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.

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

ENROLL NOW!

 

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

ENROLL NOW!

__________________________

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

ENROLL NOW!

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

ENROLL NOW!

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/

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/

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

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…