Writing tips from Best Seller Debbie Macomber

I saw this today and thought of the assignments I give in my workshops. Look at what this hugely popular writer did to learn and focus her craft:

  1. Knew what she liked and followed HER passions (she knew what rocked her).
  2. Took 4 books she loved and broke them down to look for patterns she could use. This is exactly what Bernard Cornwell did (link at bottom).
  3. Identified what it was she wanted to deliver to her readers. I believe her four words were “Provocative,” “Relevant,” “Creative,” and “Honest” (form follows function).
  4. Notice also how much she loves plot turns (story cycle–surprise and conflict).

What a delightful interview. I’m going to pick up a Macomber and give her a go. Anyone have a recommendation on a title?

Share

Similar Posts

  • |

    Jolie, Salt, & trading suspsense for surprise

    Last week I went and saw Salt. Wow. The movie started with a bang and was off to the races with lots of great action. Unlike many action films where the characters perform stunts which are simply too hokey for me to buy into, I found myself believing in all but two of Salt’s. So I was wowed most of the time instead of thinking about whether they were using wires or what or that it was all so wrong and geeze don’t these guys have consultants? They weren’t as stunning as the opening of Casino Royale, but what is? 

    But it wasn’t just action. The premise and acting were all great as well (yes, I recant, I slammed Jolie a while back as an actress cast only for her face value; and while you know that’s one of the reasons why she was here, she still was convincing in her role). Furthermore, the story had a lot of great reversals and reveals. But this was also its ultimate downfall.

    When I got to the ending, I did not feel a climax release. No catharsis. No afterglow. It just ended and left me feeling empty. It’s an awful feeling. Totally unsatisfactory. Such a maddening cut off. 

    But why? It was all so good up to that point.

    *** SPOILERS ***

    As I was talking it over with Nellie I believe I indentified the answer: in their effort to be surprising, the director and writers removed everything that would have built suspense. So instead of getting a Sixth Sense ending where the surprise adds to the climax and gives it a wonderful texture, we got a slap of surpise and then nothing.

    For me to feel relief, triumph, and the desire to stand up and cheer–all those great climax emotions–I have to be worried about a character. Stressed, thinking they’re going to fail. They need to fight courageously against insurmountable odds and actually come to a point where it appears all is lost. Where I groan inside. All this creates massive pent up worry and anxiety for them. And at that point, the character snatches victory from the jaws of defeat.

    Boom! The climax floods me and it’s delight, relief, cheer, joy.

    It’s just like a football game where we bite our nails until the very end. Where our non-ranked team is playing the #3 team in the nation. Maybe we jump ahead in the second quarter, but in the third we fall behind. We make some great plays but can’t catch up. And when we do put points on the board, the other team immediately responds. There are three seconds left. We’ve stalled at the twenty yard line. We have one more play. From the moment it starts it appears to be broken, our QB is going down, and then . . . he passes to a running back who has made some space. Who is standing open in the end zone! Yeeeeeaaaaaaahhhhhh!

    In order to feel a release a climax, something has to build up. The thing that builds is worry, fret, desperate hope. This is what we mean when we talk about suspense. We know the team’s goal, see their predicament, see the overwhelming odds. See them about to lose it all. The dread of defeat and what will be lost rises.

    But in Salt the director and writers went for the effect of surprise instead of suspense and triumph. The moment Salt starts in on the Russian president I thought she was the bad guy. Yes, there was the bit about the spider that had me wondering. Yes, I knew she felt anguish about her husband being killed (that smart little reveal in her expression). I knew all of that. But the movie kept me busy thinking she was the bad guy up until almost the very end. Everything in the film lead me to believe this. Not because I didn’t get it. I got it precisely. It’s exactly what the director wanted. It was the setup for the big surprise/reversal at the end.

    But when they went for surprise by not letting the audience know what Salt was really up to, the immediately removed the possibility of suspense. So I didn’t feel any suspense at her infiltrating the old group of spies. No relief at her killing them–that was just her revenge. No suspsense when she went to the White House. Nothing when she chased the president down the elevator shaft. The whole time I was thinking, crap, they really did indoctrinate her. She’s bad.

    More importantly, there was no rooting, no worry building to release proportions.

    Not until the very end do we realize what she’s been trying to do. Oh, the role reversal with her and Ted Winter (btw, like Liev Schreiber who plays the part) was all a big surprise, as it was designed to be. But the surprise faded and there was . . . nothing to replace it. That’s how surprise works. It’s a relatively short effect. 

    Yes, she kills Winter. Yes, he was a threat at the end with his scissors, but I didn’t care that much. I hadn’t been whipped into a fever pitch. Not like I was in Gladiator with the emperor and the lead in the coliseum. There was no pressurized worry ready to burst. There wasn’t any because we hadn’t had any time for it to build and because by that time nothing for Salt was really at stake. The one meaningful thing she stood to loose–her relationship with her husband–was taken away from us in an earlier scene when he was shot dead. So what was at stake? A big old nuclear war. Well, who cares about that? Nobody. It’s too generalized. We cared about Salt and her husband.

    The result was that the director and writers traded climax for surprise. Alas.

    So here’s my conclusion. Surprise is a relatively easy effect to create. You simply have something unexpected but logical occur. Relief, triumph, climax needs something much different. And surprise can be a part of it. But in our effort to build surprise we must not remove the conditions necessary for please-dear-mother suspense. Suspense requires we root for and worry about a character for a significant period, our unease growing until it’s drawn taut, straining. All the time something significant has to be at stake. Something we can sympathize with. Something personal to the person we care about. Only then can we feel the climactic release. Only then will we stand up and cheer in holy-crap-no-way relief and delight.

    Share
  • |

    John guests on Writing Excuses season 3 episode 18

    writing-excuses-the-guys2-300x139

    Here’s the second episode I recorded with the Writing Excuses guys.

    In the first podcast we talked about putting and not putting ourselves in our writing and making characters who don’t all sound like the author. In this one, we talked about how to not repeat ourselves in ways that make the reader feel like they’re getting the same old same old.

    As usual, the guys had some great insights. Check it out: How to Not Repeat Yourself.

    Share
  • |

    Become A Story Idea Machine

    Now’s your chance

    Apply to take the next Novel Writers Academy course: How to Create Story Ideas That Beg To Be Written.

    • Six-weeks
    • Starts: Jan 2, 2022
    • Ends: Feb 21, 2022
    • Gobs of hands on practice
    • One-on-one guidance from me

    At the end of the six weeks you will be a story idea machine.

    I will be working with only a small set of people. And so you need to apply to get in.

    The deadline for applications is midnight, December 11th. So contact me now to get the application instructions.


    A cracking good story idea requires five critical elements.

    Until you have all five, you’ll struggle to plot. You’ll write a few scenes and run out of gas. You’ll feel like the story just isn’t going anywhere.

    And that’s because it isn’t. It can’t. A story isn’t a story without all five elements.

    However, once you develop these five things, your story will suddenly roar to life. There are a few other elements that are important as well, but these five things form the core of the story setup. 

    In this course you’re not going to merely learn about all of those story elements. You’re going to go deep and learn what can only be learned by actually doing the work and developing story idea after story idea with personal one-on-one feedback from someone who knows what they’re doing.   

    When you finish, you won’t just know story theory. You will be a story idea machine. And you will be that because you have put in the work. The right work.  

    Again, this is not a course full of lectures and videos. This is a course where you’re going to work. And develop the insights and skills that only come from doing the work.

    You’re actually going to:

    • Come up with story setup after story setup after story setup
    • And improve them with one-on-one feedback. 

    It’s going to:

    • Eliminate years of you wandering about in the story wilderness trying to figure things out on your own. 
    • Put you miles ahead of other writers who have no idea what’s really at the core of story. 

    You are going to learn how to develop killer story ideas on purpose instead of on accident. Which means you’ll be able to do again and again. Reliably. Like clockwork. 

    Course details

    The focus of the class is not on learning about story, although you will do that. The majority of your time will be spent on developing stories. 

    You can’t become a carpenter by watching videos and reading books about it.

    You have to get out on the work site, cut wood, and pound nails. You have to make the mistakes all beginning carpenters make, get feedback, and improve.

    The same goes for writing.

    And you’re going to work in this class. You develop 21 story setups. In fact, you develop more because the 21 are just the ones you turn into me. And with each one your skills, insights, and abilities grow.  

    In the beginning, your setups will be bare bones. By the end, they’ll be fully developed setups that beg to be written. Setups you can use to immediately write the first draft  of your novel, whether that’s in outline or chapter form. 

    Here’s what you do each week. 

    Week 1.

    • Uncover the secrets of what’s really at the heart of story and how to generate ideas. 
    • Define your genre requirements
    • Create story setups 1-3

    Week 2.

    • Uncover the secrets to compelling characters 
    • Create character sketches
    • Create story setups 4-7 

    Week 3.

    • Uncover the secrets to formidable obstacles
    • Create story setups 8-11 

    Week 4.

    • Uncover the secrets to interesting casts
    • Create story setups 12-15

    Week 5.

    • Uncover the secrets to managing multiple storylines and series
    • Create story setups 16-19 

    Week 6.

    • Create story setups 20-21. These are your capstone projects where you apply everything you’ve learned and take it to the next level

    In this class you develop story idea after story idea after story idea. You are going to be marinated in the work of developing characters, THOMs, goals, obstacles, settings, casts, and more. And because of that, each week will not only bring an explosion of insights, but new skills and abilities.

    Every week you get two private, one-on-one, live sessions with me where you get encouragement and feedback on what you’ve developed. And you’ll have access to a private Facebook group where you can apply the principles to brainstorm even MORE ideas for each other’s stories. 

    At first you might feel a bit shy and worried about your ideas and abilities. But you’ll soon get over that. By the end of the course you’ll be one of those people that can generate terrific ideas easily. And you’ll be able to do that because you will have put in the work to become a different writer.  

    What’s the price?

    Hours of one-on-one instruction from a professional editor or author costs thousands of dollars. An MFA program can cost $25,000 to $30,000 or more!

    But this course won’t cost anywhere close to that.

    Plus you’re going to learn things here you’ll never get in an MFA program (I know. I was accepted into a top-ranked program).

    The cost of this course is $799. And I personally guarantee your results. You’ll be totally oh-my-gosh-I’m-so-happy-I-took-that-class satisfied, or I’ll give you your money back. No questions asked.

    Now’s your chance to stop spinning your wheels. I can’t tell you how much I wish I’d had something like this when I’d started:

    • The secrets about the true core of story.
    • The secrets about how to come up with ideas. 
    • Actual work with personal one-on-one feedback. 
    • Laser focused on what actually matters, not a bunch of ridiculous writing rules. 

    When you finish, you will be a story idea machine. 

    You won’t know plotting. That’s a different course and set of skills. You won’t know how to write chapters. But you’ll know how to create the engine that powers all the rest of that. You’ll know how to create the core that makes awesome plots and chapters possible. 

    If you want to take this course, click the button below and contact me. I will tell you exactly how to apply.

    I’m not going to be able to accept everyone who wants to take the class. I have a very strict limit on the number of students I can work with. So you need to get your application in before the deadline of midnight, December 11th.

    Don’t wait!

    Contact me now to get application instructions.

    Share
  • |

    Brain Nazis and Feeling Good by David D. Burns, M.D.

    Have You Got a Brain Nazi?

    If you’re conscious, you’re monitoring your environment. You have to. It’s how you survive. This is not something you can turn off. It’s just one of those systems that runs automatically, like your liver. You’re always appraising the situation.

    And as soon as you encounter something that’s likely to be of importance to you or yours, your monitor kicks off a physical response to prepare you to deal with or take advantage of it.

    The problem is that sometimes a Nazi propagandist worms his way into the monitoring station. And like any good Nazi, he distorts reality.

    Sometimes those distortions lead to burning resentment, sometimes to unwarranted shame or anxiety, sometimes to eating disorders, sometimes to grave depression. When I heard of the tragic suicide that occurred in our community a few months ago, my heart went out in sympathy to the girl, her family, and friends.  I’m not a doctor. I don’t know the situation. But I’m positive she was dealing with one of these villains.

    I wished I’d been able to share something that’s been a literal life saver to me. Now, it might not have changed anything. But hopefully it can change things in the future for you and others you know who may have to deal with a Nazi in the brain.

    And you will have to deal with a brain Nazi at some time.

    This is not something that affects a miniscule portion of the population. In any given year you can expect more than 15% of a population to experience some form of this [1]. That’s roughly 238 of the estimated 1,592 people 18 years and older in the little county where I live [2]. Rates for teens are similar [3]. Besides, you don’t have to have a full-blown case of a depression for distortions to affect you. How many of us haven’t made faulty comparisons with others? “Oh, she’s so thin and has such great hair; I’m so dumpy.” “Oh, he’s doing so well, and I’m not. I’ll never be a success.”

    The question is not whether you or someone important to you will have to deal with it. The question is how prepared you’ll be when you do. Everyone deals with distortions now and again.  Which means everyone can find a little more enjoyment in life by showing their brain Nazis the door.

    So how does it all work? How do you show the villain out?

    I’m going to summarize it below, but I’ll tell you right now that the book that saved my life was Feeling Good by David D. Burns, MD. This isn’t positive mental attitude. It’s not neuro-linguistic programming. It’s not the mumbo jumbo of Freud and Jung. This is practical and proven. It is the most prescribed intervention for dealing with these issues in the current medical community. It’s prescribed because it works.

    Your Brilliant Appraisal-Emotion System

    To understand this, you have to understand how emotions work. As I said before, you’re always monitoring your situation. You hear a buzz and see a rattlesnake on the path two feet away. Your monitor immediately responds. Alarm, adrenaline, increased blood flow–all of that to get you ready to deal with the situation. Your monitor writes “alarm” on your face to communicate it to those around you–to warn and ask for help. This happens in less than a blink of an eye.

    But this doesn’t just happen with danger. It happens when we encounter unfamiliar things. When we encounter positive things. You see a great friend who makes you laugh all the time. Boom, your monitor responds. You smile. Feel. Focus. You do so because you not only want to avoid dangers, you also want to seek out the things that make you happy.

    Our emotions prepare us to fight, flee, seek, and pitch woo. Our little monitoring and physical response system is brilliant.

    But there’s more. We don’t rely on just the automatic subconscious monitoring. We also have a cognitive (conscious thinking) part. Let’s go back to the rattlesnake. You walk out into the garden, step on a slither, and immediately go into alarm mode. Then you look, consciously see the slithery thing is not a snake, but the garden hose. You relax. Laugh.

    The quick subconscious appraisals keep us alive, because with snakes and other things, if you’re slow, you’re dead. We don’t have time for thought. If you touch a hot stove, you want an immediate reflex. You don’t want to ponder it for a second or two. On the other hand, the cognitive appraisals help us further appraise a situation. They bring more of our resources to bear on the situation.

    How Does the Nazi Get In?

    So there are three parts of the appraisal-emotion system: the subconscious appraisal of the situation, the physical response, and the cognitive appraisal. Each of the three parts affects the other two. And when things are running smoothly, we don’t have problems. But sometimes we get a distortion mucking up the works. We make a faulty appraisal of the situation. And therefore have a faulty physical response.

    For example, you’re a mother. You’ve had a hard day. The kids make a huge mess with flour in the kitchen. You yell, freak out. When they’re cowering in their rooms and you’re cleaning up the flour, you think, “There I go again. I’m a total failure. I can’t stand it! I never do anything right! I’m a terrible mother.” These thoughts make you even sadder.

    And that’s the propaganda. That’s your brain Nazi with his all-or-nothing thinking, telling you that you either perform perfectly or you’re a failure.

    But is that true? No, it’s not. You might be a B+ mother, filling the lives of your kids with all sorts of goodness. You might have just had a great time reading with the kids not thirty minutes before. But the brain Nazi tells you to forget that. “Vatch dis film,” he says, “und see de horrors of vut you are!”    

    And the all-or-nothing thinking gambit is just one of ten common weapons he uses. Furthermore, this happens so quick that we often don’t notice it. In fact, we’ve often repeated some of these distortions so often than they’ve become almost automatic.

    Mr. Nazi, Meet Mr. Bazooka

    The good news is that you can pull the lid off the lies. You can open the door, spot the brain Nazi that slipped in, and take him out. You can do this because one of the three parts of the system is our cognitive appraisal. This means you can consciously stop the movie, pin the distortion on the wall, and uncover the truth. Once you do that, it’s like the rattlesnake scenario above—oh, it’s a hose, we realize, not a snake, and the appropriate emotions immediately follow.

    But you need to know how to stop the movie. You need to know how to spot the lies. David D. Burns, MD tells you exactly how to do this in his book Feeling Good. (By the way, DON’T get this book confused with his Feeling Good Handbook–you DON’T want the handbook; you want Feeling Good, the book.)  In the book, Burns talks about the theory, the results, and then gets right down to the practical techniques used to blow the brain Nazi to kingdom come.

    A few years ago I hit a bad patch with a brain Nazi that had taken up residence. A very bad patch. He’d been there for quite some time. This book and a good counselor saved me. I thank the Lord for that. By the time I went to see a medical doctor to assess whether chemical issues might be playing a role, I was stable. I wasn’t out of the woods yet, but I had opened the lid and found the villain at the controls. I used the techniques Burns gave me, and I’m happy to say that while the brain Nazi still comes round every once in a while, I can spot him. And I can take that sucker out.

    Go to the library and check out the book and take the assessment test. If you, or someone you know, scores in the mild range, maybe you’ve just experienced a very sad event. But maybe you’ve also got a villain in residence. Get the book. Read it. Be happy. Nobody needs to live with a Nazi at the controls.

    For Authors

    By the way, fiction authors should pay special attention to this stuff. Not because we’re more susceptible to brain Nazis than others, although we do have to deal with our fair share as we develop and share our stories. No, we should because the emotion process is exactly what we’re trying to tap into. Knowing the principles can be very useful indeed. Let me recommend you read the books on emotion listed on the Learning With Pros page.

    Sources

    1. 1. http://www.nimh.nih.gov/health/publications/the-numbers-count-mental-disorders-in-america/index.shtml
    2. 2. http://quickfacts.census.gov/qfd/states/49/49033.html (find your state and county and see how many folks are likely dealing with a brain Nazi in your area)
    3. 3. http://www.oas.samhsa.gov/2k5/youthDepression/youthDepression.htm
    Share