Lessons in Storytelling—Doing Backstory Right

I’m super bummed the Olympics are over. I think I enjoyed them more than I ever have.

I had a “writerly” thought as I watched. One of my favorite things about the Olympics is the personal stories of the athletes. And I noticed that the media was very smart about how they told these stories. I realized this is the key to doing backstory right.

The first step I noticed is they give us a dramatic situation. What is more dramatic then the Olympics? Not much :) We are immediately hooked into the drama of who will win and who will lose.

Then they give us the backstory. At this point we care because we already want them to win.  And after the backstory we really want them to win.

So easy formula. Make us care about the character first, then give us the backstory! I know this is story tellin 101, but it is still a nice reminder.

Lay it on me…what did you learn from the Olympics?

-Angie

Lessons in Storytelling—Get on with it

I have a question for all of you—What is the appeal of Soap Operas?

I get the drama, the sex, the gorgeous men, and the maids, but the plot takes so long to unfold. I’m a fan of building tension. But I’m also exceptionally impatient, so the slow build has its limits.

I haven’t watched a Soap in years. My sister convinced me to watch Passions with her (horrible show). We got SO into it, but not in the normal way. We watched to see how drawn out they could make it. If I remember right it took over a week to get through one day on the show (we judged time by the clothing).

So tell me do you love or hate Soaps? Which ones do you watch? Do they move to slow for you?

-Angie

After thought—I’m a fan of teen versions of the Soap, like Vampire Diaries and Smallville. They seem to move fasters, but maybe I’m wrong.

  

Lessons in Storytelling—Double Mumbo Jumbo

I came across this idea for the first time in Blake Snyder’s book Save the Cat. (I’m going to be talking about some of the principles I learned in this book on Wednesday. It was amazing!)

Double Mumbo Jumbo is when a story has more than one magical element that makes you suspend disbelief.  Example: Time traveling vampires, Alien zombies, Mermaid demon hunters.

I think the main principle behind the idea is: Don’t over load your stories. Keep it simple. Keep it concise. Keep it to one unbelievable element.

A few years ago I read a retelling of Cinderella. There were little elements of magic here and there (exactly what you would expect) and then suddenly we find out that the fairy godmother characters is actually an alien that came through a portal. Huh?!?! The author lost me right there.

I know you’ve felt this in books or movies. You’re watching and all the sudden werewolf ninjas show up and it’s over for you. Most of the time more doesn’t help the action or the plot. Sometimes it just muddles things up.

I would love to hear any literary examples you all can think of. And if you disagree, “Heck yes! More is better!” Tell me why you feel like that :)

-Angie

Lessons in Storytelling—“This is my partner Ghee Buttersnaps”

This is possibly my favorite quote from Psych, but it is SO hard to pick!

Shawn Spencer: If we end up catching the Devil, and he starts acting all... devil-y, I know what to do. First I'll buy a fiddle. Play a quick tune, so he underestimates my abilities. Then I'll challenge him to a wager. If he wins, he gets my soul. I win, we get his cooperation—

I love Psych! It is my 12 year old son’s favorite show. If you have never seen it…shame on you. If you have then you know how deliciously funny it is.

I was thinking about all the ways they add humor to the show and how writers could use the same principles to “funny up” their stories and today’s post was born…

 

Lessons on adding humor to your story complements of Psych

Have a “strait” character—(obviously not “not gay”… you know what I mean :) A funny character needs a strait character. You need someone serious to bounce all that crazy off of. Example:

Burton 'Gus' Guster: Great. Now you've gotten me kicked out of a funeral. Just add it to the list. Kicked out of Petsmart, kicked out of Santa's Village, kicked out of the Salvation Army... 
Shawn Spencer: Dishonorably discharged!

Trifle with words—My hubby always tells my kids not to do this! LOL :) Jane Austen uses this technique a lot and it still works today. Find something funny in a word and use it. Example:

Juliet O'Hara: Detective Lassiter is literally on fire today. 
Shawn Spencer: "Literally on fire" as in Michael Jackson in the Pepsi commercial, or as in a misuse of the word "literally?"

Character chemistry—Shawn and Gus can banter with the best of them. You can really get a sense of their relationship. This works amazingly well in stories: Example:

Shawn Spencer: Life insurance policy? 
Burton 'Gus' Guster: It doesn't make any sense. 
Shawn Spencer: Tell me about it... Dude, seriously, tell me about it. I have no idea what this means. 
Burton 'Gus' Guster: You never could understand legalese. 
Shawn Spencer: Oh, really? Remind me who it was who set up our Psych 401ks? 
Burton 'Gus' Guster: Oh, you mean our 601ks? Because India doesn't have 401ks. 
Shawn Spencer: It's a growth economy, Gus. We've already made like, 500 rupee. 
Burton 'Gus' Guster: That's thirteen dollars.

Mocking—Who doesn’t love a little well placed mockery? It always comes off best when the person doesn’t realize they are being mocked: Examples:

Juliet O'Hara: I had no idea you were so serious about bowling. 
Shawn Spencer: Quite serious, quite serious. Matter of fact, Lego wants to sponsor me this year. 
Juliet O'Hara: Oh, that's great. 
Shawn Spencer: They also want me to wear shoes made out of Legos... So I'm torn...

Shawn Spencer: Good morning detectives, collecting money for the Policeman's ball? 
Carlton Lassiter: We don't have balls. 
Shawn Spencer: I honestly have no response to that.

Funny nicknames—This won’t work for all story types or characters, but it is a fun way to add quirks. This is one of my favorite reoccurring parts of the show—when Shawn introduces Gus using a ridiculous name. Examples:

Shawn Spencer: I’m Shawn Spencer and this is my partner Ghee Buttersnaps…

Shawn Spencer: I’m Shawn Spencer and this is my associate MC Clap-yo-hands…

Shawn Spencer: I’m Shawn and this is my partner Dequan “Smallpox” Randal…

Shawn Spencer: I’m Shawn Spencer and this is my partner Lavender Gooms…

Shawn Spencer: This is my Vice President Longbranch Penny Whistle…

Shawn Spencer: I’m Shawn Spencer and this is my partner Control Alt Delete…

Shawn Spencer: I’m Shawn Spencer and this is my friend Ovaltine Jenkins…

Shawn Spencer: I’m Shawn Spencer and this is my partner Squirts Macintosh…

Oh my goodness, I have to stop! I could go on all day.

Humor is so important. I don’t think you need to be a standup comic to write it :) So add a little funny into your story.

Got a favorite Psych episode? I want to hear about it!

 -Angie 

Lessons in Storytelling—Ode to Walt

Me, Sister Bug, and Pluto
It rained our last day...yes those are ponchos

I’m back from Disneyland!

A big thanks to all of you who live by me—for not robbing my house :) I do have shelves and shelves of books a lot of you want.

Disneyland was so much fun. There is something that lights up in my kids faces there that can’t be duplicated. I just love it!

I wanted to take today and give a small tribute to Walt Disney. What a great storyteller! Here are a few quotes by the Dreamer himself—I think they work wonderfully for writers :)

"In learning the art of storytelling by animation, I have discovered that language has an anatomy."

"I just make what I like - warm and human stories, ones about historic characters and events, and about animals. If there is a secret, I guess it's that I never make the pictures too childish, but always try to get in a little satire of adult foibles."

"I can never stand still. I must explore and experiment. I am never satisfied with my work. I resent the limitations of my own imagination."

"Get a good idea and stay with it. Dog it, and work it until it's done and done right."

"My fun is working on a project and solving the problems."

"A good ending is vital to a picture, the single most important element, because it is what the audience takes with them out of the theater."

"You don't build it for yourself. You know what the people want and you build it for them."

Total side note—I missed you guys :) I hope you all had a great week last week, no computer viruses, unexplained deaths, or missing puppies. Happy Monday!

-Angie 


P.S. - Shelly Brown :) I don't remember when you said this, but you are so right...the Ferris Wheel at California Adventure is by far the scariest ride!!!

Lessons in Storytelling—The Ensemble done right!

Who here watches Downton Abbey? Did you raise your hand? BRAVO! If you don’t you really should. The PBS drama Downton Abbey is a wonderful study in how to write multiple POV’s—WELL!

I usually stay away from stories like this because I always have the same problem. I end up liking one character’s story more than another. Then the rest of the book or I’m anxious to get back to the part of the story I really like. I end up hating the other characters.

But Downton has found a way around this problem (and why did I not think of this?)—Tangle up the storylines so that each character’s story affects someone else. I won’t spoil the plot, but…Mary’s secret affects Anna, Anna’s choices affect Bates, Bates is changed by Thomas…and on and on it goes. Like a great game of dominoes.

The best literary example I can think of that uses this principle is Lord of the Rings. The characters fates are so intertwined we care about them all.

If you want to see the ensemble cast done right, watch Downton Abbey or if you just want to be swept away for a few hours… still watch Downton Abbey.

-Angie

Lessons in Storytelling—I need you!

Last week I reread Kiss of a Stranger by Sarah Eden for book club. If you love regency romances this book is AWESOME. I mean curl your toes great!

As I read this book a principle I learned (from Sarah Eden in fact, at a conference last year) really hit home for me. And if you write romance or even romantic sub-plots, this is the post for you.

Okay, here is Sarah’s little gem—Your characters must fulfill a need in each other. The deeper the need the deeper the connection!

You’re so hot I need to make out with you is NOT what I am talking about. I need you to jump all over me is also NOT what I’m talking about. Not to be crude, but you could get that anywhere.

No, what I’m talking about is a very specific need that only this specific person can meet. Need some ideas? I’ve been thinking about this for a while so I’ve got a list :) This list is not gender specific, because as much as men and women are different I think we have very similar needs.

The need for:

• Kindness
• Strength
• Protection
• Stability
• Unconditional love
• Freedom
• Security
• Someone to push you out of your comfort zone
• Lightheartedness
• Optimism
• Realism
• Seriousness
• Financial Security
• To be someone’s first choice
• Feeling wanted
• Feeling useful
• I could go on and on and on… 

One interesting thing I noticed in Sarah Eden’s book was that the two main characters fulfilled more than one need in each other. They both fulfilled a physical need and an emotional need.

Have you read stories where the romance felt flat? I’m convinced this is the problem (that and not knowing how the characters feel). Do you want to ratchet up the romance? I guarantee this will do it every time. I cannot think of a great love story where this is not the case.

But you have to make sure you your readers aware of these needs. Show it through situations. Show it through dialogue. Show it through internalization. But make sure we know what they need!

I promise it’s like magic! Heart speeding, hand trembling—MAGIC!

-Angie

And if your interested I'm reviewing Night Sky by Jolene Perry on Afterglow Book Reviews today :)

Lessons in Storytelling—THE END!

I was flipping through channels at 2:00 am the other day (I’m an insomniac :) and I came across a director talking about how he makes movies. He said something that just struck me, “People will forgive you a lot of mistakes IF you don’t screw up the ending!”

I think I messed up the quote a little (if you know it please correct me), but I got the main gist of it. I loved this idea because, for me, if the ending is bad it will ruin the whole book, even the whole series.

This is what ruins an ending for me:

No consequences for choices—I HATE this. If you’re going to make your character choose—STICK TO THE CONSEQUENCES! Don’t let them off the hook.

Rushed or incomplete endings—Don’t you hate reading and feeling like the author just gave up. As a writer I know this is probably not the case, but make sure your readers don’t feel like this.

Dragging out the story too long past the ending climax—This is so annoying. Please don’t do it :)

An obvious ending—It’s terrible to know for 100 pages how things will end.

Characters suddenly acting out of character—BOO! Don’t do this!

What do you all think? What ruins an ending for you?

-Angie

Lessons in Storytelling: Hold the filler please!

Do you ever watch those disturbing documentaries where they tell you all the crazy stuff put into hamburger meat? Ammonia. Bones. All the stuff that fell on the slaughter house floor (in the meat industry they call it “pink slime”—I’m not joking).  Sorry, I just ruined your trip to McDonalds today :)

All this filler is added to bulk up ground beef so they don’t need to have as much real meat. Crazy, right? Now follow my train of thought, because I do have a literary point.

I’ve had a new book on my shelf since November. It’s the end in a very popular series. I enjoyed the first few books, and I’ve been waiting a long time for the last one to come out. But now that I’m reading it I realize—IT’S MOSTLY FILLER!

I’m 230 pages in and nothing substantial has happened—NOTHING! Oh, there’s been a little conflict and a few of cool things, but that stuff could’ve been done in 50 pages, MAX! (Can you tell by the all caps I’m disgusted? I AM!)

Here are a few thoughts about filler. Keep them in mind when you are editing.

• If you think it might be filler—IT IS.
• If it doesn’t raise the stakes, move the story forward, or up the tension—IT’S FILLER
• If you cut it and it doesn’t really change your story—“PINK SLIME”
• Cut it and see how it reads. You can always put it back—CUT, CUT, CUT!
• Just because you think it is cool, doesn’t mean it is—Words to live by Yanni :) 

Because I’m determined to learn something, I will finish this stinking book. Wish me luck. I’ve 630 pages of “pink slime” to go!

-Angie

DO NOT Google “hamburger pink slime.” It’s disturbing. Oh, and just as a reminder next week is the I'm Hearing Voices Blogfest. If you haven't done it yet there's still time to sign up :)