Jiggly Fluffy Japanese Cheesecake and You

by Jennifer AlLee

Like many of my friends, I'm a fan of do-it-yourself videos. You know the ones. They pop up on Facebook, Pinterest, and various other social media sites, and show us how to make something. It might be how to transform an old tire into a patio seat. Or how to make a fairy tale village out of three terra cotta pots, some succulents, and plastic miniatures. My personal favorites, however, are the cooking videos. Beef Wellington for beginners! The only deviled egg recipe you'll ever need! Super-simple gluten-free, sugar-free, vegan brownies! The options are endless.

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Hitting the NaNoWriMo Blues – how to keep your scenes from sagging!

by Susan May Warren

Are you in the middle of your NaNoWriMo project?  By now, you might have 15-30K words written…and along with feeling tired, your scenes are feeling, well, tired.

I get that.  There are only so many ways to describe emotion, and by now, you might be feeling wrung out.  At this point in the game, don’t worry as much about getting the emotion on the page as driving the story forward with the right amount of tension.  You can go back and layer in the emotions later.

Why is tension so important?  Because tension not only drives a story – but it will keep you going all the way to the end.  But a scene has to have the right set up to create that key tension. .

Many writers fall into the trap of writing what I call, the police report. They simply tell us what happened/is happening, as if they are narrating the story, or letting the characters narrate what is happening. Sure, there are “things” that happen in the scene the might be interesting, but without the right set up, the scene is boring. It has nothing at stake, nothing for us to root for (or against), and frankly, if we don’t know what the character wants, we are left wondering…why are we here?

How to fix this?  The first fix it to prop it up with the right structure. 

There are 3 kinds of scenes: Action Scenes, ReAction Scenes and Combo Scenes.

As a review, Action Scenes contain a Goal + Conflict/Obstacle + Disaster (or some compelling element at the end of the scene to push the story forward).

ReAction Scenes contain a Response + Dilemma + Decision. (which translates into a Goal to start the next Action Scene).

A Combo Scene starts with a ReAction Scene (maybe 1-4 paragraphs), then transitions into an Action Scene.

(You can also rearrange and write an Action + ReAction combo, but I find those slow the story. However, they can be compelling, simply because of the new Goal that is raised at the end of the scene.)

The First Chapter of a book is an anomaly: It is mostly Action, however it starts in Home World, which might feel like a reaction to your character’s life so far. Your character walks onto the page with years of “reaction” to his hurts of the past, believing lies and wanting something.  This is quickly confronted by some sort of Inciting Incident.

Chapter one, Scene 1 is often followed by a ReAction scene, where your character has to figure out what to do next.  And after that, perhaps another Action scene.

However…the story quickly begins to morph into Combo Scenes, which comprise the bulk of a story.

This is where the storytelling seems to turn into boring narrative. However, this can be solved by simply setting up the Combo Scene correctly. Remember, to create tension you need both a Goal and an Obstacle…and the Combo Scene provides these ingredients.

A Combo Scene starts with a ReAction Scene – so you’ll set that up first. 

Combo/Scene Set up

Step One:  Response.  Start with the 5 Ws, Storyworld and the current “state of affairs.” If you have to, reiterate what happened, in the character’s POV (especially if it’s been a while between scenes) and help us understand the Dilemma at hand.

Step Two: Knowing the Dilemma, have your character see his choices, then make a decision. This is your character’s Goal for the Action portion of the scene. *Don’t forget to fortify the Motivations of your character’s action and decisions.* The point of this is to give us a good reason for what is going to happen next.

This is the end of the ReAction portion of your scene. It might be one paragraph, or if there is a bigger dilemma, it might two or even four.

Step Three: Now, you, you move into the Action portion of the scene. Set it up with your Scene Tension Equation, and remember to end with a new Dilemma.

 Here’s a quick example from my romantic suspense Expect the Sunrise.  The heroine has just escaped from her captors and flung herself from a cliff into a raging river with the hero looks helplessly on from the other side.

 [Setting, and Current State of affairs, goals e.g. the REACTION from the previous scene.]

No! Mac froze as he watched Andee fling herself over the edge. She’d materialized from the woods like some forest animal and screamed as she hit the air. His knees gave out as she plummeted into the white water below.

A man appeared right after her, pointed a gun where she’d been, then advanced to the edge, searching.

Mac picked up a rock and with everything he had in him threw it across the gorge. It hit Andee’s shooter in the neck. The man fell back and shot at Mac. He dived behind a boulder. Bullets chipped rocks around him, but it bought Andee time. Precious time.

 [Motivation for decision/action]

Except, well, if she didn’t get out of that river fast, hypothermia would grab her like a bear after hibernation and pull her under. That is, if she didn’t go over the falls first.

Go, go, Mac willed the shooter. He peeked to see him disappear into the woods. Good. Maybe they’d believe they shot him.

 [Starting the Action!]

Mac advanced to the edge, searching for Andee. He saw her, a black head bobbing in the water. “Andee!” Giving one last look at the hole in the forest left by the shooter, Mac flung himself over the edge.

 [end scene]

 Short and sweet, we have his reaction, his dilemma, his decision, his goal and the conflict.

A Combo Scene doesn’t have to be high action, however. Here’s the same set up in a low-action scene.

This is from my book – When I Fall in Love! 

 [The State of Affairs, Response, Dilemma- the ReAction portion of the Scene]

The last place Max wanted to be was riding up Jace’s penthouse elevator, about to face his old captain with the news that he’d let him down.

Apparently he’d perfected that MO. First Brendon, then Grace, of course, and finally Jace.

And probably himself, because of the thousands of promises he’d broken, over and over and over during the three weeks in Hawaii. Like, don’t date a girl more than twice. Never date anyone connected to the team. And finally, don’t let a girl into your world—hockey, cooking . . . heart.

Yeah, he’d broken that one and he still couldn’t look at himself. At least Grace had gotten home okay. He’d called to check on her flight. But he should have at least texted her. Wow, he’d turned into a grade-A, first-class jerk.

Or maybe he’d always been that.

 [Decision]

The doors opened and he took his time dragging down the hall to Jace’s door. He still couldn’t figure out why he’d agreed to come. But Jace’s voice on his machine, his insistence that Max come over for dinner . . . it sounded less an invitation than a command.

Although, maybe that was just Jace. Bossy. Always the enforcer.

 [Action]

He leaned on the bell, and almost immediately, the door opened. Jace stood there, a mountain of darkness as he glared at Max.

Huh? “Hi?”

“Get in here.” Jace practically hauled him in by his shirt and it took everything inside Max not to swing at him.

“What—?”

Then he saw her. Standing in the kitchen, her arms wrapped around herself. Looking fragile and beautiful, she took his breath away just as surely as if Jace had hit him. He closed his mouth, swallowed. “Hi.”

“Hi,” she said.

He looked at Jace, keeping his voice low. “I didn’t realize—I mean, you didn’t mention—”

“That Grace was going to be here? Yeah. I was going to surprise you, dude. After what I saw on the Internet, it seemed like you wanted to be together.” He held out his hands. “You can imagine my surprise when I heard that you ditched her in Hawaii.”

Max ground his jaw, looked at Grace, back to Jace. “I . . . I’m sorry.” He glanced at Grace. “I’m sorry.”

And he had nothing more than that. He couldn’t be here, with her. Even as he glanced at her again—just one more glimpse of her before he walked out of her life—he was shaking his head, heading toward the door.

 (Check out more about When I Fall in Love here!)

 Set up your combo scenes with a short Reaction scene, establishing strong motivations and goals – and you’ll have the ingredients to create a powerful scene.

TWEETABLES

Hitting the NaNoWriMo Blues by Susan May Warren (Click to Tweet)

How to keep your scenes from sagging by Susan May Warren (Click to Tweet)

Susan May Warren is owner of Novel Rocket and the founder of Novel.Academy. A Christy and RITA award-winning author of over fifty novels with Tyndale, Barbour, Steeple Hill, Summerside Press and Revell publishers, she's an eight-time Christy award finalist, a three-time RITA Finalist, and a multi-winner of the Inspirational Readers Choice award and the ACFW Carol. A popular writing teacher at conferences around the nation, she's also the author of the popular writing method, The Story Equation. A full listing of her titles, reviews and awards can be found at: www.susanmaywarren.com. Contact her at: susan@mybooktherapy.com.

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Ladies and Gentlemen... It's Back Story vs Character History!

Ding, ding!

Referee: “Ladies and gentleman, welcome to the first ever bout between Back Story and Character History.”

Wahhaaaaa. Cheerers!

Ref: “In this corner, from the New York City, wearing black shorts, weighing in at a hefty five hundred and eighty-two pounds is the champion of all novel prose, Baaaaack Storrrryyyyyy!”

Waahhhh…. crowd cheering.

“And in this corner, from Miami Beach, wearing blue shorts, weighing a sleek one hundred and seventy-eight pounds is the challenger, Chhhaaaarrracter Hhhiiiistorrrryyy.”

Wooooo…. Crowd booing.

Referee: “All right you twos, I want a clean fight. No hitting below the belt, no tripping, spitting, holding or biting. Touch gloves, go to your mutual corners and when the bell rings, come out fighting.”

Ding!

Character History leaps to the center, bouncing, dancing, he’s full of pip. From his corner, Back Story lumbers to the center of the ring. One cross from the herculean champ, Character History will be out, face down on the canvas.

Character History circles, jabbing at his opponent.

“He sure seems confident, Bill.”

“I’ll say he does, Sam.”

Smirking, Back Story takes a wide stance, raises his gloved fists and waits, his hawk-like gaze tracing the young fighter. He’ll not give up his championship belt without a fight. He know, this young whipper-snapper has no power over him.

Character History bobs and weaves. He taunts. “You’re going down, Back Story. You’re going down.”

“Take your best shot, wise guy.” Back Story strikes, a hard right jab.

Oh! Character History takes the hit on the chin. His head snaps back and he wobbles to stay up. He’s against the ropes. Back Story presses forward.

“This is it folks. Back Story will win in round one with a one-two punch.”

Just as he swings, Character History cuts low and lands a hard shot to Back Story’s ribs. The big man his stumbling, breathing heavily.

His arms slip low but he recovers, watching Character History circle. He strikes again with an uppercut…

“But mercy, Bill, Back Story misses by a mile.”

“And here comes Character History. With a jab, cross, uppercut. Ooo, Back Story is taking a beating. He’s teetering… he’s stumbling… he’s against the ropes. Sam, it’s not looking good for Back Story.”

Character History throws one final blow. A sharp cross. And Back Story falls! The whole arena quakes as he hits the canvas. It’s like watching Goliath being quelled with one of David’s stones.

The ref is on his knee, counting. “One, twos, three, four…. nine, ten. You’re out, Back Story. You’re out.”

It’s over. In Round One.

“Ladieeesssss and gentlemennnn, Chhhhaaarrracter Hissstory is the new prose Cham’peeean of the World.

***

Fun, uh? Okay, I can hear y’all now, “Rachel, what are you talking about?”

I’m talking about back story verses character history. What’s the difference? Strength, power, speed, agility and ability to sustain the long haul of a novel.

Back story is old fashioned writing. It’s large and encumbersome. Slow. Waddling. And most of the time, unnecessary.

But writers use it and readers endure it because it gives us some glimpse into the heart and soul of a character.

Character History is hot, lean and sleek, fast and quick, in and out, not weighing down the story.

Back story, we all know, slows down the action. We’ve heard the rule: No back story for the first 30-50 pages.

But wait, what if an author needs the reader to know something critical about the character for the opening scenes to make sense?

That, my lovelies, is character history.

For example, Billy Bob is about to go on his first police call -- a possible robbery -- since returning to the force after being shot in the gut while responding to a bank hold up. He’s nervous. He’s anxious. When he gets inside the establishment, he draws his gun a bit too early and almost shoots his partner.

What’s going on with him? I f we stick to the “no back story rule” we miss the importance of this moment. His jittery nerves just make us think he drank too much coffee. We don’t care.

What the reader needs a bit of history. A line or two of prose, or even better dialog, that gives the reader a hint of Billy Bob’s emotional state.

The scar on his shoulder from the bullet wound burned and twisted as Billy Bob entered the bank. It’d only been four weeks… and in a split moment, he couldn’t remember why he’d returned to this job.

Ah, the reader has learned there’s something more to the story. It ups the readers attachment to Billy Bob. This bit of history adds tension. What bullet in the gut? When? Who shot him? Why?

All of those question, left hanging, can be answered later in the story. Good stuff. If the writer wanted, s/he could add a line of dialog from his partner.

“You okay?”

“I’m here aren’t I?”

“Just wondering.”

“You do your job, I’ll do mine.”

Why was his partner asking Billy Bob if he was okay? Hmm? The reader wants to find out more so s/he turns the page.

Back story is another matter. Back Story stops the forward action and talks about things unrelated to the current scene and emotion. Sure, it’s about Billy Bob and it’s all true, but the reader doesn’t need to know he wanted to be a cop since he was ten while our hero is stalking a burglar.

Here’s a back story blob:

“Since taking a bullet in the gut, Billy Bob wondered if he could still be a cop on the beat. But his dad had been a cop and his father before him. Every Martin man wore the badge. Billy Bob remembered the first time he held his father’s badge, feeling the cool metal in his palm, stroking his finger over the shiny brass. He knew then, at then, he’d be a cop just like his father. Mother didn’t want him to be. She worried about Dad, but if a man put on blue and a gold badge, wasn’t he invincible?”

Wow! All that while checking on a robbery call? By now, the reader’s forgotten what was going on. The burglar has escaped while our hero mused over his past. Or worse, shot Billy Bob’s partner.

The reader doesn’t need that much information. Especially in the midst of a tense scene. Save it for later. Perhaps in a conversation with his Dad when our hero, Billy Bob, is facing a voice-of-truth moment.

Do I still want to be a police office?

Why did I become a police officer?

Back Story is more for the author than the reader. Character History is for the reader, and the power of the story.

So, what’s Character History and how do we use it?

1.                    Character History applies to the current action on the stage. If your heroine cannot stand the hero, don’t let her behave irrationally, leaving the reader in the dark. Don’t give us a snippy rude girl without giving us motivation.
Drop in a line of history. “Ever since seventh grade when he stole her PE clothes from her locker and she got detention, Jen couldn’t stand Colby Witherspoon.”

2.                    Drop in history and exit quickly. Leave the reader a bit curious. In writing Love Starts With Elle, I had a paragraph or so of history about Elle so the reader could understand the significant emotion of the scene and what action was about to take place – a proposal. Elle had set up Operation Wedding Day for herself in the book, Sweet Caroline. She wanted to find a man. But her plan didn’t work. When she let it go, THEN she met the handsome Jeremiah Franklin. When Elle got her own book, I needed to add that bit of Operation Wedding Day “history” to help the reader “get” and care about Elle.

3.                    Character History sets up tension. Drop in a line about how your character is afraid of…. snakes or heights. Don’t you love how Indiana Jones hates snakes, then gets dumped in a pit of them? We first see his fear when he’s escaping in a prop plane after taking the artifact from the cave. We don’t get a bunch of lines about why and how he’s afraid of snakes, we just see his reaction. Then when he’s dumped in the pit, our skin tingles. It’s Indy’s worst nightmare. Most of ours too! Can you imagine how boring the scene would’ve been if Indy went on for six or seven more lines about how his big brother used to toss snakes on him when they played in his grandma’s creek? Who cares at that point? We just need to know his history with snakes. Period. He hates them.

4.                    Character History is part of the prose painting. It’s a nice clutch on forward action. It helps the reader take a breath and get into the heart and mind of the protagonist. But be careful. Just a bit of history is all we need. If your character is passionate about ending injustice of some kind, show us that passion on the page, then through dialog or a fast line or prose, hint at why this injustice bothers your heroine so much. But don’t give the reader a montage that begins when our heroine is ten and ends when she’s sixteen, then brings us back to the current moment. Give just enough to fill the reader in.

5.                    Character History sheds light on the protagonist motivations. Let the history pertain to what’s happening on stage, in the current scene. If your character is dealing with, oh, say, an errant child, don’t stop and give a dissertation on the protagonist own childhood and upbringing. Not necessary. Boring. But, do tell us how her mother was so kind and patient, and it frustrates her how she is so impatient and sharp. That’s all the reader needs to get what’s going on with the protagonist motivation.

Watch out for phrases like, “a sound brought her back into the present.” Ooo, where did she go? On a back story rabbit trail? 

We all love to sit and reminisce, but a novel is about tension, conflict and moving forward. Most of us don’t stop to muse or reflect while arguing with our friend or trying to save the world. Right?

Now, these are guidelines. Once in awhile, we do have a character drift off in thought for a moment, but be guarded. Ask yourself if there is a better, more emotionally impacting way to present the information. If not, then go for the reflect and keep it brief.

So, there you have it. The bout between Back Story and Character History. Go out writing and have a clean fight with your words.

Ding, ding!

*** 

New York Times, USA Today and Wall Street Journal bestselling author Rachel Hauck lives in sunny central Florida.

A graduate of Ohio State University with a degree in Journalism, she worked in the corporate software world before planting her backside in uncomfortable chair to write full time eight years ago.

Her book The Wedding Dress hit the top bestsellers list the first half of 2016.

Rachel serves on the Executive Board for American Christian Fiction Writers. She is a mentor and book therapist at My Book Therapy, a conference speaker and worship leader.

Rachel writes from her two-story tower in an exceedingly more comfy chair. She is a huge Buckeyes football fan.

Here latest novel, The Wedding Chapel landed on Booklist's Top Ten Inspirationals for 2015.

Visit her web site: www.rachelhauck.com.

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How to Be an Editor's Dream Writer

by Linore Rose Burkard

Wouldn't we all love to be an editor's dream writer! But what does that mean?
Perhaps it will be useful to examine what it doesn't look like, first.

Ready or Not! Here I Come! 

The Wanna-Be Who Will Never Be

I've met unpublished writers at workshops or conferences who believe they are the dream writer who simply hasn't been discovered yet. They're roving around, searching for some agent or editor to take them on and discover their brilliance.

But here's the thing: They don't really care which agent or publisher. They just want SOME agent, or SOME publisher. And that, in case you didn't catch it,  is evidence from the get-go that they couldn't possibly be the dream writer. A dream writer won't query a publisher or agent who isn't a good fit for them. It's a waste of everyone's time. A dream writer reads guidelines, studies a publisher's catalog, and checks out an agent's blog posts. She knows where she won't be wanted, and thus where she ought to target her efforts.

Here are a few other reasons that some writers are not that dream writer; reasons they won't divvy up right away and possibly never own up to:

1. They're desperate for affirmation and willing to cut corners to get it. 

There's nothing wrong with wanting affirmation. It's natural for human beings to seek positive feedback for what we do. But being desperate for it can make you hurry projects, scribble out queries, seek a publisher or agent too soon, or the wrong publisher or agent, all because of that overwhelming NEED for affirmation. Even if you've waited until the work is relatively clean, the desperation trickles through--it's sort of like trying to hide dirty laundry behind a curtain: It still smells, and it will sour the process, and probably the results (any work that is published).

ANTIDOTE: Pray for guidance and patience while studying the industry. Listen to advice and trust God to lead.


2. They're "done" studying the craft of writing; can't be bothered to get a critique or two and won't receive criticism anyway.  

Once this writer finishes their first book they feel they've "arrived." They are now an author and no one, not no one, is gonna tell them how to improve their craft. Besides, anyone can see their book is perfect already!

ANTIDOTE: Pray for guidance and patience while studying the craft of writing. Listen to advice and trust God to lead. 


3. They write what they think will sell, never mind the market or what industry professionals seem to think. Their book is the exception to every rule. (Isn't it obvious?)

ANTIDOTE: Pray for guidance and patience while studying the market. Listen to advice and trust God to lead.


4. If they acknowledge some errors or sloppiness in their work, so what? The publisher's editor will clean it up. It's what they do, right?   

ANTIDOTE: Pray for guidance and patience while studying the craft. Listen to advice and trust God to lead! 

So what does a dream writer look like?

By contrast, a dream writer continues to study the craft, always learning and striving to improve.
She targets her queries to carefully chosen markets, or publishers or agents. She behaves like a pro even before the big break, getting a professional headshot, a website or quality blog, and invests in the business end of writing.  She has a business card, a reliable email server --and not a cutesy email address, either, like, "susiescribbles@..."--(please forgive me if your name is Susie and you scribble, but you get the idea.). She doesn't wait for success to ACT like success. And, then, when the contract is in hand, she comes through with her manuscripts, on time, every time.

Said manuscripts are squeaky clean--they may need revisions here or there, some polishing of the plot or trimming of fat--but they're not a chore to read, and don't cause undue work for an editor.

In short, professionalism counts. Act like one, and you'll be treated like one. Do the necessary rope climbing to earn that affirmation--and it will come!  

Linore Rose Burkard wrote a trilogy of genuine regency romances for the Christian market before there were any regencies for the Christian market. Her books opened up the genre in the CBA. She also writes YA Suspense/Apocalyptic fiction as L.R. Burkard. Married with five children, she home-schools her youngest daughter, preferably with coffee in one hand and iPad in the other. Her latest book, PULSE, a tale of  apocalyptic suspense, takes readers into a "chilling possible future for America!"

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The Dirty Little Success Secret

by Linore Rose Burkard

When I give writing workshops I have the privilege of meeting writers at all talent levels, some published, but many still learning the ropes. Some have expressed a feeling of hopelessness. It seems to them no matter what they do, publication is not within reach. Successful authors, they think, must have a secret or two unknown to them. Why else aren't they published by now?

They want to know the dirty, little secret. 

I like to tell them, first of all, that we are all still learning the ropes. 

Is there a secret to learning the ropes?

Even published authors, those who have navigated the climb to publication with one house, may have to take a new and different course to get their next book published. There are exceptions for some popular authors, but for most of us, like stocks, past success is no guarantee of future earnings. 

But is there a dirty little secret to success?

 
Actually, yes!
In fact, there are two of them. Here are the two filthy secrets that successful authors are intimately familiar with: Perseverance and work.

No one likes these words, because they imply strain, patience, and fatigue. Persevering in the face of difficulty is hard. Work, by its very nature, takes energy.

But these "secrets" are actually good news for writers, because while success is sometimes being in the right place at the right time, or comes as a result of who you know, most often it is a result of these two things that are completely within our grasp. Anyone can exercise perseverance. Anyone can do hard work.    

Perseverance can get you in the right place at the right time, and hard work will help you meet the people you need to know. The reverse is also true: Hard work can get you in the right place at the right time, and perseverance will help you meet the people you need to know. 

So, the truth is there is no secret at all.  

As Colin Powell said, "There are no secrets to success. It is the result of preparation, hard work, and learning from failure." 

About That

It is easier to feel that life is unfair and that you are wasting your time writing and editing than it is to prepare sufficiently (for publication), do the work necessary, and learn from failure. 
But this is precisely what writers must do. 

Work hard--and keep working hard.
Prepare (learn, attend conferences, read books on the craft) and keep preparing. 

Take failure and learn from it, that is, every rejection, every critique. (Some criticism will not be accurate. Most will have at least a grain of truth. Learn to find that grain--it can be very, very helpful.)  

Finally

Only the Lord knows the right time, the right publisher, and the right agent for each of us. If we receive a rejection, we can rest assured it wasn't the right place, time, or person for our work. Every closed door is a nudge in a new direction, towards the one that with perseverance and work, will "magically" open. 

Samuel Johnson said, "Great works are performed not by strength but by perseverance." 


Do you have a great work in mind? 
Press on.
Persevere.
Publishing success will come in His time and in His way. 

In the meantime, remember that we write:

• not because we may we published
• not to impress an agent or editor
• not to show family or friends that we can

but to serve the Lord, to steward the resources of creativity and imagination that He has entrusted to our care. When we remember it is GOD we serve, we can grasp that we are always a success, so long as we are faithful to Him. 

Keep Writing!

Linore 

Linore Rose Burkard is best known for historical regency novels with Harvest House Publishers, including Before the Season Ends, the award-winning The House in Grosvenor Square, and, The Country House Courtship. As a writer noted for meticulous research as well as bringing people to life on the page, Linore’s books delight fans of historical romance with “Heyeresque” humor and Austen-like manners.  Linore teaches workshops for writers with Greater Harvest Workshops in Ohio, is a homeschooling mother of five, and has recently finished a YA novel. Keep up with Linore by subscribing to her free newsletter at LinoreBurkard.com

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