This blog is written by Linda Style, co-founder of Bootcamp for Novelists Online, for Bootcamp students and anyone interested in writing and would like to to talk (mostly) about writing related topics. I can't guarantee I won't talk about other things, but I can always relate it to writing in some way. If you'd like to post something yourself, email me at bootcamp4novelists2@yahoo.com or through our website - BootcampforNovelists.com. I love to have guest bloggers as well.

Tuesday, November 8, 2011

Linda's Corner: REAL LIFE HEROES....

Linda's Corner: REAL LIFE HEROES....: We writers create fictional heroes all the time. We imbue them with qualities and traits we consider heroic and then give them a situation i...

REAL LIFE HEROES....

We writers create fictional heroes all the time. We imbue them with qualities and traits we consider heroic and then give them a situation in which to act and show their heroism in ways both large and small. But true heroes are difficult to write because we have to also make them fallible. They must be human beings in order to truly be heroic. So we create heroes who have desires, wants, needs and fears, and in order to be heroic, they have to overcome their fears, sacrifice, and even admit defeat. In fiction we want our heroes to be larger than life.

In this, we can take a lesson from real life--our veterans and those currently serving in the U.S. military. I doubt anyone goes into battle or finds themselves on the front lines without feeling some fear.


There are no heroes braver, more valiant, more dedicated, more selfless, loyal and courageous than our 23 million veterans and those who are currently serving to protect our country, and I want to extend my personal thanks and also remind everyone that we should remember, and thank, those who serve for the sacrifices they and their families have made to protect us, not only on Veteran's Day, but every day.

In writing my current book A SOLDIER’S SECRET, to be released in January, 2012, I had the opportunity to talk to service men and women and also do extensive research on what services are offered to them upon their return home. I was surprised by the lack of services for those who have come home wounded, both in body and mind, and I vowed to get more involved than I have been. One way I’m getting more involved is to donate a percentage of the proceeds from sales of A SOLDIER’S SECRET to the Wounded Warrior Project. http://www.woundedwarriorproject.org/ 

Founded in 2003, WWP’s purpose is to raise awareness and enlist the public’s aid for the needs of injured service members, to help injured service members aid and assist each other, and to provide unique, direct programs and services to meet their needs.

I can think of no better way to say thank you to our veterans and those still serving our country than to help provide services to meet their needs when they come home.

If you’re wondering what you can do, there are numerous ways you can say thank you. You can volunteer to do just about anything... from providing foster care for a vet's pet, to sharing your expertise. You can even record a war story for the Library of Congress for their record of tales from the front lines. 

Since we're all readers and writers here, one of the easiest ways to say thank you is by donating your paperback books to our troops overseas. Books can be sent to Ellen Keegan who runs Books for Troops Click here.  She accepts both new and gently used books.  

Whatever way you do it, join me in saying THANK YOU on this Veteran’s Day, and every day, to all those whose bravery and courage keep us out of harm’s way.




Monday, September 12, 2011

NEW FALL CLASSES!

             

                                                                                                            
September 9 to October 7
Late Registration Closes On September 16
7-B PUNCH UP YOUR PROSE
You can have great characters, excellent plots, and zingy dialogue but if you don't write the story with brevity and clarity and evocative words you'll lose readers by page three. This course covers the writing habits that must be developed to keep your stories engaging. In this class:
Paragraphs and Scenes
Sentences and Punctuation
The Right Words
Point of View and Good Writing
FEE: $28

 
October 28 to November 18
8P THE BIG BLACK MOMENT
Dramatic, powerful storytelling doesn't just happen. The Big Black Moment is only one piece of the story, but it's one of the most important and many writers fail to get it right. Most writers understand that this is the moment when all seems lost, but they don't understand why or what goes into making it that way. In order for TBB to have an emotional impact, certain components must be there. In this class you'll learn what TBB is really about and how you can make it the most powerful, emotionally charged point in your story. Some of the areas we’ll study are:
The character arc and transcending character flaws
Conflict to build to the BBM
Making the Big Black Moment payoff
FEE: $28
__________________________

THE FOUR COURSE PACKAGES ARE BACK

Like regular Bootcamps, each of these package courses is a full four weeks and covers the same material as a regular Bootcamp. There will be a one-week break between each course and you still have the option of registering for each Bootcamp individually, but the package discount won't apply.

PILLARS OF STRUCTURE PACKAGE
Begins September 30
1B -Creating Characters
2B -Dynamic Plotting
3B -Sculpting Scenes
4B -Conflict That Sizzles

These four courses develop your basic writing skills and give you the foundation for writing your book. You'll go through step-by-step exercises that can sometimes be frustrating but are designed to help you identify how to create the memorable characters, can't-put-it-down plotting, and tense, crackling scenes that are found in all the best books. Plus, knowledge at a bargain. Individual courses are $28 each. You''ll save $20 by enrolling in the combined package.
PACKAGE FEE: $92

TECHNIQUES OF THE PROS PACKAGE
Begins November 11
1P - The First Three Chapters
2P - Deepening Character
3P - Escalating Consequences
4P - Creating Strong Subplots

The advanced techniques in these four classes are designed to expand and build on your basic foundation skills to take your writing to another level. The lessons and exercises, using your own work, will give you hands on experience as you learn the concepts and practice the techniques that create the kind of stories that make a bestseller...complex stories with memorable characters that readers will remember long after they've turned the last page. Individual courses are $28. You'll save $20 by enrolling in the four-class package.
PACKAGE FEE: $92

Tuesday, July 19, 2011

New Summer Classes at BOOTCAMP FOR NOVELISTS



Don't miss out on these exciting summer clinics at Bootcamp for Novelists!

July 22 to September 2
C1 Applying the Hero's Journey
Mythology was made famous by Joseph Campbell and later applied to screenwriting andstorytelling by Hollywood, yet the principles of this powerful tool to readers'subconscious common links are still only vaguely understood. Learn how the archetypes areactually placeholders and that the journey itself takes many forms. This course is sixweeks long and features considerable discussion as well as exercises for employing the"Journey" method.
Fee: $48


August 5 to September 16
LS1 Secrets To Writing a Killer Synopsis
Plus: Query Letter and First Three Chapters
The best story in the world won't sell if the editor can't get past the query letter and the synopsis. Most publishers give very specific guidelines on what they want in a submission, but they don't tell you how to make your submission stand out among the hundreds they receive daily. In this class, you'll learn the secret to do just that. This is a 6-week class in which you'll get direct feedback on your work. It is recommended that you have completed at least half of your manuscript in order to get the most from the class.

In this class we'll cover:
The Rules
Basic Presentation
Query Letter format --how to show individuality, style and a compelling story in one page.
The cover letter
The Synopsis - what's the secret?
Showing individuality, voice, style and a compelling story in a short synopsis.
Overview on the first three chapters of your novel

Register now! Get the tools that will help bring your proposal to the editor's attention...and make her want to read more!
Fee: $48

Enroll Now! http://bootcampfornovelists.com/ls-courses/l-course-ls-clinic-1-perfect-prop.html



AND THERE'S MORE. THE BOOTCAMP PACKAGES ARE BACK!
Each of these packages include the four fundamental courses of each Bootcamp track (basicand polish) and cover the same material as the individual Bootcamps. There will be a one-week break between each course, and you still have the option of registering for each Bootcamp individually, just without the package discount

PILLARS OF STRUCTURE PACKAGE
Begins September 30
1B - Creating Characters
2B - Dynamic Plotting
3B - Sculpting Scenes
4B - Conflict That Sizzles
These four courses develop your basic writing skills and give you the foundation for writing your book. You'll go through step-by-step exercises that can sometimes befrustrating but are designed to help you identify how to create the memorable characters,can't-put-it-down plotting, and tense, crackling scenes that are found in all the bestbooks. Plus, knowledge at a bargain.

Individual courses are $28 each. You'll save $20 by enrolling in the combined package. PACKAGE FEE: $92

TECHNIQUES OF THE PROS PACKAGE
Begins November 11
1P - The First Three Chapters
2P - Deepening Character
3P - Escalating Consequences
4P - Creating Strong Subplots
The advanced techniques in these four classes are designed to expand and build on your basic foundation skills to take your writing to another level. The lessons and exercises,using your own work, will give you hands on experience as you learn the concepts and practice the techniques that make a bestseller...complex stories with memorable characters that readers will remember long after they've turned the last page.

Individual courses are $28. You'll save $20 by enrolling in the four-class package.
PACKAGE FEE: $92
For more information or to enroll, go to
http://bootcampfornovelists.com/

Monday, May 16, 2011

THE ART OF SEDUCTION...

He grasped me firmly but gently, just above my elbow, and guided me into a room, his room. Then he quietly shut the door and we were alone.

Soundlessly, he approached from behind and spoke in a low, reassuring voice close to my ear.

“Just relax.”

Without warning, he reached down and I felt his strong, calloused hands start at my ankles, gently probing, and moving upward along my calves slowly but steadily. My breath caught in my throat. I knew I should be afraid, but somehow I didn’t care. His touch was so experienced, so sure.

When his hands moved up onto my thighs, I gave a slight shudder, and partly closed my eyes. My pulse was pounding. I felt his knowing fingers caress my abdomen, my ribcage. And then, as he cupped my firm, full breasts in his hands, I inhaled sharply. Probing, searching, knowing what he wanted, he brought his hands to my shoulders, slid them down my tingling spine to my panties.

Although I knew nothing about this man, I felt oddly trusting and expectant. This is a man, I thought. A man used to taking charge. A man not used to taking ‘no’ for an answer. A man who would tell me what he wanted. A man who would look into my soul and say …

“Okay, ma’am,” said a voice. “All done.”

My eyes snapped open and he was standing in front of me, smiling, holding out my purse. “You can board your flight now.”

Okay, you’ve probably all read that story before, and now you’re thinking it's a really weird thing for me to post and wondering what possessed me to do it. And... because you’ve read this far, I’m going to tell you.

You read this far because something in the title, or perhaps that first line...or even the photo...promised you something. You read even further because what you were reading was interesting in some way. Maybe it was titillating, or you thought it was funny…or maybe you know me and thought it was a bizarre thing for me to post. Or…maybe you really wanted to know what was going to happen next?

The excerpt is fiction…it’s a joke…a scene some think could be taken straight from a bad romance novel (or good depending on your point of view). But, for purposes of this blog, it’s an example of how to engage the reader and keep him reading. It's a very simple example in the art of verbal seduction.

The story started big and kept on going. You knew there was more to it, but you didn’t know what, so you kept reading. You kept reading because the beginning promised you something and you wanted to know if the story was going to fulfill its promise.

And it did with the punchline. But that’s not all…

You’re still reading because you know that story wasn’t all I was going to say. Why? Because with my blog title, I made a promise that I’m going to tell you something about the art of seduction. And…because this is a writer’s blog, I've made an unspoken promise to say something about writing.

So, I will.

Novelists must be experts in the art of seduction.

Whether you’re writing a romance novel or straight fiction, writers must persuade the reader to keep flipping pages. We do it by seducing him, trifling with his emotions. We toss out the emotional hook and draw him in. Whether we make the reader laugh, cry, or feel he needs to know more, we are engaging him emotionally.

Think about it. If we read something that makes us angry, or makes us rail at injustice, we are emotionally engaged. When we’re emotionally engaged, when we care about something…or the person we are reading about, we want to know what’s going to happen next and we keep reading.

We anticipate.

Anticipation causes tension and suspense. Tension and suspense, wondering what happens next is what compels us to keep flipping pages.

The relationship between your most wonderful character and the reader must be an emotional experience, one you tap into from page one. If we make a promise to the reader at the beginning of our story that something interesting is going to happen, he’ll keep reading.

Just like you did here.

Hey…if I got you to read this far, you know it works. Think about it. Why do you keep reading? What is it that pulls you into a story and keeps you reading?



----------------



I'll be talking a lot more about this in my next online class “Infusing Your Story With Emotion” beginning May 27th. For more information about the class, go to http://www.bootcampfornovelists.com/ls-courses/l-course-5p-emotion.html

For more information about all classes, and about me, go to http://www.bootcampfornovelists.com/

Saturday, March 19, 2011

LAST CHANCE THIS YEAR...

If you've been wanting to take Escalating Consequences and Scene Sculpting, do it now! These two classes won't be offered again until 2012.

Late registration for March 18 classes closes on March 25.

March 18 to April 15
3B Scene Sculpting
a Basic Track Course taught by Connie Flynn
Structuring scenes for maximum impact is the third pillar of story
structure. You'll leave this course knowing where and when to place a scene
and how to connect it with other scene for ease of flow and maximum impact.

3P Escalating Consequences
a Polish Track Course taught by Linda Style
Have you ever been so excited about a story that it almost seems to write
itself...and then somewhere after the third chapter it stops dead? If so
it's probably because your conflict is static. This workshop examines Dynamic Conflict...what it is and how to use it with escalating consequences to make your story move along naturally...with high drama.

Fee: $28 each course
To enroll go to http://www.bootcampfornovelists.com/index.html

What people are saying about Bootcamp for Novelists

Connie I feel like I've learned a ton. You are a great teacher and it's
rare you learn a skill that's so tangible and practical. Very much looking
forward to Plot.


Just had a great experience taking Linda Style's Bootcamp for Novelists
course on Emotion. I thought it was an excellent course! After taking many
courses at the RWA conference and reading a lot of writing books ,I have to
say this is one of the most valuable experiences I've had thus far. The
material was detailed and provided lots of new insight I haven't come across
before. Highly recommend taking one of Linda's courses.


Thank you so much for this course Connie. I'm looking forward to moving
ahead with the Plotting course. I've gotten so much insight into
characterization from your teaching. I can't wait to learn more!!


I'm pleased to see that a friend of mine took my advice and signed up for
Linda's "Infusing your Story with Emotion". Slowly and surely, I hope to
get all my friends from the Ottawa Romance Writers of America to know all
about "Bootcamp for Novelists". By the way, I really enjoyed Denise
Domning's course.


Enroll now at www.bootcampfornovelists.com

Friday, March 4, 2011

How to Find Your Writer's Voice...


A fresh voice...that's what we're talking about...that intangible, elusive quality in a novel that all the editors say they’re looking for. Do you have that fresh voice? Do you have an identifiable writing voice?

To start, let's not confuse voice with style. Voice is what you say. Style is how you say it. But you can’t have one without the other. Style is a part of our writer’s voice and both are totally individual and unique. I like to think of voice and style as ingredients in a recipe that when combined become one entity –- a delicious meal to be consumed ravenously.

But, it’s voice we’re talking about. Your distinct writer’s voice is you...it’s your defining way of thinking and speaking...it’s individual and unique...it’s your personality on paper, and it’s recognizable the moment a reader delves into one of your books.

Or not.

If you’re not one of the lucky ones who have a natural voice and style that crackles and sings and floats down from some heavenly muse the moment pen meets paper...or fingers meet the keyboard...then you might want to listen up. The truth is, in the beginning, most of us are more concerned with creating the story and learning our craft. We focus on the important stuff first and we’re not even thinking about some elusive quality that seems to have no definition whatsoever. But there’s no escaping it. Sooner or later, we have to find our voice, coax it out, and then develop it.

How important is voice when everything else in the story is as good as you can make it? Well, consider this-–voice is the first thing an editor notices when she picks up your query letter, synopsis, or first page to read. Readers notice it the moment they start reading. We can make that first sentence, that first paragraph, and that first page as interesting as we can, and yet, in the end, if there is no unique voice--if the prose sounds like anyone in the room could’ve written it--the story will feel flat and lifeless. Voice is king! Books with a great voice are forgiven many sins. Not that you want to be a sinner, but you get the idea.

And by now, I bet you want me to shut up and tell you how you can find your writer’s voice. Okay. Here are a few tips that might help.

1. Before you begin writing for the day, warm up with some free writing. Just go with the flow, write about anything that’s on your mind…for 2 or 3 minutes. Keep your fingers on the keys or pen to paper.

2. Forget making your manuscript perfect. Yes, grammar is important, but that’s what revisions are for. Too many times beginners looking for perfection edit their voice right out of the manuscript.

3. Write like you talk. Yeah, that’s right. Just lay it out there. We all have our personal patterns of speech, our favorite words and phrases. Look at some of the emails that you’ve sent a best friend and you’ll see what I mean.

4. Put the tape recorder on when you’re talking on the phone to a friend. That’s you, that’s the person you want on paper. No one else in the world thinks exactly like you. There’s no right or wrong. You’re unique. Can your voice and style be off-putting? Sure. But that’s something for you to decide and work on during revisions. The important thing is to get your voice out there. Then refine it.

5. Write what you know. Yes, I know, you’ve heard that one a million times, but maybe not the reason. When you write what you know, you have feelings about it…emotions… and those feelings will come out in your natural voice. Voice is your passion. Style is how you carry it off. I’ve heard that the best essays students write are always about their mothers, and it’s easy to see why. Everyone has strong feelings about their mothers, one way or another.

6. Read your work out loud and if you stumble over some words, so will the reader. If you’re writing naturally in your own voice, you shouldn’t stumble.

7. When writing the first draft, don’t-overanalyze. Edit carefully, but don’t over edit the life out of it. Go for passion over perfection.

8. Remember, your word choices are part of you. They should be natural and pleasing to you, not a critique partner or anyone else. (except the editor) Be ruthless when cutting, but be kind to your voice.

9. Rewrite an excerpt of a favorite author’s work in your own narrator voice… then try it with your main character’s voice. (hint...they should be different)

Hmmm. It seems like there should be ten points here, doesn't it, but nine is what I ended up with. C’est la Vie.

Okay, here’s a fun one for practice right now, right this minute. In your very own unique writer’s narrative voice, write a spontaneous comment here and tell me how you met me...only lie about it. If you don’t know me, it doesn’t matter. Be creative. Okay…go…

Saturday, February 26, 2011

LOVE SMART...



Find the One you Want--Fix the One You've Got.

No, I'm not going to tell you how to do that, but Dr. Phil will if you win the 6 CD audio book I'm giving away next Friday, March 4th, as part of our second anniversary celebration. Or, if you'd rather learn how to create a phenomenal family, Dr. Phil can tell you how to do that, too, in Family First--Your Step-by-Step Plan for Creating a Phenomenal Family. If you're the winner, you can choose which audio book you'd rather have.

Dr. Phil is an expert in human behavior and reading the back cover blurbs on the two CDs, I was reminded that we, as writers, have to be an expert in human behavior, too. In fact, I sometimes think Psychology 101 should be a prerequesite when learning the craft of writing. How can you write realistic characters if you know nothing about human behavior?

Like each of us, our characters' behavior is based on multiple factors stemming from genetics and life experience. No one is the same and two people striving for the same external goal will have different internal motivation that drives him toward it. Failure to delve deeply into a character's past is a common mistake new writers make. It's why characters seem wooden and sound alike. It's only when you dig deep enough to find your character's driving force that you can create characters with depth and breadth.

So, how do we do this, and how deep do we need to go? Some of us create charts or make long lists of traits--and we do need to do that--but charts alone will not get us where we need to be to make our characters come alive. We have to dig deeper and deeper, until we get down to the level of a character's values and beliefs about life...and, most importantly, about himself. When the reader understands a character's deep motivation, he can identify and will want to read more.

Do you go that far? Do you know what your character values the most? Do you know what your hero believes about himself? Do you know why he believes it? Do you know what happened in his childhood to cement this belief? Those are questions I have to ask if I want my characters to have deep internal motivation for whatever goal I give them. If you're not asking those kinds of questions, try it and see what happens.

If you'd like to be in the drawing to win one of the audio books by Dr. Phil, simply leave a comment and it's done.

And don't forget, there's still time to save on classes at Bootcamp for Novelists. The special discounted prices are good through 2/28 at midnight, but time is getting short. Check out our new Face-to-Face Clinic as well, at www.bootcampfornovelists.com.

Ciao for now,
Linda





Wednesday, February 16, 2011

AND THE WINNER IS....


CONGRATULATIONS to Sharlet Liebel, winner of the lovely turquoise bracelet!

I will be giving away another prize on Friday, so check back to see what the prize is. I may even attempt to impart some tidbits of writerly wisdom while I'm here.

Don't forget...we're continuing our month long anniversary celebration in which all core classes at Bootcamp for Novelists are only $25. And it's still not too late to get into the February classes. Late registration goes until 2/18.

BOOTCAMP CLASSES at a glance

LINDA'S FEB/ MARCH/APRIL BOOTCAMP START DATES
Continuing the Techniques of the Pros

2-P DEEPENING CHARACTERIZATION - begins Feb 11
How your character acts in any given situation is based on multiple variables. Here you'll learn what they are and how to use them to maximum potential and make your characters leap off the page. Some of what we will cover:

Character Arcs
Values and beliefs
Deep Point of View
The Driving Force

3-P ESCALATING CONSEQUENCES - begins March 18
Have you ever been so excited about a story that it almost seems to write itself...and then somewhere after the third chapter it stops dead? If so it's probably because your conflict is static. This workshop examines what makes your conflict dynamic...and what to do to make your story move along naturally...with high drama. Some of what we will cover:

External situations and internal conflict
Static conflicts vs dynamic conflicts
High Drama

4-P BUILDING STRONG PLOTS AND SUBPLOTS - begins April 22
Do you ever wonder what makes a good story great? Why we remember some stories and not others? In this workshop we examine layering and subplot development and their use in taking a story from okay to outstanding. Some points we will cover:

High concept plots vs character driven plots
Subplot structure and development
Weaving in subplots
Layering
_____________________________________________________________________________________

CONNIE'S FEB/MARCH/APRIL BOOTCAMP START DATES
Continuing the Four Pillars of Structure

2-B DYNAMIC PLOTTING begins Feb 11
Some people believe that stories come from a magical realm and simply float down to some lucky writers. But could it be possible that given a character with a goal who faces conflict that you can give them situations that make your story sing? This course shows you how.

The Story Question
Four Act Structure
Eight Major Plot Points
Making It a Page Turner

3-B SCENE SCULPTING begins Mar 11
Structuring scenes for maximum impact is the third pillar of story structure. You'll leave this course knowing where and when to place a scene and how to connect each scene for ease of flow and maximum impact.

The Principles of Cause and Effect
Control Actions Scenes, Control the Reader
Reaction Must Be Given Its Due
Transitioning from Action to Reaction . . . and Back Again

4-B CONFLICT THAT SIZZLES begins April 22
Without conflict there is no story. But what is conflict and how does it affect character and plot? It stems from the obstacles to the character's goal and from the consequences of character action. This course will focus on escalating obstacles and consequences until conflict sizzles on every page.

External Conflict
Extreme Differences
How Plot Pressures Characters
The Action Arc

All courses are 4 weeks in length. Go to http://bootcampfornovelists.com/ for more information.

Keep an eye on this blog and see how to win the next prize!

Wednesday, February 9, 2011

VIVE LA ROMANCE!


LOVE – it’s the universal emotion of mankind. Who cannot relate to being in love? Who doesn’t understand the love of a mother for her child, a child for his puppy, a puppy for his master? A man for his woman? A woman for her man? Wars have been waged for love. . .thrones abdicated.

From time immemorial, writers have been penning stories about men and women overcoming all obstacles for love. Odysses wanted to go home to Penelope, Cinderella wanted to marry the Prince, Romeo wanted Juliet, Marc Antony wanted Cleopatra, Richard wanted Elizabeth and Rhett wanted Scarlett. Many of the most famous and enduring stories are about love and romance. Is there any question that we all want love? We need love. Whether it’s romantic love, motherly love or puppy love, we’re obsessed with it. So, why is it that we celebrate such a grand and wonderful emotion only one day out of the year? Shouldn’t we be paying attention to each other all year long?

I don’t know why love, the elixir of life, is taken so for granted. Perhaps it’s because, as wonderful as it is, love isn’t always wonderful and, perhaps, the same day some of us romance our sweethearts, for others it will be a day of sorrow and pain? How can something so wonderful and which brings such happiness into our lives, also cause so much pain? These are questions I ask all the time. Why? Because I write romance novels and it’s my job to create a believable romantic story.

So, what exactly is a romantic story? Romance, as defined in Webster’s New World Dictionary, is a long medieval narrative in verse or prose, originally written in one of the Romance dialects, about the adventures of knights and other chivalric heroes. Secondly, Webster’s lists romance as a fictitious tale of wonderful and extraordinary events, characterized by a nonrealistic and idealizing use of the imagination, and third, a type of novel in which the emphasis is on love and adventure. The list goes on with other variations, most of which play on the same theme of false or exaggerated feelings and emotions. The word “Romantic” follows the same path and includes definitions such as “without basis in fact,” and “preoccupied with ardent, idealized lovemaking.”

Good grief. It’s no wonder the romance genre gets so much bad press. No wonder readers hide the cover of their romance novels when in public. Even though we all want and need love, we’re embarrassed to admit it. And men seem to be more embarrassed than women.

Except on Valentine’s Day! We have one day in which it’s okay to proclaim our love. . .and not be embarrassed about it. How silly is that?

Well, I’m sorry. My definition of romance is nothing like Webster’s. To me, romance and being romantic is a very real part of life. It’s a man bringing his lady flowers for no reason at all. It’s a woman putting a note in her husband’s lunch bag telling him she loves him. It’s seeing the ocean for the first time, hand in hand with the one you love. It’s watching a beautiful sunset, or seeing the sun rise over the horizon. It’s taking a date to a restaurant or a movie because you know she’ll love it. . .even if you don’t. To me, being romantic is seeing the world in Technicolor rather than black and white. It's the feeling you get when you hear your favorite song on a moonlit night. It's the streets of Paris in the spring, a glass of wine at a little outdoor cafe in Sorrento. It is men and women simply being with each other. . .living in the moment and creating wonderful memories.

Those are the stories I like to create. Real life stories with strong plots in which two interesting individuals face tough choices, overcome the odds and find a future together. While my plots may involve a serial killer or two, there’s nothing exaggerated or false about the story or the romance. Yes, in my books, the hero and heroine make love. In fact, they love to make love. . .with the person they love. To me, that’s romantic!

What’s your definition of romance? Who do you believe is more romantic -- women or men? I’d love to hear what you think.

Leave a comment and you’ll be automatically entered to win the “Romantic” turquoise bracelet pictured. The drawing is on the 15th, so be sure to check back to see the winner!


And for all you romantics out there, HAPPY VALENTINE’S DAY!!

Don't forget, Bootcamp for Novelists is celebrating our 2nd anniversary all month long, and you can register for classes at a discounted price. Be sure to check out Connie’s blog as well because she’s giving away a prize on the 15th, too.
www.bootcampfornovelists.com

Monday, January 31, 2011

Cheers! Salute! A votre sante! Slainte! Prost! Ysas!



Salud! Mazel Tov! Oogy Wawa!

Come join the fun! We're celebrating Bootcamp for Novelists’ second Anniversary on February 15th, and because we’re in a celebratory mood, we want to give you an anniversary present!

During the entire month of February, all classes will be $25. Check it out at www.bootcampfornovelists.com.

It's hard to believe Bootcamp for Novelists is two years old already. And like anyone with a birthday, we’re wondering where all the time has gone. It seems like just yesterday that we were brainstorming how to share our love of writing--and our knowledge and experience in publishing--with other writers.

We started with a germ of an idea...and a shared belief that anyone can learn to write a novel if given the correct tools to do so. We wanted to share what we know through a format we wished had been around when we were beginning novelists. That format was one that would take students from the beginning idea and story structure, all the way through the advanced techniques, to the end of the novel. That was our dream. In the beginning, putting together a program that hit all the right notes was a bit daunting, but the concept was so exciting, we forged ahead. And, thus, Bootcamp for Novelists Online classes began on February 15, 2009.

During the past two years, we've been delighted to get to know many of you who've been taking our classes, and we’ve had the pleasure of reading some very excellent work. We've learned a lot, both as writers and as teachers. We learned how to work more efficiently with Yahoo online groups. We learned what to do and what not to do when posting lessons and giving feedback. We learned what classes work well and which need to be restructured. We learned from each other...and, yes, we learned from you. And that is exactly as we had envisioned it.

We were lucky. So many times in life, the greatest efforts don’t turn out as envisioned, and when that happens, it requires another look to see what needs changing. This part wasn’t too hard for us because we’re writers. Writers are constantly revising. The harder part is looking at our strengths. How often do we look at what we’re doing right? How often do we capitalize on our strengths? Not very often is my guess.

As writers, we should continue to learn and grow as artists, and part of that growing is recognizing what we’re doing right. We need to find our strengths, capitalize on them ... and then make changes. I’ve seen far too many manuscripts with a fresh, exciting voice end up sounding as if it could've been written by anyone. There’s no distinction. No personality. The magic is gone.

Don’t let that happen. It's important to know and understand the methods...and then decide how to make them work for you. Protect who you are, because the magic in any work of art is what the creator brings to it. The magic is you!

I'm curious. What are your thoughts when you’re revising or looking at feedback on a story? Do you go directly to what isn’t working...or do you look for your strengths and try to capitalize on them? Do you know what your strengths are?

Leave a comment and you’ll be in the drawing to win the beautiful turquoise bracelet in the photo. We'll be celebrating all month long, so be sure to stop by and chat both here and at Connie's bootcamp blog. Prizes will be involved. :-)


UPCOMING BOOTCAMP CLASSES:
February 11 to March 11
2B - Dynamic Plotting
2P - Deepening Characterization

March 18 to April 15
3B - Scene Sculpting
3P - Escalating Consequences

April 22 to May 20
4B - Conflicts That Sizzle
4P - Strong Plots and Subplots

We're now on Facebook! Come join us and be part of the Bootcamp for Novelists Community page. Start a discussion with other writers...or just let us know what you're up to. We'd love to see you!

Tuesday, January 25, 2011

BOOTCAMP CLASSES at a glance

LINDA'S FEB/ MARCH/APRIL BOOTCAMP START DATES
Continuing the Techniques of the Pros

2-P DEEPENING CHARACTERIZATION - begins Feb 11
How your character acts in any given situation is based on multiple variables. Here you'll learn what they are and how to use them to maximum potential and make your characters leap off the page. Some of what we will cover:

Character Arcs
Values and beliefs
Deep Point of View
The Driving Force

3-P ESCALATING CONSEQUENCES - begins March 18
Have you ever been so excited about a story that it almost seems to write itself...and then somewhere after the third chapter it stops dead? If so it's probably because your conflict is static. This workshop examines what makes your conflict dynamic...and what to do to make your story move along naturally...with high drama. Some of what we will cover:

External situations and internal conflict
Static conflicts vs dynamic conflicts
High Drama

4-P BUILDING STRONG PLOTS AND SUBPLOTS - begins April 22
Do you ever wonder what makes a good story great? Why we remember some stories and not others? In this workshop we examine layering and subplot development and their use in taking a story from okay to outstanding. Some points we will cover:

High concept plots vs character driven plots
Subplot structure and development
Weaving in subplots
Layering
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CONNIE'S FEB/MARCH/APRIL BOOTCAMP START DATES
Continuing the Four Pillars of Structure

2-B DYNAMIC PLOTTING begins Feb 11
Some people believe that stories come from a magical realm and simply float down to some lucky writers. But could it be possible that given a character with a goal who faces conflict that you can give them situations that make your story sing? This course shows you how.

The Story Question
Four Act Structure
Eight Major Plot Points
Making It a Page Turner

3-B SCENE SCULPTING begins Mar 11
Structuring scenes for maximum impact is the third pillar of story structure. You'll leave this course knowing where and when to place a scene and how to connect each scene for ease of flow and maximum impact.

The Principles of Cause and Effect
Control Actions Scenes, Control the Reader
Reaction Must Be Given Its Due
Transitioning from Action to Reaction . . . and Back Again

4-B CONFLICT THAT SIZZLES begins April 22
Without conflict there is no story. But what is conflict and how does it affect character and plot? It stems from the obstacles to the character's goal and from the consequences of character action. This course will focus on escalating obstacles and consequences until conflict sizzles on every page.

External Conflict
Extreme Differences
How Plot Pressures Characters
The Action Arc

All courses are 4 weeks in length. Go to http://bootcampfornovelists.com/ for more information.

Keep an eye on this blog and see how to win a prize next month!!

Sunday, January 2, 2011

Words on the Page...

“Go confidently in the direction of your dreams. Live the life you have
imagined.” --Henry David Thoreau


For me, the beginning of a new year is like the beginning of a new book. The pages are blank and it’s up to me to fill them. But, alone, at 5 a.m. with only the computer monitor for light, that blank page staring me smack in the face can be scary. The thought of writing thousands of words that will somehow flow into a fresh, exciting work of subliminal prose can be daunting, challenging and/or a joyous release of creative energy. Most of the time, it’s a combination of all of the above, and how I feel about it changes as I go through the writing process.

There are as many ways to write a book as there are ways to fill our lives. How we do it, and how we feel about it, is entirely up to us. When writing, some of us fly by the seat of our pants (aka pantsers). We simply sit down with an idea and let ‘er rip. Some of us outline our plots from beginning to end and use detailed description charts of characters, setting, subplots and even word choices that fit the tone of our stories. Many of us do both... outlining just enough to get down the major elements, and then we let the story develop organically. There's no right or wrong way, and I’ve done them all.

But, after writing 13 published novels and 5 that have found better use as doorstops, I’ve developed my own writing process which is a combination of both pantsing and being somewhat OCD about outlining certain elements. I seem to follow the same pattern in life. I love to be spontaneous, to do things on a whim and let things develop as they may. But, at other times, I need to know everything, I need to organize and make plans. What I do works for me.

We all need to find our own writing process and for many of us, that takes time. It takes writing book after book. Some books won’t work no matter what you do and they should only be thought of as a reminder of how far you’ve come...and as a lesson in what worked and what didn’t. Like those books, it takes time to find a comfortable place in life. Some of what we’ve done, works. Some not so much, and we get a lesson. Like the beginning of a new book, the New Year, a symbol of new beginnings, gives us a point in time to reassess, to take a look at what worked in the past and what didn’t. It's a time to stare down that blank page in front of us and forge ahead. We decide what to do with it.

What will you do this year? Will you write the same type of story as the year before...or take a risk and write something entirely different? Will you continue to do the same things in life that will only get you the same things as you got before...or will you revise and redefine? Will you take a risk? Will you allow your imagination to soar and give your dreams the potential to become real? Will you live the life you imagined?

Our stories are up to us to do with them what we will. I plan to make mine spectacular! I hope you do the same.

Wishing you all a fabulous New Year!
Linda

P.S. I’m curious. Does your writing process/style mimic the way you approach life?