Decisions, Decisions, Decisions

We all know how important the right decision is. The more important it is, the more time we take to process all the information we know that concerns that decision. Your character has reacted to the last scene's disaster. He has realized his dilemma of not knowing what to do next. After weighing all his options, he now makes a decision. And, yes, this is a very important decision!

The decision your character makes will determine his next course of action. This decision of what to do next becomes the goal for the next scene. The decision section of Sequel leads your character back to the beginning: the goal of the next Scene.

Be sure to make your character proactive, that he actually makes the decision and that one is not forced on him (making him passive and not as interesting). Give him options, but don't make any of them easy. The more risky the decision, the more intensely involved is the reader. This is another way to raise the tension.

However, be sure that the decision is workable, even if the percentages are small (otherwise, you paint yourself into a corner). Now the reader is forced to turn the page to see if the decision is the right one and if it will work.

Remember:

3 parts to a Scene

*Goal

*Conflict

*Disaster

3 parts to a Sequel

*Reaction

*Dilemma

*Decision

Scene and Sequel work together to move your story forward. Next time I'll show you how to use Scene and Sequel in all types of fiction.

Visit AnAuthor World's website (www.anauthorworld.com) for information on our fall writing conference, The Story Continues. It will be Saturday, October 15, 2011, at Furman University, 3300 Poinsett Highway, Greenville, SC. If you have questions about the conference or just writing questions in general, feel free to contact me at pam at anauthorworld dot com.

Dilemma!

by Pam Zollman

“What do I do? What do I do now?”

Your main character has been through a scene where he had a definite goal to accomplish, but ran into trouble. That trouble or obstacle caused conflict between your character and another person or nature or society or even with himself. This conflict didn’t turn out the way your character hoped; instead, it was a disaster. He didn’t achieve his goal; in fact, things probably just got worse. Your character reacts to this disaster with horror, grief, surprise, sadess, disgust or some other emotion.

Now your character has to ask himself, "What do I do now?"

The second part of Sequel is Dilemma. Your character now finds himself in a bad situation. During this part, you will raise the tension as your character goes through his options. His options should be few and none of them good. Even if your character does nothing, that is a choice and usually a really bad one. As your character examines all his options, your reader will be on edge, worrying about what will happen next.

How much time do you spend on Dilemma? That all depends on your story and where you are in your story. As discussed in previous blog posts, the bigger disaster requires a longer sequel. A small disaster requires a smaller sequel. Sometimes all your character can think (or is implied) is, “What do I do now?” Other times, your character must weigh all his options before he takes another step. If the plot calls for it, let your character work through his choices, even if this slows down the pace. If this is a major decision, then your reader will want to experience the character’s thinking process. Otherwise, don’t let your character agonize over every single dilemma in the story.

For example, if your character finds that he’s standing on a landmine at the end of the scene (okay, that’s a pretty big disaster), his reaction and dilemma will have to be explored. After all, this is life or death, or, if not death, then maimed for life. If your character finds that he has a flat tire at the end of the scene, it’s probably not life or death. His reaction is probably frustration because he’s on his way to a job interview and his dilemma might be whether to change it himself and get dirty, but be on time, or to call for help, stay clean, but be late for the appointment.

Don’t skip Dilemma, even if it’s so small as to be implied. At least imply it. Your reader may not know why, but he will be dissatisfied. The missing piece, no matter the size, could pull your reader out of the story as he tries to figure out why your character does what he does.

Questions? Feel free to contact me at pam@anauthorworld.com and I’ll try to help you with any story problems.

Google Plus - Will it Live up to the Hype?

Have you heard the hype? Google is out to change the world—or at least the online part of it. Chances are, if you’re connected at all, you've heard the rumblings that have marked Google’s entry into the social networking arena with Google Plus.

I’m a small player in a big world, but I’m loving the view from the sideline. I’m observing the polarizing effect this is having as the big dogs take sides. I, for one, am cautiously impressed. After a short time of experimentation I’ve found Google + a big improvement on many of the other options out there.

Here are the things I particularly like:

• Privacy settings. For me, they were easier to navigate and gave me more options than those I've been able to decipher on Facebook. It’s not perfect, although I can choose from more options, once I share a post with someone they have the option to share it and I can’t stop them.
• Circle concept. I like being about to separate my conversations. Many writers (and other professionals) have had to decide whether or not to enter the social networking arena for friends, family or profession. The circles allow me to have ONE account and still keep my private life private.
• Post editing. I can’t help it—I’m an editor at heart—and I like to edit. In Facebook or even Twitter, once I put something out there it either stands or falls . . . as is. With Google + I have the option to edit things I've already posted and decide whether or not to allow comments. 

Granted Google + is still in beta mode, but I’m enjoying this new universe. I recommend you find a way to wangle an invitation and begin to test the water. Let me know what you think.

Scene and Sequel: Reaction!

The three parts of a Sequel are: Reaction, Dilemma, and Decision. Readers read for emotion, and sequels provide an abundance of that. Sure, there's emotion involved in scenes, but your character doesn't have time to really experience it. Now, in the following sequel, he can.

Every action has a reaction. And after experiencing a disaster at the end of the scene, your character will experience a reaction, an emotion of some sort. A disaster hurts your character. How m
uch of a reaction or a hurt that your character experiences will depend on how big the disaster is and what it involves.

During "reaction time," your character is off-balance, reeling from the disaster. When your character hurts, your readers hurt for them. So, don't be afraid to hurt your characters and then allow them to feel the blow.

Remember, though, to keep the reaction appropriate. A pimple may just be an annoyance to a business woman. A pimple is a major disaster to a teen girl on prom night. The business woman's pimple may be a small "disaster" in that it may have resulted in stress that she doesn't want to show. A teen girl, on the other hand, may agonize over a pimple on that special night.

Sometimes, a series of fast-moving scenes with end-on-end disasters will not allow much time for reactions. A wave of emotions may flicker across your character's face as he speeds through the sequel, or your character may be operating in shock. However, there will come a time that your character will have to process all that just happened, and the first thing he proces

ses is his reaction to what just happened.

Also remember that in real life, people don't like to be around others who moan and groan constantly and have a woe-is-me attitude. And in books, readers get feed up with characters who do the same. In life, people leave. In stories, readers close the books. So, if you feel that your character must moan and groan, make sure that it's something really important. Then let him do it in the appropriate sequel...and everyone will be pleased.

Next time we'll cover: Dilemma!

If you have questions, feel free to contact me at: pam@anauthorworld.com. And visit AnAuthor World's website: www.anauthorworld.com.

The Scoop on the Dreaded Fifteen Minute Appointment

I've had several people ask me what to expect when they having a fifteen minute appointment with an industry professional. Many even wonder if they should take advantage of an appointment. My answer? ABSOLUTELY. Even if you don’t have something to pitch, an editor, agent or even well known author can give you valuable insights to help you focus your career goals.

Let me give you some idea of why professionals agree to be part of the faculty.

They want to help you. By and large, those on the faculty at writers conferences are there because they have a heart for helping new writers. They know what it’s like to sit on your side of the table. Others have helped them achieve their goals and now they want to give back by helping someone else.

They’re looking for new writers. The market is constantly changing and there is always room for new writers. Recently I had someone ask me why a publisher is looking for new writers if the book market is shrinking.

• First, it’s not shrinking—it’s changing.
• Second, writers come and go.
• Third, every choir needs more than one voice for each section. It’s the blend that makes the music beautiful.

Now, onto who you should speak with at a conference.

Editor (for books or magazines)—these professionals are a good choice for two reasons.

• One—you have a project that fits their line and want to pitch it.
• Two—they know the market and can give you an idea of their opinion about where it’s headed.
• Three—they can give you input on an idea you have.
• Four—they can give you career advice.

Agent—these are good for the same reasons above.

• One—you have a project that fits who they rep.
• Two—they know the market and can give you an idea of their opinion about where it’s headed.
• Three—they can also give you input on an idea you have.
• Four—they can give you career advice.

Published Writer—these professionals can do a lot of the same things. They can also:

• Commiserate about challenges you’re facing as a writer.
• Give you advice on where a particular project might fit or who in the industry might be looking for something similar.
• Give you encouragement.

You’ll sometimes find other industry folks at a conference, such as marketing professionals, speakers, publicists, etc.

I encourage you to make your appointments and try not to be nervous. They are there to help, not tear you down. And a lot of good things can come from those appointments—way beyond career stuff. I’ve made friends, gotten validation that I’m not really crazy and had the opportunity to be prayed for and to pray for others.

Scene and Sequel...Continued

by Pam Zollman

Quick Review:

Scene has three parts: Goal, Conflict, and Disaster.

A scene must have action that moves the story forward in some way. It has a goal -- it's going somewhere specific. It has conflict -- something that elevates the tension. It has disaster -- something that makes the reader want to turn the page to see what happens next; it increases the reader's interest.

Sequel has three parts: Reaction, Dilemma, and Decision.

Every Scene has a Sequel. Sometimes sequels are extremely short, so short, in fact, that you might not even notice that they're there. But when they're omitted, you notice...even if you're not sure why. You just know that something is missing. That "something" is usually motivation. Sequel gives the motivation for why a character does something. It sets up the following scene, giving it its goal.

After the disaster, your character has to figure out what just happened and what he should do about it. This tells the reader why your character has made a certain decision. It gives your character a chance to recover from the disaster, if even for a moment. It also gives your reader a slight break in the tension, although the decision that your character makes should ramp the tension/suspense back up again.

Next time we'll go into detail about the first part of Sequel: Reaction.

If you have questions, feel free to email me at pam@anauthorworld.com. Also check out AnAuthor World's website (www.anauthorworld.com) for upcoming events, workshops, classes, and conferences in the Upstate South Carolina area.

Get Organized for a Writers Conference

For those who’ve known me for any length of time are aware that organization isn’t my strong suit—at least not in the conventional meaning. My desk is covered in stacks of paper and the walls of my office are papered with rainbow hued sticky notes. It’s a system that works for me—but I quickly discovered it didn’t translate when I went on the road.

So I found another way to keep myself on track when I’m away from the office and my conference notebook was born.

It’s really pretty funny. The moment people see my notebook they immediately assume I’m this ultra-organized whiz. Actually, the opposite is true and my notebook is just a last ditch effort at self-preservation. Another thing I’ve noticed is that this notebook works well no matter what your natural bent toward organization.

The primary idea for this notebook is that it contains everything I need at a writers conference so I don’t have to dig through bags or be constantly returning to my room for something I’ve forgotten.

So let’s get to it!

First, I choose a one and a half inch three ring binder. Mine is green because green is my favorite color. I make sure there’s a sleeve on the front cover to slide a cover into because it hold my contact information if I should lay it down and leave it somewhere.

Next, in the front I have a small zippered pouch with a couple of pens and some paper clips. I can also slide in a small lipstick, some band-aids and tissues.

After that, I have a neat insert that holds several different size and colors of sticky notes.

Then, I add 4 pages of clear business card holders. I use the kind that are the size of a full page, so I have plenty of room to add business cards. I keep the first three empty and use them to store business cards I get from others. The last page is full of my personal business cards, so I always have plenty to hand out. (Don’t know what to include on a business card? I posted a blog on that here.)

The next part is divided into sections with tabs. Each project I’m pitching has a section. Here’s what would go into a section.

• A clear plastic sleeve containing my one sheet for that project. (Don’t know what a one sheet is? Click here for a post on one sheets).
• An outline for the project—if it’s non-fiction.
• A synopsis for the project—if it’s fiction.
• A sample of my writing for the project. This can either be a couple of sample devotions (for a devotional book) or the first couple of chapters in a book (fiction or non-fiction).

I have several copies of my one sheet, outline, synopsis and sample—just in case the person I’m showing it to wants to keep it or mark it up with suggestions.

Finally, after the section for projects I stock the back of the notebook with notebook paper and extra clear plastic sleeves and tabs.

Extras, you can include in your notebook might be a bio sheet, a list of topics if you're a speaker or even a list of articles you might want to pitch. The nice thing about this kind of notebook is you can personalize it to fit your needs.

With this notebook, no matter where I run into an editor or agent, I’m always prepared. I literally have everything at my fingertips. During a conference I NEVER go anywhere without my notebook.

So what have you found to help keep you on track while at a conference? We’d love to learn from your experiences too.