How to UP Your Word Count and Write Like a Boss! (Part 1)

Guest post by Sheryl Scarborough

Sheryl_KingandRice

I just finished the first draft of a new novel… my third.

I wrote it fast, with a vengeance.

280 pages, 63k words, 10 weeks. BAM!

That’s Wham, bam, thank you ma’am speed. Finishing this novel so quickly has restored my writer power. I’m excited and enthused, ready to roll up my sleeves and settle in for the revision stage. But looking back I’m a little amazed at my accomplishment. So, before my process becomes a hazy memory I want to document it and understand it, so I can do again. (And again… and… well, you get the idea.)

But before I get into my process, let’s take a look at how the Big Dog (and even some little dog) authors muscle through their drafts. You’ll find this interesting.

Sheryl_HemingwayErnest Hemingway… averaged 500 words per day.

… would begin his writing day in the early morning and stop around noon. But here was his trick: he would be sure to stop at a place where he knew what would happen next. He did this so he would have a place to start writing the next morning. I call this a RUNNING START.

Jennifer Weiner…

Sheryl_Jennifer W“When you have an editor with deadlines if you wait for a muse to get you there, you’re going to be out of a job.”

Jennifer Weiner starts her day with breakfast, getting kids off to school and hot yoga. She strives for 3,000 words per day.  She has a ROUTINE.

Jodi Pincolt…

Doesn’t believe in writer’s block. “Writer’s block is having too much time on your hands. You might not write well every day but you can always edit a bad page. You can’t edit a blank page.”  JUST WRITE… edit later.  

So, the research started sounding like same thing, different day or, what we’ve always heard about writing. Butt in chair… just write… nothing really new and different. And then I discovered…

Rachel Aron…

Sheryl_Rachel Aron bookAron, a sci fi author, figured out how to go from 2,000 words per day to 10,000. That’s right. I said it. 10,000 words per day.

Aron had a new baby and a book on deadline. She arranged for childcare four days per week. And during those four days she needed to produce 4,000 words per day to meet her deadline. When it turned out she was only putting out 2,000 words per day, she got busy and figured out how to pump it up.

The minute I read Aron’s explanation I realized two things: 1.) she really has something here. And 2.) I had stumbled onto the very same method.

Read the basics of Aron’s method here. Or, an expanded e-book version. Aron’s thinking is amazingly smart and sound – and it’s a definite improvement from the evergreen butt in chair, blah blah blah. She gives some real, solid advice.

Even if you’re not a really fast writer, I believe you could use Aron’s method to increase your output. Here is the nutshell version:

TIME + KNOWLEDGE + ENTHUSIASM =

BOSS LEVEL WORD COUNT

Time – There’s no substitute for that, you still have to put it in.

Knowledge – Knowing what you’re going to write each day before you sit down to write is essential. Otherwise, you’re wasting valuable writing time figuring things out. When you come prepared to your writing time the words fly.

Enthusiasm – LOVE what you’re working on and the words will flow faster. Then when you get to what Aron calls “a candy bar” scene your word count for that day will go through the roof.

This is exactly how I wrote a 280 page first draft in 10 weeks.

My story is told in alternating chapters between a boy and a girl. Each morning when I woke up I would contemplate the scenes I would write next. I would figure out which character should instigate a scene and which should react to it… which might start something… which might finish it off. By the time I figured it out I couldn’t wait to get to the computer and get started.

So, for me it was exactly as Aron predicted. Knowing what I was going to write and being excited about it, plus putting in the time resulted in a very quick and energetic first draft.

As Jodi Pincolt says, “You can’t edit a blank page.”

Check in later this week for part two of my theory on How to Up Your Word Count, where I query my successful author friends to see what tricks they employ to get their fabulous words onto the page. I’ll be sharing what they have to say.

In the meantime here are a few links and tips to maybe inspire and power your word count progress:

ONLINE RESOURCES TO BOOST DAILY WORD COUNT:

  • A variety of word count meters can be found here.
  • The Secret to Writing 4000 Words Per day (A variation on Aron’s process, but he calls it daydreaming instead of knowledge. And I like that.)
  • The Pomodoro Technique, an interesting focus booster, read about it here.
  • The Daily Routines of Successful Writers – my source for the facts in the above post. Reading about the authors I didn’t include in my blog is interesting, too, as long as it doesn’t interfere with your daily word count. Read it here.
  • Inky Girl has a word count challenge complete with stickers and banners here.
  • And finally, Chuck Wendig weighs in on Word Count Uppage. He’s foul and funny. Don’t miss him.

Stay tuned for more great tips from Sheryl on how to up your word count. The second half of this article comes out later this week!

In the meantime, read another post by Sheryl:

Sheryl Scarborough - Photo by Russell Gearhart PhotographyOver the years, Sheryl Scarborough has written: TV series, cartoons, comic books, graphic novels, magazine articles, Business Plans, Direct Music Marketing letters (as Mariah Carey, MC Hammer and others), Corporate Newsletters and Restaurant and Theater Reviews (for free food and great seats!) Now she writes what she really loves which are YA mysteries and thrillers.

Follow Sheryl on Twitter: @scarbo_author

Read more by Sheryl on her blog: Sheryl Scarborough Blog

 

Upcoming Writing Conferences and Workshops

WorkshopHere’s a little round-up of some upcoming writing conference and workshop opportunities. Keep developing your craft!

Advanced Writer Workshops at The Writing Barn: Writing Outside the Box 

  • Multiple Viewpoints, Unreliable Narrators, Unusual Structures—Oh, My! with top-selling agent/author Ammi-Joan Paquette of Erin Murphy Literary, and author K. A. Holt
  • WHEN: October 9 to October 12.
  • Event Details: In this interactive, hands-on workshop we’ll take a close-up look at a wide variety of structurally exciting books, dissecting and discussing and teasing out tips and tricks that will help you, no matter how you choose to tell your story. Come ready to brainstorm your work or just to get your thoughts flowing in a new direction—you’re sure to leave this workshop with an entirely new outlook.
  • Cost: Workshop with Onsite Lodging: $850, Workshop Only: $650
  • To Apply: http://www.thewritingbarn.com/barn-presents-registration/

Group or Solo Writing Retreats at The Writing Barn

  • On our 7.5 wooded acres located in Austin, TX, we can host from 1 to 17 writers.
  • Contact: info@thewritingbarn.com
  • Website: www.thewritingbarn.com

The Art of the Sale: with best-selling authors Jenny Han and Siobohan Vivian

  • WHEN: December 4 to December
  • Event Details: Siobhan Vivian and Jenny Han have collectively published sixteen books, from picture books through young adult, and have over ten years of experience in the book business, from book buyer to librarian to educator to editor. Together, they will get you and your manuscript ready for the real world and give you the very best shot at getting published. For those who are already published, they will guide you in building your career.
  • This intensive will be a mix of formats. For those in the querying trenches,  there will be SIMPLY IRRESISTIBLE: How to Craft a Perfect Cover Letter, Formulate an Engaging One-sentence Sales Pitch, and Land the Agent of Your Dreams. And for those with agents, there will be NOW WHAT? How to Build your Writing Career, Book by Book, Goal by Goal. These small groups will involve discussion and input from either Jenny or Siobhan.
  • Cost: Workshop with Onsite Lodging: $850, Workshop Only: $650
  • To Apply: http://www.thewritingbarn.com/barn-presents-registration/

Teaching Opportunities at The Writing Barn 

  • Opportunities: We hold half day workshops, full day, extended weekend events (Thursday eve through Sunday afternoon), and week long events. We are always adding programming and are NOW looking to build our 2015 schedule. Whether we fly you in or you teach with us while you are on a book tour coming through Texas (We work with Big Austin Indie Book People as well as Round Rock Indie The Book Spot–The Book Spot is good for school visits) we would love to hear from you with your ideas on classes, events, etc.
  • Contact: Bethany Hegedus, Author & Founder, The Writing Barn at bahegedus@gmail.com
  • Dates: Ongoing

YA Novel Writing Intensive in NEW YORK CITY with Nova Ren Suma

  • This is an intensive workshop for writers working on YA novels of any style or genre. During weekly critique sessions, we will focus on constructive feedback with the goal of helping the writer execute his or her intended vision. Participants will critique one another’s work in group discussions, and each writer will have a private conference, with feedback from the instructor on additional pages from their novels. Writers are expected to have a basic knowledge and appreciation of current YA novels, and are welcome to come to this class at any stage in the writing of their own novel: just beginning a first draft, with a novel-in-progress, or with a completed draft in need of focused revision.
  • This workshop is designed for experienced writers. Previous publication is not necessary, but writers should be serious about working on a YA novel, open to critiques and advice, and ready to help their peers succeed.
  • When: 6 Wednesdays, 6:30-9pm, September 24th, 2014-October 29th, 2014. Private conferences will be held in November
  • Where: The Writers Room, 740 Broadway, 12th Floor, New York, NY 10003
  • Price: EARLY BIRD PRICING: $600 by September 1st, 2014;  $650 after September 1st
  • Contact for any questions: Nova Ren Suma at nova@novaren.com
  • APPLY HERE: http://ideasmyth.com/ya-novel-writing-intensive-with-nova-ren-suma/
  • NOTE: As of AUGUST 11, the workshop is full. Any accepted writers will be added to the waitlist—spaces may still open!

Sanibel Writers Conference with Emily Franklin, Richard Russo, Steve Almond, others

  • Ninth Annual Sanibel Island Writers Conference
  • When: November 6-9, 2014
  • Where: BIG ARTS & the Sanibel Island Public Library, Sanibel Island, Fla.

Emily Franklin—Pitch Perfect: Finding Your Voice in Young Adult Fiction

  • Can any story be written for a young adult audience? What makes a YA voice believable?  We will explore dialogue, setting, structure and the key elements of trust in young adult fiction.  Is your story for middle grade readers, teens, or adults (or all of the above)?  Is your novel set in this world or an imagined one? Present day, past, or future?  Does it matter?  With a few writing prompts we examine the best way to tell your story, openings that appeal to teen and adult readers alike, and rules (are there rules?) for keeping your adolescent audience captivated. Emily is also doing individual conferences/meetings for query letters and works-in-progress. 
  • Registration and info: http://www.fgcu.edu/siwc/

Five Things I Learned From Doing NaNoWriMo

It’s been nine months since I participated in National Novel Writing Month (NaNoWriMo) and wrote 50,000 words of a novel in under a month. It’s one thing to bask in the manic euphoria of pounding out 50,000 words like an intense sprint around a track. But it’s completely different thing to step back and look at what you’ve written and see if it’s worth anything. Yes, I braved reading my NaNoWriMo draft, and I’ve even begun to draft revisions. But what I’ve discovered in the post-NaNo-creation glow is pretty surprising…

First draft button

1) My First Draft Isn’t Shitty

First off, I’m not a fan of the term shitty first drafts. Yes, it was created to help us deal with our need for perfection in the first draft, but I also think it creates a cycle of negativity. The idea of telling ourselves our drafts are shitty, only reinforces the negative feelings we already fear about our work. Sure, a first draft may not be publishable, but honestly, I never think they’re shitty. However, if there was any instance where my theories on shitty first drafts would be overturned it would be NaNoWriMo … after all, I pumped out this draft in 2 ½ weeks. Only…

My NaNoWriMo Draft isn’t shitty!

Sure, it’s not polished gold, but there are so many important discoveries in it, explorations that led to new plot points, beautiful lines, sassy sections of dialogue, and even entire scenes that are good. Not scenes that are okay… but good!

My point is: we should trust our first drafts more. Trust the joy and the positive energy that can come from freeing yourself up and writing quickly. Trust the fact that you do know what you’re doing and your writing is better than you think it is!

female-empowerment2) Revisions are Empowering

Okay, so my first draft isn’t complete crap, but there’s still plenty of work to do. The second great discovery about writing a quick first draft is that when you approach revisions you immediately know what to do to make the book better. Revisions don’t become nail-biting, hair-pulling, exercises in frustration. Instead, revision become empowering!

For me, it can be the despair, the sense that I don’t know what to do, that makes writing so hard. But revising this novel has been invigorating and fun. There’s power and purpose in sitting down with raw material and knowing exactly what to do to shape it. It helps me to see how much I already know about crafting good stories, and that I’m able to do it with intention.  

old chronometer3) It Doesn’t Take as Long as I Think to Write a Novel

Looking back at my NaNoWriMo time sheets, I’ve discovered that I spent an average of 1½ hours writing per day. Yes, there were a few days where I put in 3 to 4 hours in a sitting. But mostly it was 1 ½ hours a day. As I’ve moved on to revision, I’ve also put in an average of 1 1/2 hours per day. By keeping a time sheet I’ve started to see how much I can accomplish in a short amount of time. In fact, I haven’t even put in a full month’s worth of work into this novel yet!

One of our big struggles with writing is finding the time to get it done. But I’ve been floored to discover how much I can accomplish with only 1 ½ hours a day! I bet most of you could find 1 or 2 hours in your day to write.

no_plan_road_sign4) Scenes That Went Nowhere…

Not every section of my NaNoWriMo draft works. But, I discoverd a pattern to the pages that fell flat or went nowhere. These scenes were searching for direction, and without it they floundered.

In my pre-planning stages I outlined and created scene-cards for the scenes I knew existed. I did, however, leave a few blank. I made the excuse that I’d figure it out later, while writing. It turns out that every scene I promised to figure out later on, didn’t go anywhere. Sometimes I’d know the general action of a scene, but the things that really killed my momentum were not knowing what my character wanted in the scene, or what his or her emotional change would be. All the scenes with a clear character goal and emotional change came alive on the page. Perhaps this is the through line I needed to guide me while writing really fast.

blinders5) Everything You Think You Know is Wrong! Or… Don’t Put On Writing Blinders.

I was certain that NaNoWriMo was going to be a huge failure. I had some snobby ideas about how a novel should be written. I was certain those participating in NaNoWriMo were wasting their time. But boy was I wrong. Wrong. Wrong. Wrong. Wrong. Wrong!

I don’t think I will write every novel in my future this way. But I do think it will be a great way to write some of them. But man, if I’d stayed in my stuffy singular way of looking at things, I would have never discovered this amazing tool and these important lessons.

So get out there and try new things with your writing. Try things you’re certain will not work. Allow yourself to fail. We never know what will work until we put it into practice and give it a whirl.

What Did You Learn from NaNoWriMo?

Did anyone else participate in NaNoWriMo this year? Have you re-read your work? Started revisions? What discoveries have you made?

Author Photos

Hey Friends!

I’m in the exciting and fun phase of choosing an author photo for my book (Eeeeek!). My lovely fiance Russell Gearhart took the below portraits. I like them all so much I don’t know which one to pick. I’d love to hear your opinion. What would you like to see on the book jacket?

Please leave a comment below.

Untitled-1

Thanks for your input everyone!

Transitions in Time

The landscape of time can be a ticklish beast, particularly when writing. We live our lives in a linear fashion, always moving forward, never backwards or sideways. Our characters often live their lives linearly as well. In fact, books themselves must be read in a front to back fashion where chapter one leads to chapter two and so on. Yet time – or story time – is more malleable in a novel than it is in real life. Engaging a reader in the whole history of a world and character requires flashbacks, summarization of memories, and whole scenes that make us time travelers. Or as my favorite time traveler Doctor Who would say:

As authors, the question is how do we deal with all this wibbly-wobbly timey-wimey stuff without disorienting our reader? Jumping around in time is a luxury we can explore, but walking blindly into a flashback, without any cues to the reader, will break the fictive dream and draw attention to itself. It will commit the cardinal sin of writing, which is to remind the reader that they are reading.

One of the best ways to transition a reader in time is through the careful crafting of language. Words are our tools and used craftily, that can lull a reader through an invisible portal from one time space to another.

Let’s look at four techniques to help a reader flawlessly transition through story time.

mango1) Word Repetition

Create transitions through the repetition of sounds, syllables, objects, and words. In the excerpt from The House on Mango Street below, the repetition of the words know and because are used as a portal from one time period to the next. The words move us from the present day story space to a new location in Mexico, and then back again.

“I have never seen my Papa cry and I don’t know what to do. I know he will have to go away, that he will take a plane to Mexico, all the uncles and aunts will be there, and they will have a black-and-white photo take in front of the tomb … because this is how they send the dead away in that country. Because I am the oldest, my father has told me first and now it is my turn to tell the others.”

2) Sentence and Phrase Repetition

Create transitions through the repetition of phrases, images, and sentence structure.

In this second example from The House on Mango Street, the repetition of a sentence structure creates a rhythm and punctuation to the paragraph. It is the repeating words along with the repeating rhythm that transitions the reader from impression to impression.

In English my name means hope. In Spanish it means too many letters. It means sadness, it means waiting. It is like the number nine … It is the Mexican records my father plays on Sunday mornings … songs like sobbing. It was my great-grandmother’s name and now it is mine.” (The House on Mango Street)

humanbraincloud_shot13) Word Association

Remember being a kid and playing the word association game? The mind likes to make connections through visual images evoked by single words. You can also use this technique to create transitions in time and space.

The word association game begins with hair in the example below. It then riffs off of imagery to transition from hair to bread, thus moving the reader into a memory.

“But my mother’s hair, my mother’s hair, like little rosettes, like little candy circles all curly … sweet to put your nose into when she is holding you… is the warm smell of bread before you bake it, is the smell  when she makes room for you on her side of the bed … the rain outside falling and Papa snoring.”  (The House on Mango Street)

wordUp-44) Question and Answer

You can also use a question to transition the reader from one time to the next. The question creates curiosity in the reader’s mind and the answer works as a transition into the new time space.

“No address. No Name. Nothing in his pockets. Ain’t it a shame. Only Marin can’t explain why it mattered … but what difference does it make? He wasn’t anything to her. He wasn’t her boyfriend … Just another brazer who didn’t speak English. Just another wetback … How does she explain it?  She met him at a dance. Geraldo in his shiny shirt and green pants…” (The House on Mango Street)

There are a lot ways to transition between time and space in a story. In later posts we can discuss things like: cause and effect, causality link-chains, or pause button violations. For now, focus on the magic of phrasing and how your words can makes a transition seem inevitable, natural, and invisible.

See these time transition techniques (and more) in practice by reading and studying these awesome stories:

  • How to Tell a True War Story by Tim O’Brien
  • The House on Mango Street by Sanda Cicneros
  • Small Damages by Beth Kephart

Word Crimes

I’ve spent the last week neck-deep in revisions and in a coffee-induced state of mania. It’s exciting to be on deadline, but also a little nerve wracking. Realizing I might go crazy and turn into Jack Nicholson from The Shining, my fiance was kind enough to force me to take a break.

“There’s a hilarious new Weird Al Yankovic video, you have to see,” he told me. I was skeptical. I love Weird Al, but I had work to do!

I conceded, and I’m so glad I did. I can’t get this song out of my head! All you grammar nerds are about to pee your pants with excitement at how brilliant and fun this is.

Even if you’re busy, take a quick break from all your hard work and enjoy this awesomeness. You’ll be glad you did.

Marketing Fun and the “If I Stay” Movie

Okay, so I don’t normally promote silly marketing ploys … even when they have to do with fantastic YA books.

But, this one is so darn fun.

I have to admit, I’m really excited that Hollywood is turning a bunch of contemporary YA books into movies! Books like If I Stay, The Spectacular Now, Perks of Being a Wallflower, and The Fault in Our Stars! These are books that deal with difficult subjects like alcoholism, death, and cancer, proving that YA (at least in the eyes of film) isn’t just fighting to the death in the latest and greatest Dystopian world. Not to say I don’t love Hunger Games, Divergent, or The Giver. I’m just really happy that difficult teen subjects are being taken seriously as subject matter worthy of film.

So yes, I’m gonna take a moment and share this silly promo gimmick for an absolutely wonderful novel (If I Stay by Gayle Forman) that comes out as a film in August.

What’s the gimmick? You can generate your own IF I STAY movie poster!

The movie poster is actually very beautiful and well designed:

 

new-if-i-stay-movie-poster

And now you can insert your own photos into the poster’s design, like this:

My_If_I_Stay_Poster

Do you need this in your life. No. Is it fun. Absolutely. Did this gimmick work? Of course it did, here I am talking about it like a fool. I don’t know if this will make you see the movie, or better yet read the book, but at least my ten-minute internet distraction resulted in making something beautiful. And that’s worth something.

Create your own If I Stay movie poster here!

Now stop playing on the internet and go back to writing! :)

4 Tips for Writing Great Scenes

We all want to write scenes that grip our readers and keep them glued to the page! Easier said than done, right? Well, here are four tips that I try to keep in mind every time I sit down to craft a scene. They aren’t 100% fool-proof, but they often help me find that extra oomph to make my scene’s sing.

ptsd-soldier-crying1)  Make Sure Your Scene Has Dramatic Action.

The number one reason a scene falls flat is because it doesn’t have any dramatic action. Dramatic action is the action the protagonist takes to resolve the problem he has suddenly been faced with.

In STORY, Robert Mckee talks about dramatic action as “story events” and defines them as an event that creates a meaningful change in the life situation of a character and is expressed and experienced in terms of a value and achieved through conflict.”

Well plotted stories are built on stringing together the scenes that have dramatic action. These are the important moments within the character’s life that move the plot forward. For example, we seldom see a character go to the bathroom or sleep, because there’s no dramatic action in these moments. Instead, we pick the scenes that are the most exciting and meaningful for the reader to read.

smiley face images2)  Is There a Significant Emotional Change in the Scene?

A great way to tell if your scenes have dramatic action is to check and see if there’s a significant emotional change. If the character starts the scene happy and leaves it happy, nothing has happened. But if a character starts happy and leaves sad, then something has happened in the scene to change their life situation and make them sad.

You can track the emotion of your scene by drawing emotion faces (happy faces, frowning faces) at the opening and closing of your scenes. The emotion should reflect the emotion your character carries into the scene, and the emotion the character carries out of it in when it’s over. If the emotion-face is the same, for example both are grumpy faces, then you don’t have any dramatic action in the scene. This indicates that the scene may need to be cut or revised.

expectations-a-poem-by-pooky3)  Set Up Reader Expectations

Setting up expectations helps the reader to feel the emotional change in a scene. If we know what a character wants and expects as she enters a situation, the reader becomes more invested. They want to see if the character succeeds or fails. You won’t have any reversals and surprises if you haven’t set up any expectations for the reader.

It’s much more exciting to watch a scene where a character scales a cliff if we know he’s afraid of heights, or we know his family is trapped at the top, or we know he thinks he can’t do it. It’s rewarding to see the character defy his fear. It adds tension if we know each misstep means he’s one step further away from saving his family from that fire-breathing dragon above (of course … you’ve got to set that up that dragon!).

Protecting4)  Stop Protecting Your Characters

Even though we’re told to “torture our characters” it’s really common for us to protect them instead. Have you ever written as scene and decided to:

  • Have an important conversation interrupted by another character/event.
  • Had a character freeze up and avoid talking about their feelings in internal monologue.
  • Had your character avoid asking an important question? Or had another character avoid answering it?
  • Hinted to something, not once, but over and over and over again, and never unveiling the truth until late in the book.
  • Bailed your character out of a situation before it reeeeeeally got tough?
  • Avoided writing a scene because you the author felt uncomfortable?

All of that, is protecting your character (or in the example of the last one, yourself). The most common culprit is interruption. What’s happening is we start a scene, but the second it gets to the tough questions or uncomfortable conflicts, we bail our characters out of the scene and ask our readers to wait.

Sometimes we think we’re creating mystery and tension by drawing out the answers to questions, or avoiding the main conflicts. In real life we absolutely avoid questions and conflicts. But in drama … well, we want the drama!

Don’t cut off the scene before it gets going. Don’t avoid the dramatic action!

Stop protecting your character by allowing her to wander, avoid, and be bailed out of situations. Lock your characters in a room and make them deal with their conflicts! Be brave and get to the guts of the scene.

Happy scene-writing everyone!

Immersion: The Writing Process

We each have our own writing processes, and every book demands to be written differently. While participating in the #writingprocess blog tour last month, I talked about how my current WIP has been a difficult project to wrap my brain around. I said:

“This book demands immersion. She demands focus for hours at a time. And I’m not talking half-assed freewriting or NaNoWriMo first draft word-puke. This novel wants my blood. I do the best I can to keep myself immersed in this novel as much as I can, because she likes to hole up and shut me out for weeks if I’m not diligent.”

I haven’t been diligent. I’ve allowed this project to hide in the back of my mind. I’ve been avoiding it.

So after failing to immerse myself in this novel, I’ve decided to dive in 100% and go for it. There’s no time like the present. I just dropped my fiance off at the airport and he won’t be back for five days. Which means I have five days without distractions. It also means I can turn my writing studio (which happens to be in our living room) into a shrine to this project.

And that’s exactly what I’ve done. Say hello to my workspace this week:

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Yup, I’ve covered the walls with all of the brainstorming I’ve done on this project: character sheets, outlines, mind-webs, questions I need to answer and more.

Workspace

I’ve been working through John Truby’s 22 Steps of Story Structure:

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I’ve collected setting and location images:

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I’ve created character sheets with photos and lists of controlling beliefs, external goals, fears, moral needs, self revelations, and distinguishable traits.

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As much as I’ve been avoiding this project … I can’t anymore. Not if I have to look at this every morning!

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Lets hope this keeps me motivated!

I wish you all happy writing this week and the next. And if you have images of your work spaces, I’d love to see them!