Writers in the Storm

A blog about writing

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10 Favorite Writing Lessons from Margie Lawson (and her Peeps!)

Several months back, Margie Lawson did a guest blog here at Writers In The Storm called 10 Not Absurd Tips for Fiction Writing. If you missed it, you’ll definitely want to take a moment to catch up. She gave 10 AWESOME writing tips!

A little background:

I’ve been hearing about Margie and her classes for years but it was never when I had enough time for her to hit the front of my radar. As a result, I’d actually had very little exposure to her, even though we know LOTS of the same people.

I was expecting a wonderful post, but what surprised me the most about that last summer's blog was the comment section. The amped up tunnel of love flowing between her and her students was AMAZING. There were smoochie-hugs zinging all over that blog, and the warmth and generosity were beautiful to witness.

I've been saving up to attend her Immersion Master course ever since.

Below are my favorite tips from the comments section I referenced above – some from Margie and some not. As always, I included links where I could so you can explore some of these authors yourself. I limited myself to TEN tips so your brain doesn’t explode from the lava flow of great writing advice!

From Margie:

You should ask these three Critical Keeper Questions [about each scene]:
1. Does it move the story forward?
2. Does it deepen character?
3. Does it carry a Humor Hit you’d kill to keep?

Margie:
Keep your book’s controlling premise posted where you can see it and will think about it with every scene! (Margie recommends you put it above each chapter header.)

FYI: A Controlling Premise is an expanded log line. It’s a story summary that is usually three to five sentences long. It includes who, what, where, and why — and shares those dynamics in a way that makes the reader care.

Kristina McMorris:

Here’s a not-absurd tip that I try to live by: Use the opening line and closing line of every chapter to raise a question, and whenever it’s feasible, end each chapter with a power word.

Margie (in response to Kristina):

I’m a big POWER WORD advocate. I vote for Power Words ending as many sentences as possible. Two words that carry no power — are IT and THAT. I vote for nixing as many IT’s and THAT’s as possible.

Louisa Cornell:
I carry a stack of index cards in my pocket everywhere I go. You never know where inspiration or your quirky characters are going to strike next. I am always jotting things down on those cards. When I get home I may rewrite them, but I always tuck them into an index card file box. I keep a box for my current WIP and for other stories running around in my head. Sometimes I have pulled entire scenes and even entire chapters from those card boxes.

Mindy Blanchard (a different take on writing it down):
Number one tip: WRITE IT DOWN! (even seemingly crazed notions can be important at some point. We always think we’ll remember it later, but we WON’T.) Keep notebooks in your bathroom We are always working on a new story. In the car, in the grocery line, etc. I don’t know what I would do without my mini voice recorder in my car. Surely you would think I could remember that juicy tidbit that will make my story rock in the 15 minutes it takes me to get home…What were we talking about?

Anita K. Greene:
A tip I’ve received: Don’t consider your editing done until you’ve read your story aloud. This will reveal tongue twisters, cadence and the ‘word of the manuscript’ – the one word that seems to be the perfect choice over and over again.

Margie (in answer to Anita):

The ‘Word of the Manuscript.’ I like that term. I refer to it as the ‘catch word’ of the book. They’re caught in the writer’s mind — and keep getting tossed on the screen. I catch them – but many writers don’t. Some of the ones I’ve caught are — muttered, seethed, irascible, shuttered, washed over (as in grief washed over her, fear washed over her, regret washed over her . . . ) snubbed, penultimate, discounted, furor.

Lorrie Thomson:
My not absurd writing tip is that I always end a scene on a hook.

Thea Hutcheson:
I learned that you should have all five senses in every 1000 words. It is a way to make sure you have setting in your work and keep your critique partners from having to say, “Setting would be nice.”

Sherry Isaac:
Have you thought about connecting with Mattel, marketing a ‘Margie’ Barbie? They could load her with pre-set Margie-isms: ‘Cliche Alert!’ ‘Write Fresh!’ “Needs more pink!’ She could have EDITS rainbow hair! And a walking stick for those hikes on the mountain.

Rose McCauley:
My one tip would be to persevere. After almost ten years years of writing, my first novella releases this September. Thanks for all the help along the way, Margie.

All of us here at Writers In The Storm echo Rose's thanks. :-)

Need a little more Margie?! Stop by to see her guest blog tomorrow at More Cowbell - she's talking about visceral responses to LOVE as a Valentine's treat to us all. :-)

She can also be found anytime at Lawson Writer’s Academy. To refresh your memory, Margie’s most popular packets are:

  1. Empowering Characters’ Emotions
  2. Deep Editing: The EDITS System, Rhetorical Devices, and More
  3. Writing Body Language and Dialogue Cues Like a Psychologist
  4. Powering Up Body Language in Real Life:

    Projecting a Professional Persona When Pitching and Presenting
  5. Defeat Self-Defeating Behaviors

She can also be found at www.MargieLawson.com.  My favorite feature on her site are the Deep Editing Analyses. You’ll find over 25 short articles that analyze several examples from authors like Harlan Coben, Lisa Gardner, James Scott Bell and Lisa Unger.

So, Writers In Storm  Friends…what writing advice do you have? Are there lessons you’ve learned that you’d like to share? What writing teachers have had the most impact on you? We'd love to hear about it!

Jenny

About Jenny Hansen:

Jenny fills her nights with humor: writing memoir, women’s fiction, chick lit, short stories (and chasing after the wildly teething Baby Girl). By day, she provides training and social media marketing for an accounting firm. After 15 years as a corporate software trainer, she’s digging this sit down and write thing.

When she’s not at her blog, More Cowbell, Jenny can be found on Twitter at jhansenwrites and at her group blog, Writers In The Storm. Every Saturday, she writes the Risky Baby Business posts at More Cowbell, a series that focuses on babies, new parents and high-risk pregnancy.

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Valentine’s Day? Already?

by Charlotte Carter 

I don’t know about you, but I’m still vacuuming up tinsel and pine needles.

In stores, Christmas decorations were shoved out one door and Valentine’s hearts were brought in the other, leaving only a brief window to celebrate New Year’s Day. Time is simply flying by too fast.

Still, I am a romance writer. Valentine’s Day represents the forever kind of love. So I hark back to yesteryear (Chuck and I have been married a long time!) when my husband and I were dating. He brought me flowers and took me out to a nice dinner. Perfect and romantic.

By the time our second Valentine’s Day rolled around, we were married and living in Anchorage, Alaska. (I knew I’d found a good one and did not hesitate to say ‘I do.’) On Valentine’s Day I gave him a card; he gave me . . . nothing!

Say what? Sheepishly, he admitted he thought Valentine’s Day was for couples who were dating. I quietly (but firmly) disabused him of that notion. Romance does not stop when you get married.

Fortunately, Chuck is a quick learner; he hasn’t missed a Valentine’s Day since. (And I’ve learned how to drop hints and reminders that are as subtle as a giant asteroid landing in our front yard.)

So I’m expecting a romantic card and flowers this Valentine’s Day. Rather than going out to dinner, which we do regularly anyway, I’ll cook a nice dinner at home and we’ll leave the crush of couples waiting in restaurants for tables to the dating crowd.

What’s your favorite memory of Valentine’s Day? How do you celebrate now with your significant other?

Kindle price: $3.82

Books that leave you smiling -
by Charlotte Carter
Big Sky Family, Love Inspired, available now
Montana Love Letter, Love Inspired, 10/2012
Secrets of Mary’s Bookshop, Guideposts Books, 2012
www.CharlotteCarter.com

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Mining For Character Emotions

By Sharla Rae

Let’s face it, mining for the best expression of emotions whether it’s body language, gut reactions, internalization or dialogue can be like panning for gold. A lot of useless grit is sloshed around before you hit pay dirt.

Picture this: You’re sitting at your computer; the sun is shining through the window and you’re feeling happy vibes.

Then scrolling to page 49 of your book, you realize you left a very angry Zelda stranded knee-deep in alligators at the office. Worse, because you, the writer are Zelda’s alter ego, you have to ditch your good day and feel what she feels . . . on paper at least.

At one of our OCC RWA chapter meetings, an actress spoke about conveying character types to an audience. Although female, her body slipped into the physical persona of a cocky young male. It was amazing to watch. She lead with her hips, took center stage, and mimed puffing on a cigarette. Her grin reeked male smugness. Instead of a young and attractive female, I saw a cock-sure punk,

What an actress does on stage
is exactly what I want to do with the written word.

So where can a writer dig up these emotions? Once we know the emotion, to what degree should it be dramatized?

I did some research on methods used by actors and discovered their tools crossover to writers.

At Actor’s Exchange where actors, directors etc. exchange industry info, it was suggested that actors must first be aware of “all” facets of emotions.  In other words, emotions don’t happen in a vacuum.

4 Basic Things A Writer Or Actor Must Know Before Conveying Emotion

  1. What is the inciting incident that triggers emotion.
  2. Identify the emotion.
  3. What is the body’s physical/gut reaction to the emotion. [Not body language but how the emotion makes your body feel]
  4. What did the face or body do? (body & facial language)

Now that we know what we need to convey emotion, how do we do it?

One method used by actors is called, The Methods or emotional memory technique of acting. This amounts to recalling personal emotions and what they felt like and then portraying that to the audience.

A second method for an actor is to portray character emotions by Accessing Physical Reactions To Emotions. Actors can bring themselves to the edge of tears by triggering a yawn which brings tears. This won’t work on paper but writers can access and write physical reaction.

BUT! There are drawbacks.

Both methods use personal, recalled feelings and reactions. They may not be in keeping with the personality of the character. (See my blog: Keep Characters True To Themselves)

Actor’s Exchange suggests that the best method to show emotion is to know the play/story, and the character.Duh! Sound familiar?

So here’s my version of how it works: 

1] Be the character: Jump into his skin. The character is a combination of your experienced emotions, who the “character” is, his motivations and his situation.

            One article I found, Acting Emotions by Elly A. Konijn called this a “double consciousness,” the remembered emotion is the writers/actor’s but they are aware of the character’s circumstance and personality. 

2] Allow the story contents to “trigger” the emotions you need. 

We all know and understand anger but there are varying degrees and ways of expressing it. The story’s content and the triggering event determine how a particular personality expresses an emotion.

Concerning anger you might ask questions like these:

  • Is the character merely irritated or are they in a full-blown, red-in-the-face rage?
  • Is this personality a show-all, tell-all, or are they withdrawn?
  • Does the emotion make them want to throw up or are they so tough, nothing much affects them?
  • Does the triggering event require a mind-blowing reaction or a minor blink of the eye?  

Writers have to dig deep, find the gold and turn it into an emotional jewel.  

For me, body language, dialogue and introspection are the easiest expressions of emotion. It’s the gut reactions that throw me. For this reason I’m including a list of possibilities. And yes, some examples cross over into the other emotional forms. 

This list just scratches the surface so I hope you’ll comment and add some of your own ideas. Be sure to see the links at the bottom of the blog.  

Emotion As A Physical/Gut Reaction

Links:

Let’s talk. How do you mine for character emotions?

Shar 

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