before yesterday. And, to be honest, it sort of came out of nowhere.

My very own Deus ex machina, waving hello at me. *fist pump*

So there you go. Random moments out of Nowhereville can sometimes work.

Now fess up: have you ever used the Deus ex machina? If so, how do you feel about it now?

Why I Love Harry Potter: Romance Takes Time

Romance. Me hearts it.

BUT I like my romance slow. Complicated. Full of WTF moments.

I like my romance real.

That means no blink-of-an-eye, I-just-met-you-and-you're-the-one kind of thing. Sure, people have gut feelings when it comes to meeting a person for the first time, but books shouldn't all be in favor of the Insta-Love formula. True love builds, piles on the layers, and stays strong amid the nastiest of storms.

This is why J. K. Rowling nailed it for me, friends. Because she created two characters that took. Their. Time.

Ron Weasley and Hermione Granger

As a reader, I was c-o-n-s-t-a-n-t-l-y waiting for these two to see the light. Tons of fans responded very well to the way Rowling handled the evolution of their relationship: BFFs first, then something more. Some harmless teasing here and there, frequent arguments regarding house elf rights, the occasional love triangle with Hot Foreign Quidditch Player and Incredibly Annoying Stalker Girl, and you've got yourself a romance that spans the seven seas.

And seven books *brain explodes*

Folks, romance takes time. In real and fake life. Nothing beats reading that fateful moment where two perfect-for-each-other characters finally take the plunge. 

Awesome Fake People: Links On Creating Characters

Yep. Another links post, my friends. Can't help myself :D

This time around, I went on the hunt for characters. Many writers say they suck at crafting believable/memorable/likeable fake people. Since I am absolutely perfect and brilliant, I have NO IDEA what they're talking about...

...

Anyway, here are some really great sources for you to whip those fake people into awesome shape:

Roni Loren dishes tips on how to create sympathetic characters. 

Christina Lee talks about why changing who her main character is has helped her story.

The fabulous people over at The Blood-Red Pencil tell you how multiple modifiers can deepen characterization.

The lovely ladies over at YA Highway teach you about characters with Clifford the Big Red Dog, explain character motivation with Jack and Jill, and liken character description to the art of just enough.

Natalie Whipple shares her beef with strong female characters.

Janice Hardy (my writing hero) discusses things that are useful to know about your characters before you write.

Happy writing, blogging buddies!!

Awesome Beginnings: Links On Perfecting Your First Chapter

I'm feeling a little down this week, and couldn't come up with anything to blog about. Luckily, my blogging buddies rock seriously hard and have provided some help!

With what, you ask?

Beginnings. 

They're scary to write, aren't they? Hooking readers in + Me = suckfest. That's why I'm giving you all some super awesome links to help you with that pesky first chapter. I promise to post my personal beef with first chapters later on, so pretty please stay tuned for that. 

Le links:

My Operation Awesome buddy Michelle McLean tutors you on how to create a thesis statement in your opening pages.

The ladies over at Adventures in Children's Publishing share their favorite opening passages.

Bekah talks about the importance of character goals in the first two chapters. 

Natalie Whipple shares the first paragraphs of all her manuscripts and why they suck/rock. 

and

Beth Revis teaches you how to make your readers ask questions and care about the answers. 

There are A TON of other great sites/blogs/forums you can check out (like Janice Hardy's entire freakin' blog: http://storyflip.blogspot.com), but these are just a few of my faves. You won't regret taking a look at them. Pinky swear :D

Now tell me: do you struggle with openings as much as I do???

Teenage Dream: How To Hone Your YA Voice Part Trois

At last, we've come to the thrilling conclusion of my Teenage Dream series! Woot!!

Okay. Let's recap what we've learned so far, folks.

Tip #1: find lyrics with meaningful teen stories.

Tip #2: read interviews about teens with meaningful lives.

And now, I give you tip #3:

Watch teen movies.

Confession: I have always loved teen flicks. A-l-w-a-y-s. Even when I was too young to understand what the heck they were talking about and had to ask my mom what second base was (best. moment. ever.). Sure, not all teen movies depict reality in a genuine way, but guess what? There are hidden gems out there, folks. If you watch closely, you might just learn something.

How does watching teen movies help you as a YA author? Simple. Pay attention to the problems the characters face. Maybe a girl who pretends to lose her virginity sounds irresponsible to you as an adult, but there's a reason why teens paid to go see Easy A (awesome film, by the way). I like to think that reason has something to do with that ever-alluring what if? factor. What if I went to school one day and everyone thought I was a slut? What if people spread rumors about me to my crush, who thinks I have a halo floating above my head? What if my *gasp* parents get wind of what I supposedly did? 

Problems and actions, my friends--that's what teen movies teach us. What has the ultimate power to mess up a teenager's life, and how he/she will deal with it. That is what YA readers (and moviegoers) look forward to. They want to see how someone else would cope with something that could easily happen to them. 

A few movies you should check out: 

Easy A (duh...)

Juno

American Pie

Clueless
Whip It (you should also check out the book)
Nick and Norah's Infinite Playlist (same here)

Superbad

Adventureland (not exactly teens, but the spirit is there)

Everything directed by John Hughes

So there you have it. Those are my tips to creating a believable YA novel--the teenage dream. That dream is complicated, but not impossible to achieve. I hope my mini-series helped you in some little way to see the light at the end of the OMG tunnel :)

Now tell me: what are your favorite teen flicks? 

The Great Blogging Experiment: Creating Compelling Characters

Yep, it's another blogfest entry, folks. Today I join the Trifecta of Awesome that is Elana Johnson, Alex J. Cavanaugh, and Jen Daiker for their Great Blogging Experiment. 

The topic? Creating compelling characters.

There are three things that make a character unforgettable to me. I like to call them the three C's:

1) Their channeling. Voice--we've all heard about it. We've all suffered through the terror of not creating a believable, authentic teen voice. To me, it's not so much that a character's voice has to be believable or authentic in terms of how teens really speak nowadays. It's all about how your main character channels the world around them to your reader. And the best way to create a compelling channeling experience is to see that world from an unusual point of view. 

When I say unusual, I don't mean weird. I mean saying 'it looked like a dog barfed on the stupid thing' instead of saying 'it looked terrible'. Anyone can say something looks terrible. But how does your character say it? How does he/she see what surrounds them? If a character can make me envision setting/action/emotions in a way I never expected to, I'm sold. They stay with me long after I finish their story.

2)  Their choices. Sure, motivation is super important. They're what makes a character move forward in the story. But let's say we have two different books with two different main characters. Character A is shy and insecure, while Character B is outgoing and cocky. They both have the same motivation--to get the girl before senior year is done. That's not what makes them who they are, though. It's what they do to get the girl that matters. It's how they face the seemingly impossible obstacles in their way that makes them jump off the page. Remember that awesome quote from Dumbledore in Harry Potter and the Chamber of Secrets? "It is not our abilities that define us. It is our choices." Yep. The old timer nailed it.

3) Their change. Character development is often sacrificed for other things in books. This. Cannot. Happen. Seriously, who wants to stick around with a person who never learns from their mistakes? Who brushes off the hardships thrown at them by life without getting derailed? Not only is this annoying to most readers, it's also reflective of poor writing skills on the author's part. Trust me--you don't want people hating on you because of poor writing skills! 

Let's go back to Characters A and B for a moment. Character A, the shy and insecure dude, starts off in a really sucky place emotionally. As the story progresses, so does he. It can be offering his crush a lopsided grin first, then a full-blown smile, until he finally plucks up the courage to talk to her. How he does that is totally up to the writer, but the end result (the change) has to be there. Same goes for Character B, and for any other character in any other book. 

Static is boring. Change rocks. Remember that. 

Now go write some awesome fake people ;)

Operation Outline: Character Sheets Part Deux

To the pantsers of the blogosphere: I am sorry. Today I'm talking about outlining. Again. 

Please don't hit me. *cowers in a corner*

So last time, I mentioned Kody Keplinger's character sheet, which was pretty awesome. Now I want to show you something I'm doing for my current WIP. You see, I'm obsessed with character arcs. I LOVE seeing how someone goes from Point A to B in everything--books, movies, life. Because of this, I've started creating character arcs for all the key players in my WIP, but I went a step further. I've created relationship arcs.

It's important to get to know all your characters before you start working on how they get along with each other, and how their relationships will change throughout the manuscript. Sure, Kody's sheet works wonders for personalities and quirks, but I have a tip for you: go deeper.

Here's how I do it:

1) I start with Character A. He/she needs to be fully fleshed out before anyone else to me. In addition to Kody's personality sheet, I make a list of possible quotes he/she will say in the manuscript. That way, I get a feel for who he/she is directly from their head. I also come up with a short list of fears and flaws, which will come in handy later on in my outline breakdown.

2) I move on to the supporting cast. Everyone gets a personality sheet, but they also get the quote treatment, and the fears/flaws list. You'd be surprised how easy this can be after you've finished with the main character.

3) I go back to Character A and start pairing him/her up with Character B. This becomes my first relationship arc. What do I use here? The fears/flaws list of both characters. If Character A is scared stupid of being humiliated in public, and Character B doesn't get fazed by that kind of stuff, then how can B teach A to get over his/her fear? Or maybe B sucks at opening up to his loved ones, and A rocks at being honest--how can A help B let loose whenever he/she needs to vent? 

Another thing I find helpful is focusing on what Character A wants and how Character B won't let him/her get it. This works well with the hero/villain arc, but I think every character should want something that will force them out of their comfort zone. That's the only way real change will occur. 

Bottom line? Don't be afraid to go deeper. Yes, tons of writers create richly detailed settings and rock at descriptions, but relationship arcs should be just as rich. The key to making that happen is analyzing who the characters are, what they can/can't do for themselves and for each other, and how they'll change.

So there you have it: I've gone insane. Hopefully I'll have a pretty decent manuscript to show for it someday :)

Tell me: any tips you care to share with me? 

Operation Outline: Character Sheets

So. Outlines. Me likes them now. *cue death metal music*

I don't know how many plotters do it like this, but before I start my actual outline for the newest WIP, I'm making character sheets. 

A character sheet is a list of info regarding the characters in your story. There are tons of examples all over the Internet, but I'm using one I borrowed from super uh-may-zing YA author Kody Keplinger.

It goes a little like this:

Name

Birthday

GPA

Clubs

Favorite Class

Favorite Food

Favorite Color

Favorite Book

Favorite Movie

Favorite TV Show

Celebrity Crush

Favorite Band/Artist

Theme Song

Aspiration

Who Would Play Him/Her In a Movie?

Kody used this template to come up with her main characters' personalities (and it TOTALLY paid off). I've added a couple things to her template, like Favorite Song (the character's theme song represents who they are, but their fave song is simply one they listen to all the time). 

Believe it or not, this sheet has helped me figure out how my characters differ from each other by likes/dislikes alone. I've only completed one character arc, and it's been easier than I thought--thanks to this sheet. 

So there you go, blogging buddies. My life has changed for the better. 

Dear Pantsers: sorry for sounding like a public service announcement for plotting. Feel free to flip me the middle finger. I won't mind.

Now tell me: do you have any outlining tricks you use that have helped your story?

Fess Up Friday: The Zero Trends Edition

So Fess Up Fridays are all about publishing trends on my blog. 

Not today.

For the Zero Trends Edition, I wanted to fess up about something totally different--fear.

Yes, peeps. I am afraid. Why?

I've just started my Master's degree in Literature. 

My latest WIP idea, as I mentioned yesterday, is in a genre I've never explored.

I have become a plotter for the first time e-vah.

My critique group and I launched a blog to inspire awesomeness in writers.

You're probably wondering why these things creep me out. Well, here's why: I'm afraid of coming up short.

Of not being able to stay afloat in my Master's.

Of totally bombing The Unexplored Genre.

Of not finishing the outline I plan to start next month (after all the research is done).

Of not bringing enough awesome to a complete stranger's life. 

I know I'll get over it, but I figured saying it aloud would speed up the recovery process. Let's hope it works :)

How about you? Any fears eating you alive this week? 

Confession: I've Become A Plotter (The Horror!)

First up, I'd like to give a HUGE THANKS to everyone who entered Operation Awesome's One-Line Pitch Contest!! We never thought entries would be filled in one day, ya'll! You rock. And best of luck to everyone who entered!

Okay. Now for the heavy stuff. 

Ladies and gentlemen, I am no longer a pantser.

I am a plotter.

The one thing I never thought I'd be, and here I am. Plotting before I sit down to actually write. *sigh*

Here's what happened: an idea for a new WIP came to mind a few months ago, but I put it aside because it was for a genre I've never written in. Months went by and I wrote another WIP while thinking about The One I Was Ignoring. After finishing Another WIP's first draft, I was burned out on the genre. I literally could not envision myself tackling rewrites because I thought my brain would melt. 

Fast forward to a week ago. I go back to The One I Was Ignoring and think about the premise. Then the characters. Then the voice. Then the genre. Cue my heart attack. 

After recovering from my heart attack, I realized this was a story I REALLY WANTED to write. But the fear of swimming in uncharted waters scared the bejeezus out of me. And that, my dear blogging buddies, is why I'm outlining. 

I refuse to believe I can't do this. So I need a plan of attack, one that's carefully constructed, to help me get through it. 

I'll tell you all about my outlining strategy later on, but for now, tell me: have you done anything you swore you'd never do lately??