Katie Klein is On Hiatus

It's the most wonderful time of the year. . . .

And after an amazing Thanksgiving with family and a weekend spent decorating my house for the holidays, and after one of my classes was (surprise!) canceled--leaving me with only four to manage--I've decided to take December off from the blog, etc. to recharge/regroup and maybe have some time to watch all of my favorite Christmas movies (the season really doesn't last long enough).

I will be back in January with my annual goal-setting post, then resume my story circles series. I also hope to have some nice news to share (though, as of now, I do not have a book scheduled to release in 2022).

Twitter will stay updated (and Facebook, to some degree), so make sure you're following me for news about my annual Christmas sale. It's happening soon, for one week only. (!!!)

Otherwise, I wish you a safe and happy holiday season and will see you on the other side.

Be Brilliant!

~Katie~

Story Circles, Part II: Dan Harmon

Last week I began a series on story circles, which I think are great baselines to set our stories on because they align so closely with what we (as humans) expect a story to be. There are instances, of course, when we'll want to break those boundaries to surprise our readers, but it *is* helpful, before we start breaking rules, to know them and the structures readers most relate to.

I started with Joseph Campbell's monomyth/hero's journey, but I was recently introduced to Dan Harmon's story circle, and this one, to me, falls more in line with contemporary storytelling and character journeys/arcs.

Harmon's circle is closely related to Campbell's, though, and you can see some of the overlap even if the stages aren't exactly the same.

So we start with THE COMFORT ZONE.

This is the place the character knows. This is her familiar territory--life as it is.

Not long after this comfort zone is established, we learn about her NEED (or DESIRE). This is the discovery of a goal she may have (whether the goal is thrust upon her or appears of her own volition is up to the writer). 

In order to accomplish this goal, she will now need to enter an UNFAMILIAR SITUATION. At this point, she steps wholly out of her comfort zone in a brand-new "world," and we--the readers--get to watch her flail about as she finds her footing.

This becomes her struggle as she tries to ADAPT. 

At first, of course, a character is going to go about getting what they want in all the wrong ways, but this unfamiliar territory and their desperation to adapt is going to do a lot of heavy lifting when it comes to filling those story pages. This is the bulk of your story, and where those obstacles build to a point of no return.

Finally, the character will GET WHAT SHE WANTS.

But . . . she will PAY A HEAVY PRICE or suffer to some degree for what she's gained because this isn't what she needed . . . not really . . . not until she can finally take her newfound knowledge and RETURN TO COMFORT with the CHANGES she's made.

Like many story circles, this begins with a Familiar Order, moves into Chaos, then returns to a New Order.

So there's a cute movie on Netflix right now called He's All That. I am of the She's All That era, so, naturally, I wanted to see what this updated gender swap looked like. Not only did I enjoy it, but the plot fits into Dan Harmon's circle beautifully. 

1) THE COMFORT ZONE

Padgett is a social influencer pretending to be wealthier and more "together" than she really is to keep up appearances.

After her celebrity boyfriend cheats on her and her reaction/breakdown is caught on a Livestream, her social status plummets. (This is the catalyst.)

2) NEED OR DESIRE

She needs to win her followers (and sponsors) back . . . 

3) UNFAMILIAR SITUATION

. . . so she makes a bet to turn the least popular boy in school into the prom king.

4) ADAPTATION

Padgett and Cameron begin to bond as she slowly makes him over. 

5) GET WHAT THEY WANTED

Cameron is becoming more accepted . . .

6) PAY A PRICE

. . . but soon she and her plans are outed publicly. Now she's lost Cameron (whom she was really beginning to like) and a "best friend" (who was actually an enemy) and everyone knows her "influencer life" was not her reality.

7) RETURN TO COMFORT

She goes to prom--which doesn't even matter to her anymore--and back to her life (without Cameron) realizing . . .

8) HAVING CHANGED

. . . what a massive mistake she's made and how she's been focusing on all the wrong things. Cameron realizes he, too, has changed and forgives Padgett. They are finally together and, post-high school, are traveling so he can work on his photography and she can be a new kind of (better) influencer.

Sure it's a light, cheesy, YA rom-com, but it works.

What's so nice about Harmon's circle? It's emotion-centric, in a lot of ways. Can we apply a story's plot to it? Absolutely. But we can also apply our character arcs to it. 

In He's All That, Cameron is undergoing his own changes. He has a need/goal and is thrust into a new situation he must adapt to (namely Padgett's interference in his life), but he, too, grows/matures by the end. 

Ergo, filling out one of these circles for each of your main characters will help deepen their interactions with one another as well as the impact they make within the overall story, satisfying the reader on multiple levels. 

Be Brilliant!

~Katie~

Story Circles, Part I: Joseph Campbell

I *love* Carl Jung and Joseph Campbell and the whole idea of the hero's journey and monomyth. 

I actually like the idea of story circles, in general.

I think writers who aren't familiar with this type of "official" storytelling still follow these guidelines to some degree, whether they are aware of it or not.

And if a story isn't working for some reason, I think it's good to break down the structure and plug the content into a circle of some kind to determine what's missing or what could be strengthened.

So . . . my next few blog posts are going to highlight a few different types of story circles, and we're going to start, of course, with Campbell. 

Campbell's monomyth contains 17 distinct steps:

But the overarching ideas can be broken down into twelve easy-to-apply stages:

THE ORDINARY WORLD

The story opens in the hero's world--a world in which he is missing something, or in which something has been taken from him. 

THE CALL TO ADVENTURE

This is where we learn the problem the hero will have to solve in order to "right" his world again. This will ultimately become the hero's goal (or one of them), but first. . . .

THE REFUSAL OF THE CALL

The hero isn't interested in solving this problem or facing this challenge--not of his own volition. He's going to need some convincing or a push in the right direction. 

MEETING WITH THE MENTOR

Enter the mentor. The mentor can't join the hero on his journey, but he can prepare him with information, advice, or some kind of tangible item that will help him along the way. 

CROSSING THE THRESHOLD

Now the hero is ready to solve the problem. He enters a new world where chaos ensues. 

TESTS, ALLIES, AND ENEMIES

The hero meets new people and faces obstacles on the path to fulfill his destiny. We are learning more about him and what he's capable of accomplishing. He is also failing all over the place.

APPROACH TO THE INNERMOST CAVE

The hero is closing in on his ultimate test. His allies have gathered, and his enemy or enemies lie in wait. The conflict has built and setbacks have occurred.

THE SUPREME ORDEAL

This is the key moment to which the plot has been building. This is the final fight, where the "boss" appears, and/or where the hero's life hangs in the balance. He may (or may not) lose his mentor (or someone close to him) at this point. 

REWARD, OR SEIZING THE SWORD

Because he has survived the supreme ordeal, the hero is rewarded. 

THE ROAD BACK

The hero still encounters tests and challenges on his way home and must determine if "home" is where he even belongs anymore.

RESURRECTION

This is a final test. The hero must gather his tools--including everything he's learned along his journey--to face this final obstacle in order to be "reborn." This often relates to his inner arc/growth.

RETURN WITH THE ELIXIR

The hero returns to his ordinary world a changed person. He presents his people with the gifts and/or knowledge/wisdom he has accumulated. In its own way, it becomes a new world. 

***

You can see where these stages would easily work in a fantasy story. Star Wars follows it. The Lord of the Rings follows it. Harry Potter follows it.

But with a little creativity, it's not hard to put the detective in your mystery novel on this path, or the heroine of your love story. Maybe the mentor isn't a wizard but a trainer or some authority figure--a grandparent, perhaps. And maybe the supreme ordeal isn't a physical fight but a break-up or separation.

There are many ways to apply these kinds of journeys to your story, with more to follow in the coming weeks.

Be Brilliant!

~Katie~  

Conflict and Character Traits

The easiest way to create conflict between characters is to pit their different traits against one another.

If your character is more of a "homebody," for instance, put them with someone adventurous. If they are highly educated, pair them with someone who's street smart. If they are superficial, put them with someone who is kind and humble and caring. Are they tidy? Force them to room with a slob. Shy? Pair them with someone who is outgoing.

Think in terms of opposites.

Someone who is affable and sensible is going to act and react differently from someone who is disagreeable and disruptive. An optimist and pessimist see the world in two completely disparate ways.

Photo by Elizaveta Dushechkina from Pexels

Pair the opposites together, and the conflict creates itself. 

The tension builds naturally.

And this isn't just about pitting a "negative" trait against a "positive" trait. Some situations will call for street smarts over book learning. Some situations require disruption--for someone to act out to bring some new information to light. And not everyone responds to affability. Enter the character who is caustic and ruthless. They'll get the job done. 

In terms of arcs, think about these traits as the characters work against each other. It's easy to see that where one leaves off, the other can pick up--in some cases, they may even become complementary. 

Create a series of situations and watch these opposing characters naturally begin to influence one another, making room for their growth. 

Maybe your main character *is* a bit of a homebody. Maybe he needs the influence of that outgoing, adventurous girl so that he can have some escapades of his own to remember fondly. Maybe the one chasing adventure needs to learn to settle somewhere--to stop running--to put down some roots. Maybe the slob needs the neat freak to show them what a nice space could look like.

And remember to show, not tell. 

If a character is shy, how might that reflect in their behavior? Maybe they don't want to mention to the server that they were given the wrong order.

How "tidy" are we talking? Maybe their closet is organized by color and their towels are folded into thirds.

And don't feel boxed in with these traits. At some point that typically shy person is going to get sick of being offered the cheeseburger when she has repeatedly asked for the chicken sandwich. This is her chance to act out. And if the slob comes home to find his roommate's space dismantled, it's a clear cause for concern.

Fix your character's traits then subvert them, surprising us.

In sum, as you consider your character's traits, brainstorm how those traits can manifest or show themselves in your story, especially when they are forced to work with those who are not like them. Think about the ways in which they can act out of character. Think about who they are at the beginning of the story, and who they will be by the end.  

In other words, make them as real and as complicated as you and I.

Make them human.

Be Brilliant!

~Katie~

Backstory and the Moral Compass

I've talked about backstory before and how a character's past will inform their motives (why they do what they do) as well as their attitudes (how they respond to the people and events around them), but their past also plays a huge role in shaping their moral compass (or moral code). 

What is a moral compass? 

This is the code (or guiding principles) by which your character lives (the code which explains their motives and attitudes). 

A character will use their moral compass to determine what is right and what is wrong and how they will behave in certain situations.

Though stealing is considered wrong, Character A has no problem robbing from the rich to give to the poor. 

Though killing is considered wrong, Character B has no qualms about avenging the death of a loved one.

Though they may be a pacifist, Character C might draw the line when someone weaker is being bullied, stepping in to take care of the situation.

Why?

Well, let's look into their past. 

Maybe Character A watched a corrupt billionaire run a company into the ground, ruining her father's livelihood and depleting his retirement savings/pension. So when she stumbles across a hole in the operating software of this billionaire's new company, she sees a chance to make things right. Would she steal if it were any other situation? Probably not, but according to her moral compass, stealing is okay if the victim deserves it.

Maybe Character B lost a parent to a dark lord. When the dark lord returns, he seizes his opportunity. He's no murderer, but how could he pass up the chance to finally even the score?

Maybe Character C was severely bullied growing up. When he sees a kid being terrorized in an alley, he decides to step in. He doesn't go around beating people up for no reason, but his moral compass is set to help those who can't help themselves. 

Photo by Dishan Lathiya from Pexels

There are reasons why we do the things we do. Sometimes we operate consciously, sometimes it's unconscious, but it always makes sense in relation to our past experiences. 

The same applies to our characters: their behavior should make sense in relation to who they are and what they've been through, whether or not those events are fully explored on the page. (Some parts of the backstory are just for the author, after all.) 

This isn't to say that a character can't act in opposition to their core values; in fact, this is a great way to show some contradiction and depth. 

What if Character A sets out to take everything from that billionaire, but, at the last minute, has a change of heart?

What if your character is vehemently opposed to lying, but witnesses something she is forced to downplay or keep a secret?

What if your character's moral compass swings toward selfishness as a form of self-preservation when he stumbles across a dog in need of a home? 

No matter what your character decides to do in any given situation--whether they are acting in accordance with their moral compass or not and whether this is part of the arc that will change them or otherwise--the behavior still needs to make sense based on what we know about them.

Your character's backstory will shape their moral compass. 

Know their history, their values, and why they do what they do, but be sure to leave a little room for them to surprise you.

Be Brilliant!

~Katie~

Characters Worth Rooting For

The best characters. . . .

are dealt a catalyst

The catalyst is what starts the story. Taking the character's history into account, it is the one event or piece of information that propels them forward or sets the story in motion.

The catalyst acts as the "call to action" so that the character can fulfill their destiny.

that challenges their moral compass

The moral compass is the set of beliefs or the code that will guide your character. This sets the tone and expectations for how your character will behave as well as the boundaries they will not cross.

Post-catalyst, they must now protect or avenge, discover the truth, or join the fight.

and causes them to undergo a transformation.

At the end of the story, your character should not be the same person they were when it began. They have handled obstacle after obstacle--endured hardships, made choices, and sacrificed for the greater good.

Ergo:

The best characters are dealt a catalyst that challenges their moral compass and causes them to undergo a transformation.

Photo by Kate photo from Pexels

And the stakes?

The consequences should be exorbitant. The character's failure should be the *worst* possible option for them based on their history or what we've learned about them along the way.

*This* is what makes a character worth rooting for.

Be Brilliant!

~Katie~

On Themes

"To produce a mighty book, you must choose a mighty theme." 

--Herman Melville

And weren't Melville's themes in Moby Dick the mightiest?

Fate vs. Free Will, Man vs. Nature, Revenge. . . .

But what, exactly, is a theme and why do our novels need them?

In fiction, a theme addresses the big questions about life. 

Can love really conquer all?

Do we have free will?

Why is suffering part of the human condition?

Does absolute power corrupt absolutely?

The answers to these questions are what your story will address. They are the theme, or the central idea you are trying to convey. 

The theme, of course, is not the plot. The plot is the events of your story or how it unfolds, your map from beginning to the end. The theme, however, is still its own kind of road map, as it will influence each of the decisions your characters make as your story progresses. 

Some popular themes include:

Love, Good vs. Evil, Survival, Corruption, Revenge, Greed, Sacrifice, Isolation, and Beauty

Photo by Suzy Hazelwood from Pexels

Some examples:

Pride and Prejudice: love and marriage, class systems, family

The Harry Potter series: good vs. evil, friendship, courage

Wuthering Heights: love, revenge, solitude

The Hunger Games: oppression, rebellion, family, love, survival

There are hundreds of potential themes--central beliefs or messages you could impart to the reader--and we're not limited to only one.  

So how do you locate the themes within your story? 

To nail a story's themes, it's worth sitting down and considering the answers to the following questions:

What is your story about?

What is the meaning behind it?

How will your character change?

What is the lesson? 

What are you trying to say about life and the human condition?

As a writer of romances (among other topics) my answer to the Big Question is that yes, love really can conquer all. This theme runs fairly predominantly throughout each of my stories. This message is not stated outright but is evident as the plot unfurls--as my characters work their way toward each other, culminating in a happily ever after. No matter their age, each of my stories ends with the idea that this particular couple will beat the odds--that they are the "forever" kind of couple. 

And while I do begin my stories with the general theme of love in mind, I don't recommend analyzing themes to an excessive degree before words are on the page. If you go into a novel with a litany of themes to address, the story may sound forced or awkward and your writing "preachy."

It's better to draft your novel first then figure out which themes have emerged during an early read-through. You may just surprise yourself. :)

Once they're located, build on your themes in revisions, strengthening them where appropriate and cutting or revising the scenes that don't align with your message. Be subtle, but keep them mighty. 

Be Brilliant!

~Katie~

Six Story Questions

Who are your main characters?

What do they want more than anything else in the world?

Why do they want this?

How are they going to go about getting it?

Who or what is going to try to stop them?

What will happen if they don't get it?

If you can answer these six questions, you'll have a skeleton outline for your story. Everything else will branch out of your responses to these key questions. Once the character's desire and their motivations are nailed down, the "how" and "who is going to stop them?" will generate the plot. 

As a storyteller, it's your job to increase the conflict and raise the stakes until the climax is reached (after which you will provide us with a nice resolution), but each new scene will (or should) point back to the desire and make perfect sense based on the character's motivation. 

Photo by Ibolya Toldi from Pexels

So . . . once the desire and motivation are in play, all you have to do is figure out who or what will work against your character and brainstorm all the various problems they can cause. Once a character is on their "quest," the first part of the story largely consists of them going about getting it in all the wrong ways. As they begin to figure it out (whatever "it" is), the opposition's effort will increase, naturally raising the stakes.  

What are these "wrong ways" and what does the opposition look like?

Now your skeleton outline is starting fill out. . . . 

Be Brilliant!

~Katie~ 

What Should I Write About? Part Deux

A few weeks ago I wrote a post called "What Should I Write About?" 

In it, I argued that a writer should focus on an idea that excites them and/or something that piques their curiosity. 

This week, I'll be more specific, so. . . .

What Should I Write About?

Well, look around you. 

Photo by Suzy Hazelwood from Pexels

What's in the news? What are the hot topics? 

What headlines are grasping people's attention? 

What books are people reading? 

What movies and shows are they watching? 

What do they seem to want more of? 

What stories or storylines could use reinventing? 

Is there a new spin you can put on an old tale? 

Every new story told is informed by the stories that came before it. One story inspires the next and the next. . . .

There is nothing new under the sun--there is only our unique voice and style, and the choices that will make the story exclusively ours.

So take a familiar topic (that interests you and/or piques your curiosity) and manipulate it, telling the story as only you can.

Be Brilliant!

~Katie~

Hot New Release!

So this little labor of (nonfiction) love is live today!

And don't let the title fool you. This book isn’t just about writer’s block. It’s a love letter to writers at all stages—equal parts inspiration and application—a reminder that our writing (and what we have to say) matters.

It's a nice, two-hour read, and my hope is that you feel inspired and ready to tackle this creative life by the time you've reached the end. 

(But yes, there are plenty of tips on how to tap into that well of creativity and keep it flowing.)

Here are the buy links:

Amazon 

Barnes and Noble 

iTunes

Kobo

Google Play

Feel free to share these on social media and/or with a writer in your life who could use some encouragement. 💖

And always. . . .

Be Brilliant!

~Katie~

Coming Soon!

Be Inspired. Be Bold. Break Through.

What do Stephen King, J. K. Rowling, Virginia Woolf, and F. Scott Fitzgerald have in common?

Writer’s Block. 

Yes, in addition to being bestselling and/or celebrated authors, each of these writers admitted to suffering from writer’s block at some point in their literary careers.

In fact, writers of every caliber have faced a creative block at intervals throughout their journeys, but when it happens to us—when a project stalls, when the right words refuse to manifest, when the page remains empty—the doubt creeps in.

What is happening? 

becomes 

What am I even doing? 

becomes 

Why am I even bothering? 

There is, however, a way out. 

The Ambitious Writer’s Guide to Overcoming Creative Blocks and Building a Writing Routine that Works not only breaks down the components of a creative block—what it is and isn’t, how it affects us, and how we can move past it—but also offers insights into the creative process, inspiration for writers at any stage, and tips for kick-starting a stalled writing practice.

So if you’ve hit that proverbial wall in your current project, if the new project doesn’t want to transfer from your head to the page, or even if you want to safeguard yourself so the creative blocks are fewer and farther between, then this book was written with you in mind.

First Impressions

What "first impression vibes" does your main character impart?

Do we like them immediately, or do we dislike them?

In real life, we tend to like those who are most like us. Perhaps we are close to the same age, share the same style or interests, or are living similar moments in our lives. We gravitate away from those we don't immediately understand--perhaps someone from a different culture or socioeconomic status, or someone much older or younger than us.

We will most certainly dislike someone who is acting in a way we don't consider normal ("normal" as it reflects our own values or belief systems, of course).

Many of our interpretations of a person are enacted on a subconscious level--at the time, we don't even realize we're judging or making assessments, sizing the other person up, if you will.

The same applies to fictional characters. 

We are going to most relate to and enjoy reading about someone who is like us.

But. . . . 

It's also likely we will become bored with them, and this is why our characters should be unique--just representative enough of the demographic to relate to the intended audience, but different enough to pique and maintain the reader's interest.

Photo by Andrea Piacquadio from Pexels

Readers are not going to identify with every character acting between the covers of every book, and this is why, as writers, it's up to us to create enough sympathy surrounding a character that readers can't help but connect to them in some real way. 

The writing advice for how to do this varies: some say give the character a dog--something to love dearly--or a tragic backstory, or a noble cause.

But whether they are good or bad, likeable or unlikeable, the reader *will* develop an opinion at that first meeting, and it's up to the writer to use the tools at their disposal to overcome (or build on) that first impression to whatever degree is necessary to keep the reader turning pages.

Be Brilliant!

~Katie~

Writing Descriptions

The dialogue always comes early.

For me, that is.

I always hear the conversations my characters have in my head first and foremost. Writing the in-between--what's happening outside the conversation--has always been a bit harder.

So if you're anything like me and aren't always sure what to include between the conversations in your fiction, here are a few options:

What the character is doing.

Conversations rarely exist in a vacuum. We're most likely conversing while performing other tasks (washing the dishes, walking to work, re-stocking that shelf, etc.), so consider where your characters are and the activity they're engaged in while talking. Give us hints at how the activity is progressing. 

What the character is thinking/feeling. 

We rarely say what we mean. What does your character think about what's being relayed? This is a great place to add some conflict. For instance, maybe your main character agrees to meet with someone at another time, pretending she's okay with this, when she's actually suppressing her disappointment. Give us those inner thoughts. Show us the contrast between her expectations versus reality, or what she's predicting will happen.

What people are doing around them.

What does your character notice about the activities taking place around them? What (or who) is grabbing at their attention? Don't toss random associations into your descriptions--if a character sees something worth mentioning, it should mean something. Still, this is a great way to fill the space between your spoken words.

Backstory.

Is there an important piece of backstory that can be imparted during this conversation? Is there something about the past the character remembers, or a revelation she's having? Since backstory shouldn't be info-dumped into a single location, use conversations as a natural way to intersperse past (relevant) events into the present story.

Location.

Similar to noting what the character sees happening around her, what does the space look like? Are they in a garden or walking along a city street? Working in a kitchen at the back of a restaurant? What are the sights, sounds, and smells associated with this place? Toss in a few specific details to ground your reader within the setting as you move the conversation along.

Photo by Andrea Piacquadio from Pexels

Again, it's worth noting that every description included in a passage should be pertinent or important in some way. 

Also, keep in mind that balance is needed when interspersing these details, especially when they occur in the middle of a conversation. The reader needs enough information to gain a solid image of the time and place, but not so much that it takes over what's being said by the characters.

The perfect melding of description and dialogue, of course, will come with time and practice, so Get Writing. :D 

And always. . . . 

Be Brilliant!

~Katie~

Five Rules . . . from Alice Hoffman

 The Five Most Important Rules When Writing a Novel:

Write the book you want to read, not the book you think they want you to publish.

Don’t edit yourself until it’s time to edit.

If you stop writing after you are rejected, you will never get published.

If you keep writing after you are rejected, you never know what will happen.

Write with your whole heart.

Photo by freestocks.org from Pexels

~Alice Hoffman~

What Should I Write About?

An idea that excites you. 

Let's be real: you'll be reading this book a lot. And I mean . . . A LOT. If it's going to bore you, it's going to bore your reader. And since you're going to be investing the next three, six, nine, and/or twelve months of your life on this one story, it should be a good one. 

Something that piques your curiosity.

What's a topic you're interested in learning more about? And this doesn't only apply to non-fiction writers. Fiction writers: what setting and emotions do you want to dive into? What ideas and themes do you want to explore?

Stories are everywhere. Ideas are all around us. The more you take in (via books, the news cycle, movies, music, etc.) the more you'll have to draw upon when it comes time to sit in the chair and get to work. 

Life is too short to waste time on ideas you're only marginally interested in exploring. 

Keep it curious, and keep it exciting.

Be Brilliant!

~Katie~ 

Your Gift To Readers

Why should I write a book?

No. The question is: why shouldn't you write a book?

Books are amazing contributions. They're a way to inspire or help other people. They teach us empathy. They transport us to other worlds.

They are a gift to those who read them.

But I'm scared. Writing a book is hard.

Yeah, writing is hard. Writing a book that resonates is even harder. But the perfect moment to sit down and do the job? That will never come. There will never be a time when fear isn't present. Our job is to act in spite of our fears--to show up and do the hard work anyway. 

Besides, it's not really about us. If we, as creators, see ourselves as a conduit of something that already demands to be birthed, well, that takes away at least some of the pressure. 

This thing--this book--it wants to be written. 

It wants you to write it.

Why?

Because it's your idea. It came to you. It chose you.

Because maybe someone out there needs your stories or the information you want to impart or your encouraging words.

Seems pretty rude to withhold that from the world, don't you think?

Be Brilliant!

~Katie~

A Screenplay Competition Update

In my February Newsletter, I wrote the following:

Dear Reader,

A few years ago, I decided I wanted to write a screenplay. I knew next to nothing about this, though I’d read a few before, so I knew I would have to teach myself. Armed with a couple of books and a few reputable websites (and largely Googling as I went), I wrote a 120-page holiday romance (a la Hallmark because they follow such a predictable structure).

I really loved the process, so a few months later I adapted All I Never Wanted, turning it into a screenplay. 

I eventually plan to do the same with All I Never Needed, and, not surprisingly, I turned that original Christmas screenplay into a novel (which I’m not quite ready to do anything with). Yes—writing is a bit of an obsession for me. 

But that All I Never Wanted screenplay, which I’d tentatively titled Saving Summer, had been sitting on my hard drive for a couple of years now, and I wasn’t really sure what to do with it. . . .

 . . . until earlier this month when I stumbled across information about a screenplay competition and thought: “Why not?” I’m always preaching to my students—and you, faithful newsletter reader—as well as my blog readers and Twitter followers to get out there and make some creative noise, take chances, toss as many darts as possible because you Just. Never. Know.

Why not?

The $60 entry fee was tough to swallow. It’s not really the kind of cash I keep lying around (kids, bills, you know the drill), but that “what if?” ate at me until I couldn’t stand it anymore. 

So . . . it’s entered. Will anything come of it? I don’t know. Probably not. (?) But I wrote it, I’m proud of it, so why not?

That’s it. 

Why not?

It will be months before I hear anything, if I hear anything at all. The entry will be long forgotten by then, and I will likely be far into the next project, anyway. . . .

~UPDATE~

Dear Reader,

I am happy to report that Saving Summer has made it to the quarterfinal round. 

Scriptapalooza 2021 Quarterfinalists

Will it advance to the top 100? I don't know. It seems like a long shot, but I am happy for this (however temporary) "high" and will hang on to the idea that yes: maybe I still am moving in the right direction.

I rarely like announcing things, but felt this news needed to hit the blog, if only for posterity's sake. 

One day I will look back on this post and. . . . 

I don't know. We'll see. 

Be Brilliant!

~Katie~

A Love Note To the Bloggers (and Readers) Out There

"The most important blog post . . . It is on the most important blog. Yours. Even if no one but you reads it. The blog you write each day is the blog you need the most. It’s a compass and a mirror, a chance to put a stake in the ground and refine your thoughts. And the most important post? The one you’ll write tomorrow."

-Seth Godin-

This space *is* my compass and my mirror, and even if there are those who claim that blogging has gone stale (at best) or is completely dead (at worst), I love having this record of these years--a place to call my own. 

So here's to you, writers of blogs--to everyone who shows up with and shares their ideas. Thank you.

And thank you, blog reader, for hanging with me as I refine these (weekly) thoughts on reading, writing, and all things creative.

You keep this space alive.

Photo by Monstera from Pexels

Be Brilliant!

~Katie~

On Grounding Your Reader

You're grounded!

No, I'm kidding. I'm not even talking about that kind of grounding. No one is in trouble.

The "grounded" I'm referring to here is actually a good thing.

The idea of "grounding" oneself has, in the last few years, entered conversations surrounding one's mental health, most commonly with those who experience panic attacks.

"Grounding" is a strategy one can use to bring themselves back to the present. The technique, quite literally, "grounds" one in the current moment.

One of the most common grounding exercises involves locating and naming the following:

5 things you can see.

4 things you can touch.

3 things you can hear.

2 things you can smell.  

1 thing you can taste.

But this exercise isn't only beneficial for anxiety attacks.

Do you see where I'm going with this?

Grounding is actually a great tool for writers, especially those who struggle with description.  

Writing is observation, after all, and what is this list if not observation? The fact that it's observation using five of our senses (also a hallmark of good writers)? That's just a bonus. 

Try it. . . . 

Photo by cottonbro from Pexels

What do you see in this picture?

What can you touch? (What's the texture?)

What do you hear? (Is it loud or soft?)

What can you smell? (Is it strong or faint? Sweet or acrid?)

What can you taste?

Bonus question: What do your characters think or feel about all of this?

While we're at it, why stop at three things you can hear? Brainstorm ten. Trust me: once you move past the obvious (conversation, traffic, etc.) you're bound to come up with something unexpected--something that will surprise you and the reader.

Now . . . how can you incorporate your list of items--5-4-3-2-1 (or more)--into a scene you'd write about this pictured moment?

You wouldn't want to cram the items together, of course. They should be introduced gradually or spread out over the course of several paragraphs. You might not even want to use all of the items you managed to brainstorm, but if you want to ground your reader in the scene you're writing as it unfolds, I can't think of a better strategy.

And don't limit this to just your writing: try it in your daily life. Practice grounding yourself when you're at the supermarket or on that walk, or when you're working or shopping or even cleaning the house. 

Because the more you notice, the more you notice.

Be Brilliant!

~Katie~

Storytelling Laws vs Emotional Impact

A massive debate ensued on our ride to dinner last night. 

It involved a movie my husband and I both watched (at different times) and why he liked it and I didn't. 

The argument centered around the fact that he would rather a story make him feel something than be well-plotted.

My counterpoint was that a story is more relatable and more likely to make us feel something when it follows the laws of storytelling.

There are exceptions, of course, to each of these arguments.

But the timing of this debate is interesting because I'm wrapping up a book on plotting and one of the messages is that just because a story follows a formula doesn't mean it's formulaic. Structure doesn't quell creativity. In fact, storytelling structure helps us wrangle the creativity and put our ideas in the places that they're meant to go to have the most profound effect on the reader.

So my problem with the movie was 1) the believability of the setup, 2) the hero's character arc, and 3) a death used solely as a plot device (it made the guy a better person, but to what end?). 

The movie just didn't "scratch that itch" for me (and that's okay--Rotten Tomatoes reviews are split evenly down the middle (49%), so it's just as likely for a viewer to like it as to dislike it.

And this is where my husband comes in. He thought the plotline mimicked real life and because he felt for the main character thought it was a good/successful story.

My argument is that life doesn't make sense, and that even if an author is writing about the "real world," if he cares about the reader at all, he or she is going to structure that story so that it has the best chance to appeal to the intended audience. 

Ironically enough, I feel like the movie's intended audience was ME, not my husband, which adds another layer to this debate. I don't really buy in to postmodern stream of consciousness, so if a story mimics "real life"--which is often stranger than fiction, anyway--there's very little rhyme or reason for what goes on (unlike within a story world, which, to some degree, needs to make sense in order to be appreciated).

If you have thoughts about this or want to add something to the debate, hit me up on Twitter or comment on the Facebook post. If you can think of exceptions--where storytelling rules were broken and the story was still a success--I'd love to hear them.

I do see his point, but I also feel like a story without a clear and recognizable structure is more likely to flounder than win over an audience.

But if it makes us feel something. . . .

Be Brilliant!

-Katie~

On Style

What is Style?

What is it about Katie Klein writing that makes it "Katie Klein"?

First, I should warn you that a writer's style is constantly evolving. My style today isn't quite the same as it was when I first published The Guardian and Cross My Heart. Those books relied more on dialogue and action to move the pages. My most recent YA (All I Never Needed) was much more introspective. The snappy dialogue and intense moments are still there, but there's a lot of exposition, too--the thoughts and reflection--between the conversations and action.

When I first started publishing, the writing was more fragmented and fast-paced. Today, I use more commas and coordinating conjunctions. And you *know* how much I love an em dash. ;)

I credit these shifts to moving out of reading predominantly YA lit and seeking out more women's fiction.

Still, whether I'm writing for YA or Adults, you can be certain that my stories are going to include some angst and tears, a bit of danger/suspense, and a strong love story element that ends in a happily ever after. The path I take to tell that story is what makes my writing, well, my writing.

But, again, my writing has evolved over the years, and it's still evolving.

So when "style" comes up in the conversation in my classroom, I tend to shut it down. 

"You are still students of literature and writing," I tell them. "You do not have a style, yet. You don't need a style, yet. What you need is words on the paper."

"Ack! But Mrs. Klein! We need our own style if we're going to be great writers!" they say.

"This is true," I reply. "But first, read one hundred novels in your genre. Then put one million words onto the page. If each book you write is one hundred thousand words, that's ten novels. So . . . write ten novels. Then--and only then--will you begin to see a style emerging."

It's likely your first stories and novels will mimic your favorite writers' voices and styles, anyway. It's not until after a million words or so that you will be closer to making your style something that's unique to you.

So the moral of the story is this: don't stress about style. Don't worry about style. Don't think about style until you are well into your writing career.

Until then. . . .

Just focus on getting the words of a variety of stories onto the page, read as much as you can, and always: 

Be Brilliant!

~Katie~ 

The Half-Scene

Because summary can be incredibly important in presenting information that does not need its own scene (for instance, if the action came long before the scene taking place), but because it can also slow down the action and pacing (possibly encouraging the reader to skip it entirely), it can be helpful to integrate a "half-scene" into the summary within the main scene:

After my last fight with Sean—the morning of the day he died—I headed downstairs, putting as much physical distance between us as quickly as possible. I remember passing family portraits on my way down, a visual progression of the years growing between us. My lighter hair and glasses—until I got contacts. Sean’s darker features and broad shoulders—strong and confident. That stupid grin that got him whatever he wanted, even Claire.

Especially Claire.

“It’ll never work out!” he’d called after me. “You’re not her type!”

I ignored him, jogged into the kitchen, my new tennis shoes squeaking against the wood floors. My mom was at the counter, scrolling through something on her phone. The Keurig was hissing, the dishwasher running—whirring and clicking its way through the cycle.

It’s crazy the details I remember about that day.

I remember thinking, for instance, that the only way the dishwasher would be running in the morning was if Sean had forgotten to start it the night before—that it was so like him to be completely undependable. Not that anyone seemed to notice.

“What’s going on?” Mom asked.

“Nothing.” I grabbed two cherry breakfast bars from the pantry and a bottled water from the fridge.

In a few short hours, I would puke those bars up on the hospital lawn. After that, I would never eat one again. I wouldn’t even be able to look at them without feeling nauseous. 

This scene is a flashback that pulls us out of present day, but it doesn't only summarize the past--it mixes dialogue and action to add more drama. It is a scene within a scene. 

So if you're working on backstory and feel the paragraphs are getting too bogged down with simple summary, try to add some elements of scene: dialogue, descriptive action, etc. Paint a few of those specific images you're discussing for the reader.

Just remember to keep the point of view and tense consistent. The above example remains in Jesse's POV because I'm in his head at that moment in the story, but with this snippet of action I've pulled the narration from present tense (he says) to past (he said).

A few nice "action moments" can break up the monotony when information needs to be summarized, making the passage more memorable.

Be Brilliant!

~Katie~

So You Want To Write Poetry

Even if you don't (want to write poetry, that is)--even if you're the staunchest writer of romance or science fiction or children's books--it might be worth considering incorporating a poetry practice into your writing routine.

Nearly every post on this blog is writing or motivation-related, meant to inspire and encourage writers in some way (or give them something new to try or think about). I'm fairly good at passing along things I've learned about writing over the years, but I'm not always that great about discussing the craft-related books that inspire me. 

(That should change, obviously, so I'm keeping these recommendations in mind for future posts.)

At any rate, I just wrapped up The Portable MFA in Creative Writing, and while it contained a nice overview of what you might learn about fiction, essay writing, magazine writing, playwriting, and poetry in an actual MFA program, I have to say that the poetry section stood out the most, with advice for application that seemed super-practical.

This part of the book was written by Rita Gabis, and it contained an eight-week program full of poetry analysis, freewriting, and poem structuring.

"But Katie, I don't want to write poetry," you say. "I barely made it past the title of this post."

To this, I would reply: maybe you don't think you want to write poetry, and perhaps you don't want to write poetry for publication, but I can't think of any ways in which writing poetry won't help with your romance novel, children's book, or sci-fi thriller.

Poetry is writing, after all. But more than that: it's deep writing. Something about poetry pulls at our subconscious. It makes us more aware of images and rhythm and word choice. It heightens our thoughts about the underlying meanings and hidden messages in a simple phrase or sentence. 

A good poem is good writing, and I just can't see how being able to write a good poem could possibly hurt a fiction writer. In fact, I would argue that it could only make you better.

So, if you're in the market for a new writing craft book, The Portable MFA in Creative Writing is a solid pick. Each section is full of advice and conventional wisdom, but it's worth the price for the poetry section alone.

Sit down with it. Try Gabis's eight-week program.

As an aside, I've bookmarked it for myself for future application, as I would never tell you to try something I wouldn't--even if I already do write poetry on occasion. My problem is that I have one more craft book on my summer reading list as well as an eight-hour writing course to finish (as a student) before my classes (as a teacher) pick back up in July.

BUT . . . if YOU have some free time remaining this summer, just for curiosity's sake, see what spending 45 minutes to an hour every day for eight weeks with poetry can do for your writing.

And always: Be Brilliant!

~Katie~

On Language

I post quite a bit about character development and plot on this blog because these are critical factors in whether or not a book is believable, enjoyable, etc.

However, language--or how your story is told--is also v. important.

I'm reading a novel right now at the behest of my sister-in-law, who thrust the book at me last weekend and said: "This book is awful. Read it so we can discuss."

*sigh*

I know how hard writers work at their craft and how difficult it is to tell a story that resonates, so I was really hesitant to go into this book with the pre-conceived idea that it Just Doesn't Work. It did, after all, go through an agent and editors and was published by a reputable publisher. It can be grabbed from the shelves of any major retailer as of this writing, and a quick check of the reviews shows that it did, in fact, resonate with *some* people.

(Don't try to guess which book it is. It will not show up on my Goodreads list.) ;)

At any rate, there are, in fact, problems with plot, character development, and telling over showing (also: SO MANY coincidences), but one of the main problems is the language. 

This is a historical novel set near the turn of the 20th century. The main characters are European. For discussion's sake, let's pretend they're Italian (they aren't).

The issues with the language are numerous. 

First, the characters don't really sound Italian. Every so often the writer will toss in an italicized Italian word or phrase, or will insert some English-Italian slang; otherwise, the "voice" just isn't there. This means those words and phrases also tend to draw unnecessary attention to themselves. A few, in particular, are repeated ad nauseam. Every time I see one it's: "Oh, yeah. These characters are Italian." This is usually followed by: "Why do they say this word so much?"

The next problem is that these Italian speakers don't sound like they're from the turn of the 20th century. In one instance, a girl says "totally." Maybe they used this word back then--I don't know--but because it's so common today, it's a bit jarring to see it in a historical work. To some degree, I do expect a historical piece to have a more elevated and formal style of writing (which this story does, in fact, call for).

There are also trite/overused expressions and cliches that don't seem to fit the historical/Italian vibe, either.  

Every few pages I'm being pulled from the story. I can't fully immerse or lose myself in the narration because the language keeps calling attention to itself because it feels so unnatural. 

So, writer friends: 

How is your story's message communicated? 

Is it believable? Is it convincing?

Every language and culture has its own nuances, and the dialogue and prose need to sound *exactly* right for maximum believability. The voice of a regency romance should not mirror a contemporary one. A story set in the American South should not sound like a story set on the streets of London.

And we can go further: a story set in Georgia (American South) should not read exactly like a story set in Mississippi (also American South).

Plot and character development are important, but so is language: the dialogue, the word choice, the turns of phrasing.

What does this mean for writers?

It's important for us to do our research. Every word on the page should reflect the period, location, and genre in which we are writing.

Read, revise, read again, revise, read out loud, and, when the words stop making sense, enlist the help of a beta reader or two. They should be able to pinpoint any places where the tone, phrasing, conversation, etc. don't quite match their intention. 

And always. . . .

Be Brilliant!

~Katie~