Friday, January 29, 2016
Getting to Know Your Story -- by Rachel
Friday, January 22, 2016
Concept to Premise--by Christine
My best ideas come to me when I’m doing laundry, vacuuming, grocery shopping.
At first you may have a million ideas, and you could be driving to Walmart for milk, and this one scenario in your mind starts out like a bit of swirling dust and gathers into a raging tornado just beyond your windshield. And your pulse goes into overdrive.
That heart-pounding scenario in your head is an idea, a situation, a concept. It is not the premise of your book, but concept is the first step toward your premise.
- Your Premise is the germ of your book.
- Your Premise is your entire novel summed up in one single sentence (and showing the moral arc)
When I started to write Shadowed in Silk, I had the idea of a woman who is married to a philandering alcoholic, and who falls helplessly in love with an honorable Christian man. A good idea, but I needed to develop this into my premise, not only to sell my novel to an agent or acquisitions editor, but most especially to potential readers.
Besides, since my audience was CBA (Christian Booksellers Association) how was I going to write this book that dealt with the difficult subject of spousal abuse, divorce, and falling in love with another man without being called a heretic?
I believe in the sanctity of marriage so my premise had to show that.
I started out with 5 basic keys to a fiction novel.
Your novel needs a protagonist that readers can care about, and your character must also care about something deeply. What does your character want, long for, need?
What event propels your character out of their ho-hum life and into a story journey that will have them either reach their goal or destroy them?
Without conflict you simply do not have a story. What tension, resistance, etc. will keep your characters from attaining their goals or getting what they want?
That building disaster that takes up most of the middle of your novel, and each time your main character gets close to their goal, something pulls them back, with worsening and worsening situations until…
5. CLIMACTIC OUTCOME
The characters reach a situation where the catastrophe will destroy them or they use the moral lessons they have learned throughout the story journey to overcome the dilemma and achieve their goal, need, desire, love interest, etc.)
For an object lesson, I have dissected Shadowed in Silk (my first book) step-by-step below.
1. CHARACTER: Abby Fraser is a young but lonely married woman with a 3-year-old boy who all her life has felt invisible to those who should have loved her.
2. CIRCUMSTANCES: The First World War is over at last, and Abby and her son sail to India to be reunited with her soldier husband.
3. CONFLICT: But Abby discovers that her husband is a philandering, abusive alcoholic. To make matters worse Abby becomes attracted to a kind Christian man who would be shocked and dismayed if he knew how she felt about him.
4. CATACLYSM: The political situation in India worsens, and the mistress of Abby’s husband (along with an enemy of her husband) uses this opportunity to kidnap Abby’s little boy, forcing Abby to choose the Christian ideals that Geoff, her godly protector, has tried to teach her.
5. CLIMACTIC OUTCOME: Geoff goes out to the desert to rescue Abby’s son, but so too does Abby’s husband, and in the desert, as Abby learns to lean on God for all her needs, it is there that God decides who lives and dies, and who will be Abby’s husband.
Now I take those 5 points, to condense them, and condense them again and again, into one strong moral premise that will be the backbone of my novel, and something I can recite to people in 30 seconds or less.
FINAL PREMISE FOR SHADOWED IN SILK
A young mother in the last days of the Indian Raj with an abusive husband fights a forbidden attraction to the godly man who tries to protect her and her son, until a dangerous upheaval forces her to choose the godly ideals of her protector, ideals that will not only lead her away from him but also away from her abusive husband.
Admittedly, looking back, this premise looks very neat, but that’s because all of the major thinking was already done. In the project I am currently writing, each of the 5 story points started out with a full page.
Working on your premise first, forces you to develop your story arc before you even start typing your outline.
The lesson regarding Premise is one that I learned the hard way, having written my entire debut novel with no clue what premise was. I could have shaved a few years off the writing of that first novel if only I’d known what I know now.
Friday, January 15, 2016
A Premise that Sells -- by Rachel
Friday, January 8, 2016
So…You Want to Write a Novel by Christine
- You’ve been journaling since you were a kid.
- You’ve been writing stories since you were old enough to hold a pencil.
- You’ve had this desire deep inside, yammering to get out for years, but that's what it's remained--a dream.
- Or you've got a manuscript lining your bedside drawer, a manuscript no one but you has ever seen.
- It's time to pull that manuscript out of the drawer, time to open up your laptop and begin.
But write a novel? Write your memoirs?
So where do you start? Or restart? Does the word "Revision" fill you with dread?
Rachel and I invite you to join us on our weekly blog Novel Renaissance. We hope that by sharing what we have learned on our writing journey, we can help your dream of becoming a writer a reality.
Renaissance--"a movement or period of vigorous artistic and intellectual activity."
In other words,
- But here's lesson # 1, that goes even before Premise. The nitty gritty of being a writer, Baring Your Soul.
We've planned our topics for the entirety of 2016, topics that---I for one---learned by trial and error. For the month of January we will be talking about PREMISE.
- Note the word "feel", you'll be hearing a lot about that too in the topics to come.
- "Me" in my heroine
- "Me" in my villain (very important if you don't want a stereotypical mustache twirling bad guy).
- "Me" in a complex secondary character
- What matters to you?
- What broke your heart?
- What mended your heart?
- What deep memories, emotions have shaped your soul?
- Don’t always think of sad stuff, what joys have sent your heart skyrocketing?
- Now, lastly, what kind of books do you enjoy reading?
When I first started writing back in 1999 I understood any non-fiction I hoped to write, especially the account of my birth mother experience would be autobiographical. But later when it seemed that particular true-life account might never be published, I felt the Lord urge me to put the spiritual and emotional truths I’d learned into Christian Fiction.
Whew! I thought. This means I don’t have to bare my soul. I can hide behind my “untrue” historical epics that God-willing might help readers think about the Lord while they’re being entertained.
Here’s the true scoop.
When I wrote my debut novel Shadowed in Silk I don’t think readers had a clue that I was plastering my heart and soul into my heroine Abby Fraser, even into my bad-guy Russian spy, and especially into Abby’s enemy the Muslim woman, Tikah, who kidnaps Abby’s child.
Those three characters all feel invisible for their own reasons. The two women especially "feel" that no one sees their heartaches or hears their cries in the night.
The reason I could write my debut novel was because I knew what if felt like to be invisible, as a woman hurting over the relinquishment of my firstborn to adoption. I was the invisible one in that particular adoption triad. This enabled me to feel like invisible Abby.
But I also felt like my Russian spy who chooses to be invisible on purpose.
I also felt like Tikah, Abby's personal enemy, because part of my heart longed to turn the clock back so that I’d never relinquished my baby in the first place. I took the bare truth of my soul and painted that longing into my character Tikah as she does the reprehensible by stealing another woman's child.
Shocking, I know. I’m not saying my emotions were right or honorable. Emotions are emotions, but that’s what books are, a baring of the soul. Of course I didn’t take back my true-life child, and the Lord helped me through my heartache. But because of that there is:
The ideas and premise for your book must come right from the corners of your soul. Every memory you’ve had, sensory, intellectual, emotional, affects how you see the world. That’s what a book is, sharing your world view in one story at a time.
That’s where you start, be willing to unveil your soul.
Here are some questions to ask yourself, to start the mental juices flowing.
If you enjoy crime thrillers, then you may not want to start writing a romantic novel that’s based on your grandparents’ courtship. But you can take the emotions you retain regarding your grandparents’ love affair and weave that into your crime thriller.
For this week’s lesson, think about what you’re passionate about, and what kinds of literature you enjoy.