on Jane Friedman site:

It’s Tuesday at 4:30 PM. A writer’s name flashes across my Zoom screen.

As we begin her free consultation, she tells me about the harrowing memoir she plans to write. The project is her first book, and she’s not sure where to begin.

After a five-minute banter about the writing process, she says, “Can you tell me how to structure my memoir?”

As I craft a reply to this frequently asked question she leans in, waiting, perhaps even hoping and praying, that I’ll share the secret that easily and efficiently unlocks her project’s genius.

I understand because I repeatedly asked the same question early in my writing process.

At the time, I thought structure was the holy grail of storytelling. Like the characters in Indiana Jones and The Last Crusade, all I had to do was choose wisely. Complete the task and I’d soon double…

Recently I was listening to a lecture from #1 New York Times best-selling author Brandon Sanderson where he listed four different kinds of lines we use to write stories–and while I knew each type existed, I had never really thought of listing them out and talking about them, and as I considered that, I also thought of another type he didn’t mention.

When it comes to actually writing a story (on a line-by-line level), you really only have five elements to do that with. And one of the differences between a beginning writer and a professional-level writer, is that a professional-level writer will convey more than what the lines are saying on the page–they’ll convey more than the text itself. In contrast, a beginning writer often uses more words than necessary to convey concepts that the audience already understands. So while a professional writer tends to write text jam-packed with…

on Writers Helping Writers:

Trauma is defined as anything that’s overwhelming or unpleasant that causes long-term mental or emotional problems. Trauma rewires the brain and causes disordered thinking. So, if you’re looking for a way to SHOW a character’s trauma background, to show the WHY behind poor choices, irrational behaviour, etc., use internal dialogue that reflects this disordered thinking. This is the key to creating emotional connections for readers.

Below are some common ways that trauma causes problematic thinking patterns. Showing this flawed thinking, the emotional reactions to it, and the behaviours it causes will reveal to readers what’s important to your character, what inner obstacles they face, and often a whole lot about their priorities, values, and self-worth.

Continue reading HERE

on Live Write Thrive:

Many of you joined me a couple of years ago on this blog as we strolled through the movie lots in Hollywood and tried on some different hats. Meaning, you learned a bit about thinking like a director, a film editor, and a screenwriter.

I want to revisit some of the ideas I put out to you because I feel they are so helpful. If you don’t have Shoot Your Novel, consider getting it and digesting all the unique, great material in there. No other book explains and shows how novelists (or writers of any kind of fiction or creative nonfiction) can use cinematic technique effectively.

The book isn’t about story structure—it doesn’t tell you where all the plot points and turning points are. It’s about approaching scene structure the way directors do—as a compilation of segments, using different camera shots, which then get edited…