Disaster!

by Pam Zollman

Come on, admit it. You slow down at the scene of an accident. You can’t help yourself. You want to know what happened.

When there’s a hurricane or an

earthquake or a bomb blast, you stay glued to the television. You can’t help yourself. You want to know what happened.

When you see a friend upset or crying, you want to know what happened. It’s human nature.

So what does this have to do with writing scenes and sequels? Disaster is the third building block of scenes. The first two, goal and conflict, are set-ups for the third, disaster.

Disasters can be huge or they can be small. In my book, Don’t Bug Me! (Holiday House 2001), Megan has to collect 25 different bugs, mount them on cork board, and label them for her science project. When she goes into her room and sees that all her bugs are missing, that a big disaster for her. In another scene, Megan works hard at catching a cricket, only to lose it as it slips between her fingers. Her little brother scoops it up and claims it as his pet. Although not as big as losing all of her insects, this is still a disaster. Be careful, though, of making the disaster so big that you character cannot recover from it or so small that your reader either doesn’t notice or thinks it’s “much ado about nothing.”

· * Every scene has a disaster.

The disaster, big or small, must be the result of the conflict. It can’t come out of left field, unless you’ve set it up in previous scenes. It can’t be there just for “effect.” It must move the story forward.

· * Every story has a disaster.

The major disaster of the story comes at the climax and makes the reader wonder if the main character will achieve his goal after all. A story, though, will have at least three major disasters (one at the end of the “beginning,” one half-way through, and one at the end of the “middle”) before the climax. All of these disasters are related to the main character’s goal in some way and prevent him from achieving it, while moving the story forward.

· * Every character has disasters.

Your character will have lots of disasters, most of which are minor, but all hindering him in getting what he wants. Your character grows through these disasters; they strengthen him. He learns from the disasters. You decide which conflicts and disasters to give your character based on his fears, his weaknesses, his flaws. When you hit him with these, you knock him down. But you never want to knock him down so hard that he doesn’t recover. It’s okay if it takes him a few minutes to get back up, but your character must get back up; otherwise, your story is over.

Conflict creates tension. Disaster elevates it. So use human nature and our curiosity and concerns about disasters – whether man-made or natural – to keep your reader on the edge of her seat.

* * * * *

You can contact me at pam@anauthorworld.com if you need help with your story.

Dress for Success at Your Next Writers Conference

Today I’m going to continue my series on getting ready for a writers conference. One of the most asked questions I get is about appropriate attire. Below is my opinion—you’ll find others who disagree—but it’s always worked well for me.

First let me say this, you’ll see a little bit of everything when comes to what people wear at writing conferences. But, and this is important, just because you see someone wearing it doesn’t mean it’s appropriate.

I always treat a writing conference like a job interview—and really that’s what it is. You are meeting people who are deciding on whether or not to invest in you and your work. It may be a small investment—like an article; or a large investment—like a book contract.

Here are the guidelines I use when I plan my conference wardrobe.

• Business casual always works. For women, slacks, casual skirts, nicer jeans or capris. For men, slacks, nice jeans, polo’s, even some t-shirts if not sloppy. Suits are definitely NOT required. I like my style to look effortless and timeless.
• Keep it comfortable, for shoes at least. I don’t know about you, but I can’t concentrate when my feet hurt. I try to avoid athletic shoes because of their ultra casual nature, but I would choose them if they were the only ones I could be comfortable in.
• Dress in layers. No matter what the temperature outside—inside is always a roll of the dice. Some rooms will be hot, some cold. So I always try to top an outfit with a light sweater or jacket, and usually a scarf.
• Leave the perfume (men, this means cologne) at home. I know lots of folks who get headaches from or are allergic to different strong scents—and their definition of strong isn't always the same as mine. Some conferences, like ACFW, bill themselves as perfume free. 

And although this isn’t actually a piece of clothing, you’ll need to choose something to carry. Men and women need something to tote their laptops, notebooks, handouts, business cards, etc. Pick something with a wide strap, because it can get heavy by the end of the day and don’t forget to pack extra pens, tissues and breath mints!

Now it’s your turn—how do you plan your wardrobe for a conference? 

Honing Your Conference Pitch

Attending a writers conference can be a stressful undertaking—even for a seasoned writer. A lot of writers have gravitated toward our profession because we’re not comfortable with crowds, especially crowds of strangers.

That’s why I’m posting this series on writing conferences. It’s not to add to your stress—but to alleviate it. For me, when I know what to expect and am prepared, I’m less anxious. No one likes to feel like they're under the gun. I assume I’m not alone in this feeling.

So the first subject we’re going to tackle is the one that makes most writer’s stress levels spike off scale—pitching.

Over the years I’ve had people tell me they’re not worried about pitching—they’re just going to learn. Nice thought, but not based in reality. I hate to break it to you, but if you’re standing in line or sitting beside someone and they ask you what you’re writing, if you answer them, you’ve just delivered a pitch. I could post pages of stories from writers who wished they’d been prepared for this unassuming little scenario.

The idea behind a pitch is to get the person you’re talking with to ask for more.

Simple concept, harder to execute. So here are some of the do’s and don’ts of pitching.

Do

• Set up an intriguing scenario.
• Introduce your main character.
• Give a hint about their situation and goal.
• Tie in the disaster or obstacle to that goal.

Don’t

• Go over 2 sentences—try to keep it to one sentence.
• Answer all the questions the listener might have.
• Substitute cleverness for specifics.
• Give away the ending.

Now, here are some real life hooks or tag lines from popular movies. I’d love to read some of your favorites as well. 

• "She brought a small town to its feet and a huge corporation to its knees." —Erin Brokovich
• "To enter the mind of a killer she must challenge the mind of a madman." —Silence of the Lambs
• "What if someone you never met, someone you never saw, someone you never knew was the only someone for you?" —Sleepless in Seattle 1993
• “A businessman falls in love with a hooker he hires to be his date for the weekend” —Pretty Woman
•  “When you can live forever, what do you live for?” —Twilight
•  “Just when you thought it was safe to go back in the water.” —Jaws 2
•  “In space, no one can hear you scream.” —Alien 

Now it's your turn to chime in. Do you have any questions or is anyone brave enough to try their pitch out here?

Honing Your Pitch

Attending a writers conference can be a stressful undertaking—even for a seasoned writer. A lot of writers have gravitated toward our profession because we’re not comfortable with crowds, especially crowds of strangers.

That’s why I’m posting this series on writing conferences. It’s not to add to your stress—but to alleviate it. For me, when I know what to expect and am prepared, I’m less anxious. No one likes to feel like they're under the gun. I assume I’m not alone in this feeling.

So the first subject we’re going to tackle is the one that makes most writer’s stress levels spike off scale—pitching.

Over the years I’ve had people tell me they’re not worried about pitching—they’re just going to learn. Nice thought, but not based in reality. I hate to break it to you, but if you’re standing in line or sitting beside someone and they ask you what you’re writing, if you answer them, you’ve just delivered a pitch. I could post pages of stories from writers who wished they’d been prepared for this unassuming little scenario.

The idea behind a pitch is to get the person you’re talking with to ask for more.

Simple concept, harder to execute. So here are some of the do’s and don’ts of pitching.

Do

• Set up an intriguing scenario.
• Introduce your main character.
• Give a hint about their situation and goal.
• Tie in the disaster or obstacle to that goal.

Don’t

• Go over 2 sentences—try to keep it to one sentence.
• Answer all the questions the listener might have.
• Substitute cleverness for specifics.
• Give away the ending.

Now, here are some real life hooks or tag lines from popular movies. I’d love to read some of your favorites as well. 

• "She brought a small town to its feet and a huge corporation to its knees." —Erin Brokovich
• "To enter the mind of a killer she must challenge the mind of a madman." —Silence of the Lambs
• "What if someone you never met, someone you never saw, someone you never knew was the only someone for you?" —Sleepless in Seattle 1993
• “A businessman falls in love with a hooker he hires to be his date for the weekend” —Pretty Woman
•  “When you can live forever, what do you live for?” —Twilight
•  “Just when you thought it was safe to go back in the water.” —Jaws 2
•  “In space, no one can hear you scream.” —Alien 

Now it's your turn to chime in. Do you have any questions or is anyone brave enough to try their pitch out here?

CONFLICT

by Pam Zollman

This is Part 2 of my blogs on Scene and Sequel. Remember that every Scene has three parts: Goal (which we discussed last time), Conflict, and Disaster. This week we’ll discuss “conflict.”

One definition of conflict is “a state of open, often prolonged fighting; a battle or war.” Another definition is “a competitive or opposing action of incompatibles.” But the best definition I’ve ever seen of conflict is “two dogs, one bone.”

Some books have major battles in them, some physical and some mental. Some books have good vs evil (think Harry Potter). Some have two people wanting the same thing, but only one can have it. Depending on the age of your readers as well as the type of story you’re telling, you’ll have different degrees of conflict.

Conflicts are the results of obstacles blocking a goal. When your character is trying to get from point a to point b, you need to put something in the way to stop him. As he confronts the obstacle, he must decide how to deal with it. This, in turn, reveals the true nature of your character and allows him to grow slowly throughout your story.

· E Every story has conflict.

We don’t want our lives to have conflict; we go out of our way, in fact, to avoid it. However, we don’t want to read books without conflict. Those books are boring...and don’t sell. Since your story has a goal, then your story must have something to prevent that goal from being easily achieved. Plots usually concern one (or more) of these: man against man, man against nature, man against society, or man against himself.

· E Every character has conflict.

Obstacles for a character are developed from two main places: his goal and his nature. When you are devising obstacles, you must make them fit the story and move it forward. So examine your character’s main story goal and ask yourself ways to stop him from achieving it. What are some of the natural obstacles? If a boy wants to hit a home run, but usually strikes out, a natural obstacle would be a lack of time to practice. Also examine your character’s nature and use his weaknesses and fears as obstacles. If that boy had a weakness of not being able to say “no” to his friends, then he would give up hitting practice time to hang with his friends...and not be any closer to hitting a home run, which is his goal.

· E Every scene has conflict.

While your character has a major over-arching story goal, he also has smaller goals that move him forward in the story. Each scene has a goal, so therefore, each scene has conflict – something to stop your character from achieving his goal. The obstacle doesn’t always have to stop your character; it can also just hinder your character along the way. The size of the obstacle depends on the importance of the scene. The more important the scene, the bigger the obstacle, and therefore, the bigger the conflict. Your reader wants to see conflict “on stage,” not “off stage.” In order words, he wants to read about it as it happens, not hear about it from the author after it happened. If you do that, your reader will feel cheated.

Even though conflict and its preceding obstacles stop your main character from achieving his goal easily, it should not stop your character completely. Don’t paint your character into a corner; allow him a way to escape. If you don’t, then your story ends. But each obstacle and resulting conflict moves the story forward and strengthens your character.

Conflict: it’s what your reader wants!

Next time we’ll discuss “disasters.”

Preparing for a Writers Conference

It’s conference season and many of us are making plans to attend at least one. Today I'm going to share some of the things you may want to prepare before you go. Two of the main reasons to attend a conference are Networking and pitching and I’ll concentrate on what you’ll need with these two goals in mind.

Networking

Networking is the easiest to prepare for. If you're just going to meet other writers and professionals the main thing you need is a good business card. Please take note, I said, good, NOT expensive.

These are the things a good writers business card includes:

Your picture - I know, I hate to have my picture taken and I always hate how it looks. But, in this business you need to be remembered and recognized and your picture is the best and easiest way to do that. If someone has a card with your picture on it, they'll remember who you are months longer than if it's just got your name. Also, it's harder to throw away a card with a picture on it than a card with just text on it.

The name you use when you write - if you use a pseudonym, be sure it's on the card. Here's an example (I just made up the names - they're not representative of a real person): Susie Stone, writing as Catherine Milo.

Your email address - this is going to be the main way others will contact you.

Your website or blog address - never pass up the opportunity to encourage new visitors to your sites. Also, many people will follow up on what you've told them and this will be a way for them to get to know you better.

Cell phone number - this isn't absolutely necessary, but it helps if your email goes down and someone has a hot lead for you.

Please take note of what is NOT included on a business card now. You do not need your physical address on the card. Actually, it's a liability. It can be dangerous to give out your home address, so if you feel you must include an address, invest in a PO Box.

It is possible to make your own business cards, using Avery brand sheets that go through your ink jet printer. The trick to successfully printing your own cards is to keep them simple! Another inexpensive way to go is by using VistaPrint. This online company is very reputable and I personally know a lot of writers who get their cards through them.

Bring some writing samples:

These are good to have simply because you'll probably find yourself in a group, or at a table, where everyone is sharing something they've written. It might not happen, but chances are, if you don't have anything to show, you'll be disappointed.

Pitching

This is when you attend a conference because you have something you want to sell to a publisher or if you want to get an agent. The things below that you'll need are specifically for those wishing to sell a fiction or non-fiction book.

It's important to keep in mind that everything you prepare for the conference to pitch a project is incremental in nature.

Your tag line or hook should make the editor or agent ask to hear more about your project (this is the time for the elevator pitch).

The elevator pitch should lead them to ask for your one sheet.

Your one sheet or pitch sheet should lead them to ask you to send them a proposal when you get home.

Your proposal should lead them to ask you to send them your entire manuscript.

Your entire manuscript should lead them to offer you a contract.

These are the generic steps in publishing. God can step in at any time in the process and something completely different can, and often does, happen. But, until that happens, I try to take it one step at a time.

Now Let's look at what's involved in each one of these components.

tag line or hook - this is one sentence, preferably 15 words or less. It should NOT be a synopsis of your book, but rather it's to intrigue the editor/agent and make them want to know more.

elevator pitch - this should be short, around 45 seconds. It will sound a lot like back cover copy or what is on your one sheet. Again, it's to make the editor/agent ask to see more.

one sheet or pitch sheet - this gives the blurb about your book, information about yourself (bio) and general info, like genre and audience for your project. If it's fiction, it states that the project is finished. If it's non-fiction it gives a completion date if the project is unfinished

You won't need a full proposal or manuscript for the conference. If an editor or agent is interested they'll ask you to email or snail mail them one when you get home.

Again, as with networking, you'll need to bring some samples of your writing.

This is just a general overview of what is needed. If you have specific questions, feel free to use the contact form at the bottom of the blog and send me your question. You can also post your question in the comments section. In the next few weeks I'll address each of these components individually or in groups and give you some examples to see exactly what others have used successfully.

Scene Goals

by Pam Zollman

I was working on a scene in my WIP middle-grade novel and it was causing trouble for me. It made me go back and review what I was doing. I learned how to write scenes from Dwight Swain’s book, TECHNIQUES OF THE SELLING WRITER.

Scenes have three parts:

• Goal
• Conflict
• Disaster

Today, we'll discuss "goals.”

Every story has a goal.

Your character has an overarching story goal -- the problem he or she has to solve, something he/she wants to achieve. My character, Joetta, wants respect from her family, but she doesn't understand at first that *that* is what she wants. She thinks she wants revenge for her twin brothers' pranks. She thinks she wants relief from a copycat younger sister. She thinks she wants her parents to punish her siblings, while giving her a break. This is what drives her through the story.

Every scene has a goal.

Her brothers continue to prank her, and in the previous scene attacked her with pillows until she screamed for help from her parents, who were unhappy at being awakened. So now she's lying there in the dark in her great-grandmother's home, thinking about revenge. She decides to wait until the twins are asleep and then write on their foreheads, "dumb" and "dumber." Her goal in this scene is to write on their foreheads without waking up them -- or her parents -- and getting away with it.

Goals create active characters.

Scenes are action. You want your character to be active, not passive. Passive characters react to what happens to them; they seem to allow things to happen. Active characters make things happen, good or bad. They don't wait for something to happen. Not all of their decisions are good, but they do make decisions and ACT. These characters are more interesting and engaging for readers.

Every scene goal leads eventually to solving the overall story goal.

As your character moves forward, scene by scene, goal by goal, he or she gets closer to solving the problem or achieving a desired outcome. Your character will not only reach the final goal, but will grow in the process. As your character handles each problem presented by each scene, he stretches and grows and is able to make new and better goals.

So give your character a goal in every single scene. It's what moves your story forward. Next time we’ll talk about “conflict.”