Writing Update: Awful Intent

Folks, I just finished the first draft of my working outline for AWFUL INTENT. I’m stoked. Lots of research and lots fun and sometimes maddening work to get to this point. Here’s the current version of the summary, which will change.

Southeastern Utah. 30,000 square miles of red-rock desert and wilderness.  One of the least populated places in the United States. The perfect place to hide just about anything.

Frank Shaw is just passing through. He was once an elite soldier, trained to see what others want to hide. Then he made some terrible mistakes and fell from grace. Except the old skills never went away: they were only heightened during his time behind bars. Which is why Frank notices the fearful woman in the McDonalds and the killer watching her. 

Frank could move on. He’s got a life to put together and a sandwich to buy. But some things are more important than a Big Mac. Frank follows the man who follows the woman, and that one decision leads Frank to a ranch that isn’t a ranch and into a plot of awful proportions.

When Frank and the strong female Sheriff from the small town a number of miles away discover the truth, they try to get back and call for help, but the rancher is on to them and sends a private army out to hunt them down in the wilderness. Frank and the Sheriff will need to use all their combined skills to survive. Because time is running out, and thousands of lives are at stake.

My agent got back to me on BAD PENNY. I will be focusing on some tweaks over the next two or three weeks. Then we need to get that moving forward.

Finally, I know some of you are wondering about the DARK GOD series. And why wouldn’t you be with my earlier post? Things haven’t been finalized. Soon, Grasshopper. Soon.

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    How to Write a Story that Rocks

    Folks, a huge thanks goes to Stephen Nelson for putting all this together. You may kiss his hand when you see him.

    This is a recording of “How to Write a Story that Rocks,” a two-hour seminar Larry Correia and I just put on at the annual BYU’s Life, The Universe, & Everything symposium. I think we had 130-140 people attend. This symposium is focused on writing fiction. And while the panels and presentations do include things specific to the science fiction, horror, and fantasy genres (both adult and young adult), a lot of time is also spent on story writing fundamentals that apply to ALL genres. So when I developed this workshop, I made sure I took the fundamental approach.

    The two-hour seminar has been broken down into 12 segments. To switch between the segments:

    • Hover your mouse pointer over the YouTube below
    • Click the forward and back arrows that appear on the right and left sides to move to the next or previous segment, OR 
    • Scroll through all 12 segments and select the one you want using the playlist control at the bottom

    If you prefer, you can watch all 12 on the How to Write a Story that Rocks YouTube playlist page.

    I’ve found whenever I develop any presentation or training that it takes a few iterations and revisions before it’s the best it can be. This is the first iteration of this seminar. And so below this video I’ve provided additional comments on each segment explaining key concepts, principles, and techniques that we might have failed to discuss or convey as clearly as we’d hoped. Enjoy!

    Handout

    How to Write a Story That Rocks – Handout

    Segment 1

    It’s documented–right-wing gun nut Larry Correia sang “Kumbaya.” What’s next? The hugging of small trees? Oh, Larry, the disilluion. The disillusion.

    The reason why I had Larry sing was not for his mellifluous performance, but to demonstrate the difference in reactions between him and our happy volunteer (“Country Road” by John Denver–this really was a love fest). The volunteer balked because he hadn’t taken any thought to know what to sing before he was commanded to do so. On the other hand, Larry and I had spoken before the seminar. So Larry had something to sing BEFORE he sang it. It’s a simple demonstration, but it illustrates a principle a lot of new writers forget. Writing is a performance. It helps to know what it is you’re going to perform before you perform it.

    It’s one thing for you to tell yourself to write. It’s much easier to tell yourself to write the scene where the rancher finds out one of his illegal ranch hands has been kidnapped.

    Now this doesn’t mean that you have to know everything. Or that you can’t write exploratory drafts to figure out what it is you want to write. But it does illustrate that whatever techniques you use, you’ll be a lot more effective in your writing when you have something to say first.

    But what do you develop? What are the things that bring the story to life? How do you go about getting those things to say? That’s precisely what I wanted to address in the seminar. In the segments that follow, I try to:

    1. Explain what I’ve found are the most important things to develop, the things that define the essence of story, that make the story come alive in the writer’s mind–the things that really matter
    2. Demonstrate techniques to develop those things so you have something to say

    Segment 2

    I think this segment went fairly well. What rocks will different from person to person, even though there will often be a huge overlap between people. So it’s important for authors to seek to develop the kinds of stories that rouse their passion. Watch this interview with best seller Debbie Macomber to see what I mean. So I can’t tell you what to write about. Or if whath you think rocks will resonate with a large number of people. However, what I can do is share the techniques I use that have been most productive in helping me develop initial ideas into something that has much more power.

    You can use the techniques to juice up any of the four parts of story. However, I will say that I find that the most productive, the most important parts, are character and problem. Plot and setting are important. I love them and work to juice them up. But when I get a good character and problem, that’s when the writing seems to flow the easiest.

    And no, I don’t list theme as a part of story. Everyone talks about theme, but when I read what they have to say or press them for examples, it seems that it always either boils down to (1) a story element or topic that’s repeated, (2) a story problem/issue stated in an abstract manner, or (3) some moral situation. Les Miserables is about the “theme” of mercy versus justice. But saying justice versus mercy is just an abstraction of the story problem and dilemmas the story deals with. So, no theme. 

    Segment 3

    Loved this bit about scenes from David Mamet: http://www.slashfilm.com/2010/03/23/a-letter-from-david-mamet-to-the-writers-of-the-unit/ 

    Segment 4

    I’ll be adding my comments to the rest of these segments over the next few days.

    Segment 5

    Segment 6

    Segment 7

    Segment 8

    Segment 9

    Segment 10

    Segment 11

    Segment 12

    Dan Wells on Story Structure

    Check it out: Dan Wells on How to Build a Story (story structure). I find Dan’s “start with the ending” technique helpful as well as thinking about a worst fears realized moment. Watch the videos and see if there isn’t something there that can help you develop your story idea.

    You can get the PowerPoint of How to Build a Story on Dan’s site.

    If you find this approach useful, you might want to check out what novelist Larry Brooks has written about the same material on StoryFix.com.

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    News

    Interview with The Man Monday night

    Dungeon Crawlers Radio interviews The Man Monday, March 8th at 10:30 PM MTN. You can listen live or to the archive they’ll post to their site. All brought to you by UtahFM. Malak and Revan are great guys. I had a blast with them.

    Cool facts on breaking in, advances, etc. for writers

    New page on writing facts & figures in the On Writing section.

    Novel update

    CURSE OF A DARK GOD is moving along. You should see the progress bar move along quite a bit this week.

    Initial Schedule for American Fork Arts Council Conference for Writers

    This is a cheap day-long writers conference and looks like it’s going to be another great one.  I’ve highlighted what I’ll be doing in red. I’ll be making adjustments to the HOW TO WRITE A STORY THAT ROCKS presentation for things learned at LTUE.

    Here’s their website. That night I’ll probably be attending the Whitney Awards Gala which is also being held down in Happy Valley, Utah.

    DATE: Saturday April 24 2010

    8-9 a.m. Registration
    9-9:10 Welcome (Plenary)

    KEYNOTES
    9:10-9:40 Keynote #1 Ginger Churchill, “What I Wish I had Known as a Beginning Writer”
    9:40-10:10 Keynote #2 Ally Condie, “My Journey to National Publication”
    10:10-10:40 John D. Brown, “Aiming for National Publication”

    INTRODUCTIONS of editors and authors
    10:40-11:05 EDITORS: Derk Koldewyn, Granite NAME
    AUTHORS: Caleb Warnock, Linda Jefferies, Shannon Guymon

    11:05-11:20 15-minute break

    11:20-noon BREAKOUT ONE
    Upstairs room “Crafting the Novel” with Shannon Guymon, John D. Brown
    Downstairs One “Finding and Working With an Agent” with Ginger Churchill, Ally Condie, Caleb Warnock
    Downstairs Two “Taking Your Questions about Publishing” with Deseret Book and Granite Publishing

    noon-1 LUNCH “Mix and Mingle with Authors and Editors”

    1-1:40 BREAKOUT TWO
    Conference One Derk Koldewyn of Deseret Book “What Deseret Book is looking for now”
    Conference Two Ginger Churchill “How to Write and Publish Picture Books”
    Upstairs room John Brown, “How to Write a Story That Rocks Part 1: First Principles & Story Concept”
    Office room Caleb Warnock “10 Things Every Writer Should Know about Copyright”
    Downstairs One Granite Publishing “What Granite is looking for now”
    Downstairs Two Ally Condie “Writing Young Adult Fiction”

    1:40-1:50 Ten-minute break

    1:50-2:30 BREAKOUT THREE
    Upstairs Room John Brown, “How to Write a Story That Rocks Part 2: Character”
    Conference Two Ginger Churchill “Genres of Children’s Books, from Board Books to YA Novels”
    Conference One Derk Koldewyn of Deseret Book “National Publication with Shadow Mountain”
    Office room Caleb Warnock “How to Write the Query Letter”
    Downstairs One Granite Publishing “Publishing Options with Granite”
    Downstairs Two Shannon Guymon “How to Write Romance”

    2:30-2:40 Ten-minute break

    2:40-3:20 BREAKOUT FOUR
    Upstairs Room John Brown, “How to Write a Story That Rocks Part 3: Plot”
    Conference Two Ginger Churchill “How to be a Writer and a Mother Too”
    Conference One Linda Jefferies “Writing Poetry”
    Office room Caleb Warnock “Write a Synopsis? I’d Rather Gouge My Eyes Out!”
    Downstairs One Ally Condie “Succeeding as an LDS author”
    Downstairs Two Shannon Guymon “Writing Nonfiction”

    3:20-3:30 Ten-minute break

    3:30-4:10 BREAKOUT FIVE
    Upstairs Room John Brown, “Writing Scenes: The Basic Units of a Novel”
    Conference Two Ginger Churchill “Querying Agents and Publishers”
    Conference One Linda Jefferies “Publishing Poetry”
    Office room Caleb Warnock “Okay, You Were Rejected – Why, and What to Do Now”
    Downstairs One “How to form a critique group that works”
    Downstairs Two Shannon Guymon “Succeeding as an LDS Author”

    4:10-4:20 PRIZE GIVEAWAYS, GOODBYE

    REVISED (MAY CHANGE)

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  • Your input please

    Dear Readers,

    I currently have two options for opening BAD PENNY, my thriller that I’ll be sending to my agent next week. I’m looking, of course, for the most interesting first page. Please imagine you’re in a book store or browsing online. Tell me which option you find most interesting and by how much (a little more, a lot more).

    Thanks!! 🙂

    OPTION 1

    The two men had been keeping back, playing it safe, giving the woman plenty of room on the deserted interstate. It was just after five a.m., the sun still about an hour off. Hardly a soul out here. Just them and her driving in the dark, the two men waiting for her to make her mistake.

    Jesus Goroza, the man with tats running over his limbs like demons, thought she was FBI.  Dan Meese, the driver, the man with the prison scar on his neck, wasn’t so sure. Wouldn’t the FBI have sent backup at the first sign of trouble? Of course, maybe she’d convinced her bosses she was clear, and they’d pulled back the cavalry. If so, she hadn’t been very smart.

    Up ahead the woman slowed then took the exit to a small out-in-the-middle-of-nowhere Utah town called Coalville. In a big city, there would have been cars. There would have been some bustle. There would have been witnesses.

    There were no witnesses here. Not on these streets.

    There were hardly any homes in this town. Meese figured there were at most a few dozen, and they were all strung out along a main road that stretched for what looked like ten miles. All of them were dark. A bunch of hick farmers dreaming about cows.

    A brightly lit Best Western hotel and a Texaco gas station stood on one side of the interstate. A lone Sinclair gas station stood on the other. The woman came to a stop then accelerated up and across the overpass toward the Sinclair gas station on the other side, the one that you couldn’t see well from the interstate. The one she obviously thought might give her cover.

    “Bingo,” Jesus said.

    In a big city, the Sinclair would have been ready for business. In this no-nothing town, it was dark and locked. The pumps, of course, were on. And the station’s sign with a green dinosaur on a white background towered above the place and shone out into the fading night.

    But there was no attendant standing guard over the cash and cigarettes to observe the woman. No one to see her stop and start the pump. No one to see her go try the bathroom door around the side. No one to see the two men pull in just a few seconds later.

    Meese said, “Looks like the offerings to your White Lady paid off.”

    Jesus pulled the semi-automatic from the glove box.  “I told you she wanted mescal.”

    Mescal offered up in a glass five days in a row along with prayer and cigarette smoke blown into the Lady’s skeleton face.

    “They want her alive,” Meese said of the woman they were following.

    “She’ll be alive,” Jesus said.

    OPTION 2

    Frank Shaw sat facing the owner of Cowboy Donut in a back office heaped with stacks of paper in yet another job interview that was starting to swirl the toilet.  Trying to get a straight job as an ex-con was a lovely experience. Kind of like being dragged behind a bus.

    No matter how tidy you looked or how sharp your resume was, it all came down to two questions: “Have you ever been convicted of a crime?” and “What were you in for?”

    Frank knew it would be stupid to lie about either. First of all, he was trying to go straight. Second, any employer who didn’t have a carrot for a brain was going to run a background check. So there was no use trying to hide.

    The sun-wrinkled owner of the Rock Springs, Wyoming doughnut establishment was one Ms. Mary Rogers. She was probably in her fifties and had two-tone hair that seemed to take its inspiration from a badger—all bleached up on top and dark underneath.

    Ms. Mary had just asked the question, and Frank had dropped his bomb—voluntary manslaughter, a security job gone bad. He’d been protecting the wrong kind of noun for the wrong kind of people, which led to seven fine years in prison.

    Now came the fun bus part, the Judas-Priest-there’s-a-criminal-sitting-across-the-desk-from-me part. First interviews were like first dates. And Frank had basically told this date he had an Ebola monkey virus that would make her eyes bleed—would she now like a kiss? That, of course, was yummy to women everywhere.

    Ms. Mary narrowed her eyes. “What else am I going to find on your RAP sheet?”

    “That’s it,” Frank said. “Just the one unfortunate incident.”

    “Murder is a pretty big incident.”

    “Manslaughter,” he corrected. “Not murder.”

    She made a noncommittal sound and looked down to study his resume a bit more like maybe something new would pop up there.

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  • Smith’s grocery update

    Okay, so SERVANT is still in Smith’s. Get them before they’re gone. If you were thinking of purchasing, now’s the time (and let’s hope the trial run is a success and they take it national in their stores). They have it cheaper than anywhere else in the Utah area. I think it’s $17 or $19. That’s a great price for a new hardback.  I know it’s in these stores.

    • Heber, UT
    • Jackson Hole, WY
    • Park City, UT
    • Provo, UT (by the library)
    • Orem, UT (State and Center)
    • Sandy, UT (benches, Bengal Blvd.)
    • West Jordan, UT
    • I’m sure there are other Smith stores that I’ve missed. You can check your local store to see. Let me know here if you spot it. 🙂 
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  • Amazon, a Reader, & SERVANT

    Holy smokes! I just saw that Amazon put SERVANT on sale. I don’t know when this started, but they have the mass market paperback listed for $1.75. That’s cheaper than I can buy it!

    http://www.amazon.com/Servant-Dark-God-Tor-Fantasy/dp/0765362309/ref=tmm_mmp_title_0?ie=UTF8&qid=1315490465&sr=8-1 

    Maybe the Dark God had something to do with it . . .

    Something else of note happened this week. I often get emails from readers expressing how much they enjoyed SERVANT and asking questions about the story. I simply love receiving those emails. What author wouldn’t? One email in particular this week, though, especially pleased me. You can see the review the reader wrote here: http://www.goodreads.com/review/show/146860447, but there was one thing the reader wrote in his email to me that wasn’t in the review that make me exclaim “Yes!”

    One thing I didn’t squeeze into the review was how much I enjoyed the little details–names of farm implements, invented words like dreadmen, terminology for the parts of the ship, etc.  It all added to the suspension of disbelief factor very nicely.

    Finding and adding those details were one of the things I loved about writing SERVANT.  I’m so happy to hear they paid off. I don’t think all readers will notice them. In fact, I hope they don’t. But it’s clear they’re doing their part to make the experience work for a lot of folks. And that makes me happy.

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