Happy Holidays From Sparkle

Wishing Everyone Joy, Peace, Love and Happiness this holiday season.


May the new year be prosperous.





Happy Holidays From Sparkle.

Neologism - Words are so fun

Once again, The Washington Post has published the winning submissions to its yearly neologism contest, in which readers are asked to supply alternate meanings for common words.
The winners are:
1. Coffee (n.), the person upon whom one coughs.
2. Flabbergasted (adj.), appalled over how much weight you have gained.
3. Abdicate (v.), to give up all hope of ever having a flat stomach.
4. Esplanade (v.), to attempt an explanation while drunk
5. Willy-nilly (adj.), impotent.
6. Negligent (adj.), describes a condition in which you absentmindedly answer the door in your nightgown.
7. Lymph (v.), to walk with a lisp.
8. Gargoyle (n.), olive-flavoured mouthwash.
9. Flatulence (n.) emergency vehicle that picks you up after you are run over by a steamroller.
10. Balderdash (n.), a rapidly receding hairline.
11. Testicle (n.), a humorous question on an exam.
12. Rectitude (n.), the formal, dignified bearing adopted by proctologists.
13. Pokemon (n), a Rastafarian proctologist.
14. Oyster (n.), a person who sprinkles his conversation with Yiddishisms.
15. Frisbeetarianism (n.), (back by popular demand): The belief that, when you die, your Soul flies up onto the roof and gets stuck there.
16. Circumvent (n.), an opening in the front of boxer shorts worn by Jewish men

Words - thought for today

If we take words and catch phrases out of our common history - what would they mean?
Today's example:
star-struck
–adjective
captivated by famous people or by fame itself.
[Origin: 1960–65]
Dictionary.com Unabridged (v 1.1)Based on the Random House Unabridged Dictionary, © Random House, Inc. 2006

New Definition from the Andrea's Brain and Strange Thought Processes Dictionary:
Struck by a star or star-struck.
verb - to strike with a star

noun - one who is struck by a star
Those individuals who are star-struck:
1. have a heck of a lawsuit (especially if the star struck when camera's were around)
2. stand to make some money selling the story
3. being punched, shot or run over with a car or horse by a sheriff - archaic
4. are dead.
"John walked through the cornfield and was star struck. Since nothing remains to be buried, a memorial service will be held Wednesday."

Disclaimer. Andrea's Brain and related thought processes cannot be reproduced or copied unless this is the sci-fi future or a William Gibson novel.

Sparkle Word Games

I subscribe to Merriam-Webster's Word of the Day. The majority of time I know the word but the etymology still is intriguing. Today's word, the obscure ""commove" \kuh-MOOV\ verb
*1 : to move violently : agitate 2 : to rouse intense feeling in : excite to passion. Did you know? Eighteenth-century English lexicographer Samuel Johnson declared “commove” as being “not in use,” but the word had not really disappeared from the language; it was simply, at that time, popular primarily with Scottish writers."

While I believe this word should be retired, I love the idea of creating new words. http://www.merriam-webster.com/ has created an 'open dictionary' where new words can be submitted.

Example: "dyslexerciser (noun) : A person who continually moves left when everyone else is moving right, or is always on the wrong foot in an exercise class.
I don't want to stand near the dyslexerciser.
Submitted by: Diane Gibbs from Texas Nov. 10, 2007 11:55 "

Today's challenge, create a new word.

Or if you are feeling lazy - create a definition for:

Textolator

The Sparkle in What I'm Reading

I'm reading Oblivion by Peter Abrahams. An online review of the book said "Great idea, pedestrian execution". Oh, so wrong. Abrahams takes a private detective/missing person case and adds what could have been a cliche' of brain cancer and memory loss. Instead the amnesia scenario is written with exemplary execution. As a crime novel it is an enjoyable read. Why I'm drawn to the book is the authors development of the character. Abrahams deftly examines the characters psyche and evokes sadness in the reader. Simple phrases: "...getting stronger all the time, nothing to worry about..." Oh to put words on the page stark and spare and captivate the reader. That is what sparkle is about.

Character Names II

Did anyone read a fantastic book this week? I'd love to hear your recommendations. Did the names in the book work? Were they great? Why?

After a long work week and I am still focused on the topic of character names. See previous post. What if authors chose different names for the following works. Can you come up with a better name?

In my opinion the following names make a compelling case as to the impact of a well character moniker.

• Huckleberry Finn


• Catch 22's Yossarian.


• Hester Prynne and Roger Chillingworth - The Scarlett Letter


• Lennie and George - Of Mice and Men's


• Sookie Stackhouse and Bill from Charlaine Harris' books


• Thursday Next by Jasper Fforde

Now read A Midnight Clear by William Wharton. Every character has a great name and nickname, too. Or cheat a little and rent the DVD, the film is good too.

Till next week, "Same Sparkle Time. Same Sparkle Day."

Character Names

In the TV Show Lost, his name is Sawyer. Rename him and see how that changes the character. Bad boy Ralph, the forbidden fruit she craved. The stubble on Timmy's strong jaw ...."

Names have power. Names need to fit the setting and the time period. Names put the reader in the character's shoes or pull them out of the story.

From my website andreageist.com: "I enjoy etymology. As a writer the meaning and history behind a word can add richness and depth and heck it's just plain interesting. My character in the short story Dreams of Summer is named Rayna Engel. If you know any German, Engel is easy = Angel. The origin and meaning of Rayna is varied. In Latin, from Regina, the name means Queen. In Yiddish the name is similar to Katherine, clean and pure. The website Thinkbabynames.com lists the origin as Scandinavian and Israeli meaning: counsel; song. My heroine sings . She always gets the words wrong (great fun rewriting lyrics) and she is a pure soul, a free spirit. I didn't want to name my character Aria or Carol, too transparent. Rayna is the perfect name."

Character names are important. Example, should your alpha male, sex-god, kick butt and take names hero be called Phillip, Irving, Chance, Billy, Pepe', Jack, Wally or Devon? Does this work?

"Wally's intense steel-gray eyes made her yearn for the forbidden." Now try a different name.

Good examples of character names:

• Charlaine Harris's character Sookie Stackhouse wouldn't be the same if her name was Jane or Sophie.


• Scout and Boo Radley are wonderful names in To Kill A Mockingbird.

Do you have examples of well-named characters?

Thrusters

I picked up a great book on the craft of writing this week. Between the Lines by Jessica Page Morrell takes the writer through the more subtle aspects of fiction writing sometimes overshadowed by the heavy-weight topics of character and plot. Included in this 300 page Writer's Digest publication are topics ranging from epiphanies and foreshadowing to flashbacks and transitions.

While a cliffhanger is one kind of page-turning device most writers are familiar with, Morrell also delves into the broader category of what she calls "thrusters." These structural devices "push the story ahead, move the action forward, and raise questions or cause curiosity about unanswered issues or things to come." While cliffhangers interrupt the action, forcing the reader to forage ahead for a sense of completion, other thrusters can be more subtle.

Opening lines, if engaging as they should be to attract the reader's attention, can be thrusters. If action doesn't thunder on the page immediately, the writer can still hint at the promise of action to come and provide setting, exposition or something else to encourage the reader to continue. Other thrusters include scene breaks to change point of view so the reader will worry about the viewpoint character, jumping from place to place or mood to mood to keep the reader's curiosity actively engaged, chases, danger, emotional bombshells, surprises, flashbacks and interruptions. All of these tricks and more serve to deny the reader something in exchange for their unwavering interest in the story.

One last hint: Always start scenes with a provocative statement, moment or tease. View each new chapter and scene with the same critical eye you gave page one.

Here Comes the Bribe

Just thought I'd take the opportunity to do a little blatant self-promo. My first romantic comedy is due out this Spring from The Wild Rose Press.

You can find me and my book by going to the "Coming Soon" section on the top right hand side of the page. HCB is in the General Contemporary division under its title.

Thanks!

Excerpt:

A single administrative assistant accepts her temporary boss’s offer to masquerade as his fiancée to keep his matchmaking grandmother out of his personal life and out of the way while he negotiates a high-profile merger for his family-owned company. In exchange, she’ll get the down payment for the loan she needs to keep her ex from selling her condo out from under her.

But neither of them counted on the lines blurring between real and pretend--or for the temporary arrangement to leave them both longing for something more permanent.

Oh our crazy laguage.

Tonight’s Blog comes from Steven Pinker’s The Language Instinct. I learned something really interesting today. Pinker says, “All speech is an illusion. We hear speech as a string of separate words. But, in the speech sound wave one word runs into the next word seamlessly, there are no white spaces like in text. We hallucinate word boundaries when we reach the edge of a stretch of sound that matches some entry in our mental dictionary.” Crazy you say? So did I. But, think about hearing a foreign language. It is virtually impossible to distinguish one word from another, the words are not in your mental language. He also give some fun examples of sentences that should alike but have completely different meanings. These are called “oronyms”. Here’s a few examples.
The good can decay many ways.
The good candy came anyways.

The stuffy nose can lead to problems.
The stuff he knows can lead to problems.

I’m not sure what this has to do with making your writing sparkle but I thought it was interesting anyway.

What is the Sparkle?

The Sparkle This Blog asks, "What's the sparkle that makes a manuscript publishable while another languishes in the slush pile for months on end only to receive a rejection?"

Today, instead of posting an article about writing, I'm asking the question.

What makes a story sparkle for you?

What books are 'keepers'? Tell me why they are your favorites.

The Ordinary World

Unless you're writing a thriller or an action adventure that begins in the middle of the action, the Ordinary World is an important place to understand. Most writing philosophies and methods, including screenplays incorporate some kind of glimpse at the beginning of a character's journey. Here's why:

It's impossible to gain the full perspective of a character's arc without seeing where he/she came from, both physically and emotionally. Like a rainbow captured in fragments, we can appreciate its beauty, but can't grasp the full scope--the beginning and end--for the full effect. At the story's conclusion, we must know without doubt the character has developed and grown through the trials of the story. If we don't know his beginning, we cannot appreciate the fully -realized character at the end.

The Ordinary World is also important for staging the growth of the larger world surrounding the character. This gives the story higher stakes beyond that of the protagonist(s). Not every character has to save the world from a bomb, but audience want to know this character's growth will resonate beyond the micro-world of the story. Think of it as an arc for setting. Maybe, through the events of the story, the town evolves from one of hatred to acceptance or from a closed-mentality to a wider perspective. The larger world doesn't have to be a town. Any group of people defined throughout the story can show the impact of the character's journey beyond the protagonist. If the reader doesn't see the Ordinary World the hero(ine) occupies, the chance for a resonating message at the end is lost.

Most stories, especially romance, benefit from a less-explosive first scene because it allows us an emotional investment in the character before the inciting incident whisks them along.

Alicia Rasley teaches an amazing course on beginnings. Find her articles about craft on her website.

8 Female Archetype Examples and The Villains

Continuing with archetype characterization from the book "Heroes and Heroines: 16 Master Archetypes," by Caro LeFever, Tami Cowden and Sue Viders, I have listed examples of the eight female archetypes. Do you agree?

My example of the Seductress is Scarlett O'Hara. Is she a heroine or a villain? If Gone With The Wind was Melanie's story, would Scarlett be a villain? Is Melanie a Nurturer or Waif?

The authors of "Heroes and Heroines: 16 Master Archetypes" also propose sixteen villains and I list them as part of the commentary on archetypes. However, I find the descriptions to be stereotypical instead of archetypal. And of course that is the point of characterization. Both the protagonist and the antagonist need to be fully realized.

Plot Lane Must Turn Right

Turning points, both main and subplots, are on my mind today. Trying to find scenes that carries enough gravity to form the skeleton of a well-told story is never easy. According to Robin Perini, a successful turning point has all of the following elements:

1. deep character

2. a touchpoint of theme

3. braiding of internal and external conflict (intertwining of plot and character)

4. layering (multipurpose scenes and multi-dimensional characters)

5. surprise (the unexpected that keeps the reader turning the pages and reveals character)

A turning point must change the direction of your plot or subplot and contain conflict, action, emotion and surpise. This surprise can be an event or can merely be a surprise in how a character reacts emotionally, but it must surprise both the reader and the character.

Like all scenes in the story, the arc within the scene should be well-defined with characters exhibiting "different" behavior or opinions at the scene's conclusion than they had at the scene's opening. This is especially true with turning points. Think Robert McKee's postives and negatives--a literary litmus test to justify a scene's inclusion in the overall story.

How do your turning points match up?

To learn more about the power of turning points or her Discovering Story Magic seminars, visit Robin Perini's website.

Eight Female Archetypes - Part III

Using the excellent book: "Heroes and Heroines: 16 Master Archetypes," by Caro LeFever, Tami Cowden and Sue Viders, today’s topic is female archetypes.

Why did I write about the 8 male archetypes first? As a female reader, I’m drawn to a certain type of hero, the hero I dream about. Well, we all need a hero but we need a heroine, too.

If the heroine is not fully developed, no matter how much I love the hero, the book isn’t a keeper. And nailing the female archetype is crucial when writing in first person.

It seems to me that many historical romances from the 1970’s featured The Waif, too often portrayed as TSL - too stupid to live. Characterization and archetype is not fully developed for the TSL heroine.
This damsel in distress is a strong woman. She endures the hardship of her circumstance.

I find The Spunky Kid and The Crusader easier to write. A valuable exercise would be to write out of your archetypal comfort zone. My most recent short story features The Free Spirit, not a natural choice for me. Writing about this archetype forced me to focus on characterization and motivation.

Which female archetype is the most difficult for you to write? Which heroine do you prefer to read, and why?

External and Internal Motivations

Monday begins a workshop I'm very excited be a part of. Alicia Rasley, who has put so much positive writing karma into the atmosphere with her stellar articles on plot and character, is leading a two week intensive workshop on beginnings.

Beginnings had never been an issue for me until this work in progress. Maybe it's because The Night Caller doesn't have that explosive beginning I spend the rest of the novel trying to live up to. Maybe it's because this one is so much more character driven than plot driven, but I find myself having to know how much is enough to engage the reader. And the fact that she could be teaching how to write the yellow pages and I'd still learn from her expertise.

So here's a gem from her on an important distinction between INTERNAL and EXTERNAL character motivation:

EXTERNAL motivations tend to be universal. What will individualize your character is his/her INTERNAL motivations. Your goal as the writer is to gradually reveal the INTERNAL motivations through the events of the plot. The character is not always aware of all the motivations behind his/her actions. It is only through the story's journey the protagonist comes to a place of full enlightenment.

Here are the most common motivations in literature with the * indicating the most prevalent.

EXTERNAL

*self-preservation*

survival/safety

physical comfort/gluttony

pleasure/hedonism

dominance/tyranny

acquisitiveness/greed

curiosity

mastery/perfectionism

reproduction

INTERNAL

*self-protection*

autonomy/isolation

affiliation/conformity

love/lust/ownership

revenge/justice

guilt/denial of guilt

identity/self-centeredness

conflict avoidance

spirituality

growth

ambition/insecurity

vindication/rationalization

To find out more about Alicia Rasley and read her fantastic online articles, visit her links within the sff website.

No matter where you are in your current work, it's always great to remind yourself of your hero and heroine's motivations. List them here. We'd love to read them.

The Answer and Jungian Archetypes

Here is the answer from last weeks match game.

Jenn got them all right!

L.A. picked Sawyer as the Bad Boy for extra credit.

Wade (Christian Bale) from 3:10 to Yuma - the Warrior.

George Clooney's character in O' Brother Where Art Thou was a toughie. The Charmer, a charismatic smooth talker.

Again, these 8 male archetypes are from "Heroes and Heroines: 16 Master Archetypes," by Caro LeFever, Tami Cowden and Sue Viders .

As writers we can use the universal theme of archetypes. Swiss psychiatrist Carl Jung submitted that archetypes were part of a collective unconscious. He believed archetypes were primordial or ingrained in our understanding and universal. His two primary categories of archetypes are characters and situations/symbols.

Characters:

1. The Hero
2. The Outcast
3. The Scapegoat
4. The Star-crossed Lovers
5. The Shrew
   

Situations/symbols:

1. The Task
2. The Quest
3. The Loss of Innocence
4. The Initiation
5. Water – A better term might be Rebirth. Jung believed Water is a symbol of rebirth of life.

Archetypal analysis is a form of literary analysis. Readers will recognize and respond to the universal ideas, patterns and symbols.

We still have the Eight Female Archetypes and the sixteen Villain Archetypes from "Heroes and Heroines: 16 Master Archetypes," Volger's archetypes and The Hero's Journey.

Same Sparkle Day. Stay Tuned.

The Well

Writer's wells are filled with images, thoughts, associations and feelings that must be recharged like a stock-tank of inspiration. The more intense the writing, the more we draw from this inner reservoir and the faster we deplete its contents.

After spending two weeks in Fast Draft, I literally became a woman without words. In mid-sentence, words that fill my lexicon dozens of times a day evaporated in a misty cloud of "what was I going to say?" or stalled just before I found the right word--always out of reach. So this week, while I'm decompressing from such an intense writing sprint and catching up on the life that passed me by the past fourteen days, I'm learning how to refill the well for the marathon Meditation Draft ahead. Julia Cameron, in her inspirational book The Right to Write, suggests taking an "Artist Date".

The first rule of an artist date is to fly solo. According to Cameron, "You are romancing, wooing, courting your creative consciousness. This is something that requires you and your inner artist to spend time alone." Despite the solitary existence most of us live in the writing realm, we cannot allow other's thoughts or distractions into the sacred space of our creativity.

Yesterday, while shopping for ribbons to adorn a Halloween costume in a local fabric store, I had an impromptu date. Alone but for the sweet, elderly balding woman wielding sharpened scissors milling around nearby, my focus turned from fairy ribbon to fabrics and textures my heroine would wear. Row upon row of colors--a feast for the eye that brought to mind visions of mint juleps and lemon pie. Silky textures that brought to mind water flowing over the Colorado River Rock embedded into the setting of my story.

This week I also stumbled upon the announcement of an exhibition at the local art museum. Photography of the exact time period and subject matter as the villain in my novel. Artist's date: Monday.

More hints:

Sprinkle artist dates once or twice per week. Instead of gorging on them when a project comes to completion, find a way to fill the well before the inspiration becomes depleted.

Do something that can give you a full sensory experience.

Choose something that appeals to you, not just something you think will speak to your inner artist. If attending a NASCAR race and tasting the hot rubber inspires you, go for it.

Do not stand yourself up. This is a date and your inner creativity will feel cheated if you duck out to go grocery shopping.

Most importantly, don't write about what you experience. The time to fish from the well comes much later, with pen in hand or poised over a keyboard, when the delight of new images from this creative pool comes though, forgotten and fresh.

Here are some suggested dates from Cameron's book to get you started:

aquarium

plant store

jazz club

cathedral

gallery

map store

museum

go see a vintage film

botanical garden

Your turn: Add a suggested place for an "Artist's Date"

Creativity part II

It's been a stretch of time since my last post (Hey, I was on vacation!), but as promised, here is part two of my lecture on creativity (and if you need a refresher on part one, go here):

Now that you have a goal firmly and clearly in mind, you have to really, really want it. Or at least pretend you do. Huh? What did she say? Just go with it, and it will make sense. Soon.

I think if you’ll engage in a little pretending--get damn excited about your project!--it will eventually be easier and easier to generate a level of excitement (adrenaline rush) allowing you to create. What I mean by pretending is acting. Act like you want to write your book. You believe in the project, so believe in the work that’s required to produce it. Act like you can do it. Pretend it’s fun. Pretend it’s exciting. Pretend like readers are beating down your door to read your new pages hot off the printer. Pretend as though this manuscript is going to earn you a six-digit advance. Do whatever you have to do to make yourself excited about the work!

And here's a little test to determine if you're really into the work:

Make a list right now. It’s important, trust me. Name it: Things that make me happy. Go crazy with it. Put anything on that list you want! It’s your list and nothing is too silly or too commercial or too small or too large.

OK. Read over your list. Is writing on there? Maybe under the dinners out with girlfriends? Or a great hockey game? Or how about new shoes? Is writing somewhere around shoes?

Uh oh. It’s not on your list, huh? Well, it wasn’t on mine either the first time. I quickly realized I needed to change that if I planned to sign on for the long haul. And once I decided I wanted to write, I wanted to do the work and it was exciting and rewarding, and I got a high while doing it!!, then it made my list. And that’s part of making it happen. It's part of sustaining a level of creativity and excitement to see your project all the way through to THE END.

Over time, this acting become belief (no more pretending) and the result is a good habit, positive thought and a good disposition or more basic, simply feeling good about what we’re doing. And feeling good has many advantages in other areas of your life as well. As I get a bit older, I understand the fleeting nature of actually feeling good and I treasure the times when I feel upbeat, confident and positive. And anticipating feeling good gets me excited, too. It probably will do it for you, too.

Visualizing the World

In creating the world for my fantasy novel, Residuals: The Mender, I needed some visual clues to help me stay "in the world" of the protagonist. I was inspired by the very real region of Detroit known as Forgotten Detroit.
(www.forgottendetroit.com)

The owner of the website has taken an inspired photo-catalogue of the changing face of downtown detroit. I also used movie sets from several urban fantasies.

I realized very quickly how important these visual clues were to my creative mind. So when I finished the book, I started researching publishers and book covers. I ran across Juno Books and noticed the great covers! (Hey, let's face it, a book is judged by it's cover.)

The more I saw of Timothy Lantz's work, the more I was inspired by his incredibly artistic eye. He's also illustrated a deck of tarot cards for anyone interested.

So, since I'm completely addicted to this cover artist, I thought I'd pass on his URL. www.stygiandarkness.com.

Creating the Fiction World

This is a very short entry, but hopefully you’ll find a few gems. We often hear how important it is to build our fiction worlds. We must know them so well that they become a natural part of our story. Including enough information for the reader to experience our setting without dumping information can be a precarious balancing act. Recently, I saw an interview with one of the masters, J.K. Rowling.
She discussed the depths of her world building. She meticulously planned every detail from Hogwartz and Diagon Alley to the house on Privet Drive and The Ministry of Magic before she wrote the books. It took her five years to write the first book. She amassed a huge amount of material for her world as she plotted the seven books. She wrote chapter one fifteen times before she managed to resist revealing the entire plot.
I was amazed when she showed a roster of every student in Harry’s year at Hogwartz. There were symbols by each name signifying what house they belonged to, how magical they were, and who their parents were. She sketched many of her characters and scenes which I’m sure helped her bring them to life on the page. (If I did that they would be one dimensional stick figures--not conducive to creating three dimensional characters!
The lesson for me, is to take your time plotting, setting up the world, and getting it right.
BTW if you’d like to see the interview, following my fellow sparklers advice, I found it on youtube. Search J.K.Rowling and it shows up in five parts. It’s about an hour long and well worth the watch. She discusses her fears of never being published and the excitement of getting the call. It’s not only informational it’s inspirational.
Happy writing.

Part II: Eight Male Archetypes

A brief description of the 8 male archetypes as defined in “Heroes and Heroines: 16 Master Archetypes," by Caro LeFever, Tami Cowden and Sue Viders.

As promised, we have a matching game. Identify which character from film or fiction matches the archetype.

1. Nick Ziegler in "Crazy for You" by Jennifer Crusie
2. Ferris Bueller
3. John McClane in Die Hard
4. Angel in Buffy TVS
5. Jack in While you Were Sleeping
6. Data in Star Trek the Next Generation
7. Jack in Romancing the Stone
8. King Arthur

For extra credit, pick a character from film or fiction. What archetype is he? Why?

How about Sawyer acted by Josh Holloway in Lost, Wade acted by Christian Bale in 3:10 to Yuma or George Clooney's character in O' Brother Where Art Thou?

The Action of a Sentence

Natalie Goldberg, in her amazing homage to the craft, Writing Down the Bones, includes a chapter on The Action of a Sentence. In it, she discloses one secret to unearthing strong verbs. Not something a writer should be concerned with while drafting, but in the revision process it helps to have words—especially verbs—pop within the confines of your character’s point of view.

I challenge you today to write two lists. First, write the occupation of the hero in your work in progress, then list fifteen verbs associated with that position. Do the same for your heroine. Post them here; use them in your revisions.

Happy writing!

Research: Better Writing through Social Anthropology and Psychology

My horoscope for the day from Yahoo and astrology.com:
Research and planning is always a good idea, but you may be getting too caught up in the details of it all.

Scarily accurate. I was getting caught up in my research and here is the condensed version, Part One.

The use of myths and archetypes helps the writer create complex, believable characters and tell stories that echoes of the human psyche. The value in using archetypal characters in fiction is that the majority of our population unconsciously recognize the archetype and the character's motivations.

"The Writer's Journey: Mythic Structure For Writers" by Christopher Vogler, inspired by Joseph Campbell, "The Hero with a Thousand Faces" reveals the hero’s journey by identifying 12 steps seen in myths. The journey is a narrative archetype where the protagonist must overcome increasingly difficult obstacles before reaching the goal. Vogler identifies major character archetypes:

• The Hero
• Mentor
• Trickster
• Shadow
• Herald
• Ally
• Shapeshifter
  

Maud Bodkin, "Archetypal Patterns in Poetry: Psychological Studies of Imagination", compared Jungian archetypes to poetry. Among the archetypal patterns: the “Oedipus complex,” the “rebirth archetype,” the “archetype of Heaven and Hell,” and “images of the Devil, the Hero, and God.

"Heroes and Heroines: 16 Master Archetypes," by Caro LeFever, Tami Cowden and Sue Viders is an exceptional resource for the writer. The authors define 8 male and 8 female archetypes.

The Eight Male Archetypes:

The Chief
The Bad Boy
The Best
The Charmer
The Lost Soul
The Professor
The Swashbuckler
The Warrior

The Eight Female Archetypes:

The Boss
The Seductress
The Spunky kid
The Free Spirit
The Waif
The Librarian
The Crusader
The Nurturer

Next week, Part Two: Defining the male archetypes and identifying a character from film or fiction for each category.

Oh wait – there’s more. Sixteen Villain Archetypes, Jungian archetypes, Volger’s archetypes and the Hero’s Journey. Coming soon to a blog near you

The Geometry of Characters

Christopher Leland, in his book THE ART OF COMPELLING FICTION talks about the geometry of character and the writer’s ultimate pursuit to create characters that remain with the reader long after the story’s experience is over. This “geometric characterization” he divides into three categories: flat, angled and rounded.

A flat character is one who represents a single idea or quality. Always consistent, ever static. Stereotypical characters fall into this category, where their actions and reactions are predictable and clichéd. Leland goes on to say that flat characters are not necessarily unimportant or bad, as Charles Dickens proved with Uraiah Heep or Bob Crachit. Oscar Wilde’s Lady Bracknell in THE IMPORTANCE OF BEING EARNEST, is also considered by many to be flat. These characters have specific quirks that overwhelm all other elements of their personalities Even Tom Wolfe portrays his characters first and foremost as self-serving political sharks in BONFIRE OF THE VANITIES. Leland goes on to say that most of the characters in the modern entertainment world are flat, as well, using John Rambo as the perfect example of an iconic hero--one who hums along like a “well-tuned Chevrolet”--who stands for truth and justice with no self-doubt. Tempting to cheer for, but not the shade of realism we hope to capture in our pages.

Angled characters take on a complexity the flat characters do not have. These are characters, often major secondary characters, who show us more complex responses to stimuli or have a greater impact on the story’s protagonist than what a flat character would. These are characters that make an impression on the reader, for better or worse, and have enough substance to make their purpose in the story believable.

Rounded characters are the complete figures who populate some of the best literature ever written. They can hold two contradictory opinions at the same time. They’re colored with the rich hues of real people we know, show a range of emotions and are able to surprise the reader in a convincing way. Not always easy. As a writer, it’s difficult to surprise in a believable way, but in a way the reader could not have anticipated. One of the reader’s greatest joys should be to discover the layers of a character and delight in peeling them back to find the substance and truth. Holden Caulfield is a perfect example of a rounded character. The reader believes him to be an obnoxious ego-centric adolescent at the beginning, but he changes geometrical shapes into a vulnerable youth who makes a lasting impact that remain with the reader long past the final page. According to Leland, “the more rounded a character, the more shaded his personality, the more easily the reader sympathizes with him.”

What is the geometry of your protagonist? Your secondary characters?

Forward Momentum and Setting Reasonable Goals

There's a lot of talk and interest in writing fast. We seem to be inundated with workshops that push us to set hard deadlines on the creative process: Book in a Week, Book in a Month, National Novel Writer's Month (NaNo), even Fast Draft. But which one is right for you? You're the only one who knows the answer to that question.

But before you sign on, take a moment to pick and choose your goals so you don't set yourself up for failure. Weigh your internal needs and external obligations before you commit to produce a given number of pages.

For instance, if you work full time and are the sole bread winner, you're likely to be exhausted when you come home after a hard day at work. Take time to recharge. Find a ritual to decompress and let go of the stresses of the day before you sit down to write. Shifting gears isn't as easy as it sounds, especially if it's a new concept.

Here are a few tips:

Establish rituals to writing.

Exercising is a great way to "sweat" out the stresses of the day. So is relaxing with a glass of wine or a tub full of bubbles. It may be something as simple as sitting in your special place, a fluffy robe around your shoulders or slipping into a comfy pair of shoes. For me, I walk a mile (or 3), do some push-ups(these are great for when I'm stuck in the process!) and then I light a candle. (I use a small votive with the idea as long as the flame burns I have to write.)Lighting is important for me, too. (Too bright and I can't concentrate.) I also have a quartz crystal I use to "transfer" all the unfinished business I didn't accomplish during the day. I put these "inside" the crystal and don't "pick them up" again until I turn off the computer. :) (Hey, it works for me.)

On days when I'm exhausted, I don't fight it. I set my alarm and take a nap. Sometimes thirty minutes will do. Other times, it takes a good couple of hours. But by then, the kids are in bed and asleep. I can get up when it's quiet, with no disruptions other than a pet, and write. On a good night, I've done 7 pages in an hour and a half. That's how important rest is to the creative mind.
Next, decide what you can reasonably accomplish on any given night and be sure to add in the worst case scenario.

Stuff happens.

But if you plan for "stuff" to go wrong, you're mentally prepared to deal with it (in the most efficient way possible or a stop-gap method until you can do a more thorough job) and move on.

Here's where forward momentum and reasonable goals can be your best friend.

If you normally write a page a day, then double your output for Fast Draft. Don't set an impossible goal. It's much easier to start out small and revise your goal to something larger. I know writers who use a timer. They set it for ten minutes and whatever happens, happens. For Fast Draft, set if for twenty.

If you're stuck at the desktop computer, it may free you up to take a spiral notebook and pen to another location. Or, if you write inside, go outside. If you write at night, try a stint in the morning. If you can't stand staring at the blank page, take some time after you turn off the computer to sketch out the next one (or three) scenes. You're certain to have plenty to write by the next day.

I personally found it very difficult to move from my last book into my next. I'd spent a lot of time revising the manuscript and now it was time to create new pages. I felt like I was sitting in an empty bathtub waiting for the water to come in--awkward to say the least.

Fast Draft helped me push through the "icky" part. And these programs are specifically great for pushing writers to kill off the internal editor and trust their inner muse. If that's you, then I encourage you to try it.

Don't expect to hit 20 pages the first day. Work up to it. There's no rule that says you have to stop Fast Draft when the two weeks are over. If you find a rhythm that works for you, keep it up.

And remember, if you find yourself unable to meet your goal, any amount of words on the page is forward momentum. Celebrate the small victories along with the big ones. Every day is another day closer to your publishing dream.

Happy (yet reasonable) Writing,

Sherry

Joining us today at SPARKLE THIS! is first-time author Maya Reynolds. Maya’s debut novel, BAD GIRL, is being released today by New American Library, a division of Penguin. It’s an erotic romance. Frequent Barnes & Noble’s reviewer Harriet Klausner gave it five stars.

BAD GIRL is the story of Sandy Davis, a shy social worker who accidentally begins spying on her neighbors in the apartments across the street from hers. She quickly becomes addicted to observing the lives of others--a young couple who engages in kinky sex, an anorexic model, a frequently ill elderly woman and, of course, the man she calls “Mr. Dominant,” who engages in aggressive bondage games.

One night, Sandy receives a phone call from an anonymous male who says, “You’ve been a bad girl.” He calls himself “Justice,” and he has a pastime, too. Watching Sandy watch others. He has the photos to prove it. Now it’s his turn to play--by making Sandy pay the price in exchange for holding onto her naughty little secret.

As the sensual dance between two strangers begins, so does Sandy’s fear that she’s moving closer to the edge of extreme desire--and inescapable danger.

Two Lips Reviews gave it five lips and said, “This is a fast-paced, exceptionally engaging book. Add a suspenseful element of danger and an ending that keeps you on the edge of your seat, and you’ve got a phenomenal read.”

SD: Maya, let’s start with the question we always ask our guests. What makes a book really sparkle for you?

Thanks for inviting me here today.

When I read for relaxation or entertainment, I’m looking for a specific emotional experience. With a romance, I want the thrill of new love, that excitement that comes as people begin to share their intimate thoughts and feelings.

If, like me, you’re a big reader, after a while, plotlines seem to run together. There are no surprises. I’m always looking for that book that will catch me off guard, take me down a different path from the one I’m accustomed to traveling.

After all, when you read a romance, you know that it is going to have a happily-ever-after ending. It’s how you get there that makes you pick up the book.

SD: Since you’re at the beginning of your career, it might help our readers to know what you wish you’d known before you started out.

Although I’d sold short stories and articles over the years, I was really as ignorant as an egg when I began writing my first novel in 2003. There are three things I’ve learned since that I wish I’d known then:

First, get your critique partners early before your bad writing habits get set in stone. It’s a lot easier to fix problems while you’re writing the manuscript than having to overhaul it after the fact.

Second, begin networking early. I waited until 2005 to join RWA and Sisters-in-Crime. I spent nearly a year playing catch-up. If I’d joined at the same time I started writing, it would have been very helpful. After all, that’s how I met the Sparkle This! authors.

Third, learn everything you can about the publishing industry. Like any other business, there is a special language and unique practices. You need to understand terms like “basket accounting,” “sell-through percentages,” and “cooperative allowances.” You need to know what the differences are between hardback books, trade paperbacks and mass market paperbacks. I’ll give you a hint--it’s not just the book size or the kind of covers.

SD: Is there any special word of advice you'd like to give aspiring writers?

Yes, never give up, Never Give Up, NEVER GIVE UP.

Don’t regard rejections as the end of the line. Look at them as opportunities to learn. I sent my queries out in batches of six. At the same time, I kept seeking feedback everywhere I could get it--from published writers, from workshop instructors, and from writing manuals.

In the beginning, all I got were form rejections. I kept revising both my query and my first six pages. The day I got my first scribbled note of encouragement on a rejection letter, I celebrated. Shortly after that, I got a personalized letter from an agent with suggestions for that manuscript. Then I got a rejection letter that asked to see my next manuscript. I just kept writing and revising.

I clung to something Joe Konrath said:

“What do you call a writer who doesn’t give up?”

Published.

Good luck!


SD: Thank you, Maya. And thank you all for joining our guest blogger for the day.

You can find Maya at her blog MayaReynolds.blogspot.com or you can reach her by email at MayaReynoldswriter@sbcglobal.net.

Be sure to leave your questions or comments for Maya in the “Sparkling Comments” section. We love to hear from you!

Until then, Happy Writing!

Sherry

The Four Worlds of The Young Adult

I’m taking a Young Adult Literature course as a prerequisite for my Masters degree. It’s a great class and I get to read wonderful books like Angus, Thongs, and Full Frontal Snogging, which if you haven’t read it you’re really missing something.

I have learned YA readers exist smack dab in the center of four worlds. First they are part of their “tribe” or “clique” and must adhere to the rules of the group. If Friday is ponytail day, they must wear their hair in a ponytail. If they buck the system consequences will ensue. In class we discussed some of the rules the students remembered following in high school. The rules ranged from wearing matching clothes to skipping school together and the punishments were almost always the same---rejection from the group. The disobedient member could be shunned for an hour, a day, or face permanent expulsion depending on the offense and the mood of the group.

The second world the teens live in is a broader definition of the “tribe”. It is the world of their peers. The tribe must conform, at least partially, with the greater society of peers. If the peer group does not approve or tolerate the tribe, the tribe must either change or face alienation.

The third world of the young adult is the world of adults or authority figures. This group includes teachers, parents, administrators--basically anybody who could make their life miserable and usually does.

The fourth and most difficult world is the point where the other three overlap. The teen is pulled in one direction by their tribe, in another by the larger peer group, and yet another by the authority figures in their lives. And they are in the center spinning plates on a stick to make it all work. All the while the teens are: a) coming of age, b)searching for their individual identity, and c) trying to identify the world around them. This is the area that makes them snarky one second, sweet the next, and completely off the wall the next. This reeks of conflict. This is where the story takes place.

As authors it is imperative for us to remember the four worlds they live in. We need to know the struggles they have with this precarious balancing act and then we need knock the plates off the stick and watch how they react. Of course the happy ending comes when they manage to get those plates spinning again.

Mood and Writing

Today I wrote with enthusiasm, my imagination and characters skipping happily from page to page.

But then something happened. I disappointed a friend and colleague and was reprimanded. Now my innate nature makes me the poster child for self-castigation. My mood changed. I am angry with myself for failure to live up to expectations. I’m sad that I may have caused another pain or difficulty.

And the tone of my writing, my voice changed. Drastically. My heroine is so positive, she makes Pollyanna look bad. I was not able to write the story - instead my brain sent my fingers flying across the page in self-recrimination. I needed the return of euphoria and optimism to continue my WIP.

A revelation occurred. When I wrote the short story, A Kiss from a Rose, my feelings were of loneliness and unease. The tone of the story was dark, scary and hopeful. I can use my moods to help write certain aspects of my stories. Think of Edgar Allan Poe, what was his state of mind and emotions?

Perhaps others with even temperament won’t find this helpful. But now that I am cognizant of the impact my emotions have on my voice, I plan to use this to advantage. In One Demon at a Time, it was difficult for me to kill one of my characters. I knew he had to die but I anguished over the scene, rewriting and rewriting. If I had a healthy does of rage, I probably could have offed him with dispatch.

I plan to use my emotions to advantage in my stories. I’m moving on to a scene in ODAAT 2 where my heroine is floundering in self- recrimination, a result of a deadly mistake.

Using the emotion in writing is excellent therapy, too.

Does your storytelling voice change with your mood?

Roadside Assistance from Maude

I have two writing secrets for you today. Play telephone to every writer you know.

Everyone has an internal editor. Mine was fashioned through years of wielding the red pen in the trenches of the fertile minds of our youth. I taught grammar gremlins and led writing workshops where I became the student's first editorial feedback. This internal editor, Maude, wields a sharp pointer and razor judgement and spouts, "you were an English teacher, for God's sake. Can't you do better than that?"

Over the years, I've heard many tricks to silence her. Believe me, I've tried all of them. Using ALL CAPS doesn't shut her up (that's supposed to work only with longhand writing). Even turning off the auto-edit feature in Word that produces those dreaded green grammar and red spelling error lines can't get past her shameful outcries.

Finally, I shut her off. As in punching the monitor's power button, black-out screen, nothing-for-her-to-comment-on kind of solution. In that initial draft, when she must be silenced completely and the gateway to true creativity means punching it far past the speed limit, the black screen becomes my empty canvas. Going back to fix anything is impossible. Sounds crazy, right? Almost like flying blind. But flying is the perfect metaphor for that discovery draft.

The second secret comes from Suzanne Brockman, and I suspect it is a secret many writers already know. She writes her entire story in a first-person point-of-view first draft, then converts it to third person in the revision stage. If you hate revisions like Maude, the task of converting POV can seem overwhelming, but the emotional payoff to deeper characters is more than worth it.

Two secrets. They may come out on the other end of the telephone game as "Maude pays off the punchy cop when she speeds through a black out" but I suspect you'll remember her as you're pulled to the side of the road on your next first draft.

What's your best trick for turning off your internal editor?

An unlikely hero . . .

I just finished the movie Man of the Year, with Robin Williams. For those who haven’t seen: Robin Williams plays Tom Dobbs, a satirical, political comedian who ends up running for President of the United States and winning. The hitch – there was a computer glitch in the voting system (wow! Doesn’t that sound like real life?) and he wasn’t actually, legally, technically elected.

Tom Dobbs learns about the computer glitch from the head female computer programmer of the company hired to develop and oversee the voting machines. Can Tom Dobbs believe this woman who spouts technical information regarding his actual loss in the race? Is she crazy? On drugs, as voting machine company keeps inferring? Someone with an ulterior agenda? Or is she legit and he, as President-elect, the fraud?

Hence is born: an unlikely hero.

I’ll not tell you whether he accepts her truth as his truth. It is the dilemma of this movie that reminds every writer of our central purpose: CONFLICT!

Not just any simple-minded conflict, but the internal, tear-your-soul-out kind of conflict we must inflict on our characters. Without conflict, will a reader care what happens to our hero? Our heroine? Never.

Think back on great literature . . .
Sense & Sensibility – ah, certainly there are any number of heroes and heroines on these pages. But they weren’t unlikely choices. They did what I expected. Pride & Prejudice, same thing. Don’t get me wrong. I love these books. But these characters weren’t unlikely heroes. Only people who ultimately did the right thing.

Something I more recently read, however, fits the bill.
Claiming the Courtesan by Anna Campbell. Simple farm-girl Verity Ashton cashes in on her exceptional beauty by becoming London's most sought-after courtesan in order to save her younger siblings from starvation. Does she have a choice? Not really, not as the story unfolds, but through her struggle to entertain men and not lose her own inner identity, the reader sympathizes, empathizes and roots for Verity. When opportunity finally presents the chance to return to a simple way of life, Verity seizes it. Her stint into proper society doesn’t last as her most recently spurned lover tracks her down and destroys her image of propriety. Verity has every right to despise this man, but her innate sense of honor and dignity prevails once again. Instead of destroying him, she saves his very soul.

Hence is born: an unlikely hero. Or in this case an unlikely heroine.

The pay-off for this type of conflict is dramatic and satisfying. It isn’t about a character doing the right thing . . . or following what they’ve been brought up to believe. It’s deeper, darker, more painful and the suffering is shared with the reader, who not only want this character to survive, but to thrive.

Share it: story you love the best with an unlikely hero or heroine.

Until next time
~ Sandra

PS ** I have another book-signing at Barnes & Noble scheduled for September 6th, 2007 @ 7:30pm. I'll be signing HARM'S WAY.

Theme : It's Not A Dirty Word.

When I first started writing, I didn't think about theme. I'm a plotter not a pantser. I could wade deep into a story before I realized there was an undertow of emotions wrapped around the characters, a central emotional element tugging them toward some intangible inner crisis.

It was not unusual for me to plot a whole book. Write the dang thing and still not quite grasp the theme.

I think I had a mental block. Theme implied those God-awful term papers in highschool that made my brain hurt and my eyes glaze over.

It wasn't until a few years ago that I opened an old file from a backup disk and started reading a story I loved but that had been rejected by a publishing house. There was a vague comment about the theme not being appropriate at this time. I'd submitted it the first week of September 2001. I received it back a mere six weeks later. A record breaking turn-around and rejection on a requested partial!

And of course, I realized the timing just stunk. Who could've guessed?

It was about a D.C. reporter who'd nearly been killed by a terrorist bomb in the capital. (Yeah. Spooky.) This life-changing moment put my hero's entire life in perspective in an instant. While recuperating, he decides to leave D.C. and return to his wife and two daughters he'd left behind to pursue his high-profile career. But before he can make good on his intentions, he receives a letter from his youngest daughter informing him she's getting a new daddy.

I realized within the first few pages that the theme of the novel was redemption. And through taking a thorough look at all the other books I'd written over the years, I realized that I went back to the same themes over and over.

Redemption. Second chances.

In the worlds I'd created, all my heroes and/or heroines were royal screw ups (in one form or another-either deliberately or because they allowed themselves to become blinded by something in their true nature). But when faced with right motivation and opportunity to redeem themselves, they did. Not only was I writing this theme over and over, I was also reading it. My keeper shelf was full of redemption stories. Even my DVD collection was weighted with underdogs trying to right a wrong they'd created for themselves.

Once I established this, I realized I was drawn to flawed characters, the more fatally flawed the better! Flaws give characters a rooting interest and make them interesting on multiple levels.

Some part of me recognized there were things in my own life I wanted a second-chance to get right--a do-over. It'll never happen because I live in reality. But there's a part of me that can still remember the sick pit in my stomach over missed opportunities, misguided loyalty or an impulsive overly critical remark.

So, if you're looking for the theme in your current wip, try looking in the mirror. And take an honest look.

What do you care about? What do you wish? What do you want more than anything? What is your least favorite/most favorite characteristic in others? In yourself? What are you most proud of? Most ashamed? Which emotion do you find hardest to deal with? In yourself? In others? (Ideally, write down 20 questions and answer them as quickly as possible. No editing! --yes, it may seem bleak or harsh when you go over it later. That's okay.)

Every answer is a universal theme; universal because they're shared by all of us at one time or another. Keep a list of the top five that draw you. Chances are, you'll find you use variations of the same theme or themes over and over. This isn't a bad thing. I think I've actually grown as a writer and as a person by analyzing not only my characters but why I'm drawn to these themes.

Finally, if you allow yourself a chance to connect with the themes in your real life, you'll have a far better handle on the themes that circulate in your work. And perhaps, like me, will find that theme is not a dirty word.

Sparkle on!

Guest Blogging -- Teresa Southwick

Joining us today at SPARKLE THIS! is Teresa Southwick, author of 4 historical and over 25 contemporary romance novels. A two-time National Reader's Choice and one-time Rita finalist, she was also a Romantic Times Magazine Reviewer's Choice double nominee for Career Achievement and Best Series Romance for 2003. A native Californian, she recently relocated to Las Vegas where she is neglecting the casinos while working on her next book.

Teresa's most recent release, THE SHEIKH'S CONTRACT BRIDE was a June 2007 release from Harlequin Romance. This phenomenal read pits Sheikh Malik Hourani, a Crown Prince, against one very determined school teacher, Beth Farrah. Sheikh Malik understands duty and honor, and hates a liar. He is ready to fulfill his family obligation by marrying and producing heirs to the throne of Bha'Khar. Only one small problem stands in his way: the woman he's been betrothed to since birth will do anything to keep from marrying him -- even telling a whopper of a lie. For those who enjoy characters who leap off the page with their strong wills and sexual tension that singes the pages, then THE SHEIKH'S CONTRCT BRIDE is a must read.

Teresa graciously agreed to sit down and let us in on a few publishing hints. So slid into your comfy slippers and tell the kids to leave you alone, here's what Teresa said.

TS: I’m delighted at this invitation to guest blog for “Sparkle This.” Books have been a joy for me since learning to read and I think it’s a wonderful endeavor to analyze just why certain books earn a revered place on our “keeper” shelf. So, here goes.

SF: What makes a book sparkle for you?

TS: I’d have to say it’s the characters, and by extension, their dialogue—internal dialogue, too. If I’m going to spend precious time with these people, I want it to be fun, witty, and emotional. Make me laugh and cry. From a writer’s standpoint, in my own work I take a hard look at passages that have more that one page of character introspection. In my opinion, and it’s only mine, any more than a page of dense introspection slows story pacing. It’s important to look at what information can be revealed in dialogue between your main characters. Otherwise readers, and I’m one, will scan forward to look for where the characters finally talk to each other.

SF: What is the best advice you ever received?

TS: This tip is from Nora Roberts. Big surprise. I heard her speak at an Orange County RWA meeting and her advice was: you can fix bad writing, but you can’t do anything with a blank page. Subtext: keep writing. It’s deceptively simple and I recently figured out why it’s so profound.
While you “keep writing” you’re also learning what works and what doesn’t. You’re sending out your projects and figuring out how to negotiate the potholes and pitfalls of publishing. While you’re persevering, you’re developing your own character skills for longevity in the writing business. The first sale isn’t the end of the struggle, but the beginning. Careers have highs and lows and the same perseverance and fortitude that got you published will see you through all the trials and tribulations.

SF: Which of your books do you like best? Why?

TS: My favorite book is a December 2006 release from Harlequin Romance called CRAZY ABOUT THE BOSS. It’s part of a continuity series called The Brides of Bella Lucia that was designed to merge readers from Silhouette Romance into the new Harlequin Romance line.
Even though I was invited to participate in this project it came during a time of career crisis for me. For some reason I was having difficulty writing book proposals. I’d do one chapter and a twenty page synopsis and my editor was sending them back with revision suggestions—sometimes twice. I was both worried and embarrassed. Plus I felt bad. Editors are already overworked. The last thing they need is more to do. I wasn’t happy about it either; I’d much rather do it right the first time.
So I asked a couple writer friends to critique the chapter and discussed it in depth. Then I wrote and rewrote, edited and tightened. It paid off. Kim Young, Senior Editor of the Harlequin Romance line emailed to let me know that CRAZY ABOUT THE BOSS sold first in the UK, and first in the North American market. They also have something called a monitor panel, a sizeable group of UK readers who rank and comment on the books each month. My book also scored first with this panel and their comments were very positive. Kim wanted to know if I had a new proposal for her and was disappointed when I told her I’m currently working on a series for Special Edition. “Good for them, not for us,” was her reply. This was balm to my battered soul and proof that I hadn’t forgotten how to write. I keep a printout of her email tacked up on my bulletin board, right beside the friendship prayer.
Last, but not least, this book was a finalist in The National Readers Choice contest. It feels like the prodigal son—problematic in the beginning with an immensely satisfying outcome for all the hard work. It also reinforces what Nora said: Keep writing.

SF: Any final advice?

TS: I’ve often said that a writing career isn’t for wimps. It’s a huge commitment of time and emotion but there are so many rewards—including my “Sparkle This” friends. I had so much fun with you at the RWA conference in July and miss y’all more than I can say.

Happy writing everyone!
Terry

Teresa Southwick also writes for Silhouette Special Edition. She just finished an inline continuity book. PAGING DR. DADDY will be out in March 2008. In April her new series for the line—Men of Mercy Medical—will debut with THE MILLIONAIRE AND THE M.D.

On a personal note: It has been my pleasure to critique with (she does most of the critiquing of my work, I just occasionally make a suggestion on hers) for a number of years. Terry gives unselfishly of her publishing and writing knowledge to any who ask. On a book note: If you aren't reading Teresa Southwick -- you're missing a treat!

Thanks for joining our guest blogger. Be sure to leave your comments or questions for Terry in the 'Sparkling Comment' section. We love to hear from you.

Happy Writing
~ Sandra

4 Elements of a Logline - One line plot description

Save The Cat by Blake Snyder, Summary of Chapter One – What Is It?

A log line is a movie/screen writing term for a one or two line description of the story. Snyder says screenwriters can sell their screen play if they have the following 4 elements.

1) Irony- A good story will have a twist.
Identify the conflict. Mention the protaganist (Hero/Heroine) and the antagonist to involve the readers emotions.
2) Target Market.
For the author of novels this would be the publisher and genre. Does the description provide an idea of the reader/market?
A bookstore is divided by genre to engage the target market. Readers that enjoy romance, young adult section, mystery, scifi, etc. head to the labeled section. A blurb on the back, though longer, tells the reader what the story is about.
3) Create a mental picture.
Does the description give the potential reader a visual idea of what the book/movie is about?
4) Killer Title.


Snyder says if the logline has these elements your pitch will be successful. Even better condense the movie for the marquee and – voila!

So we may not be screenwriters, but as authors if we heed Snyder’s advice we have a better chance of selling our book to the publisher and the reader.

What books do you think are good examples?

After sharing your good examples, I thought a look at some well known books would be interesting. I love all these books but if someone hadn't recommended Outlander I never would have read Gabaldon's work. What title and description would you give for any of the following?

Outlander, Diana Gabaldon
Twilight, Stephanie Meyer
To Kill A Mockingbird, Harper Lee
Fahrenheit 451, Ray Bradbury
Guilty Pleasures (Anita Blake Vampire Hunter), Laurell K. Hamilton

Isn't it Ironic?

Irony: a contrast in which one facet of a story mocks another

Irony is a technique writers can use to hint at the complexity of an experience using an economy of words. By suggesting meaning without having to go into lengthy explanations, the writer can create a lasting impact on the reader. There are three kinds of irony in fiction:

1) Verbal

This kind of irony is the simplest and least impactful kind. When a character says something that has the opposite meaning from what he or she intended, it becomes a simple play on words. Verbal irony is often used for comedic effect.

2) Dramatic

Dramatic irony is a direct contrast between what a character says and what the reader knows to be true. An author can use this type of irony to plunge deeper into a character, as the said comment can reveal truths about the character's value system and core beliefs.

3) Irony of Situation

The most impactful kind on irony, this writer's tool presents a discrepancy between appearance and reality. Expectation and fulfillment. An example would be the hunter becoming the hunted.

Okay, your turn. Can you think of an example in film or fiction that uses one of the three types of irony to deepen the audience's experience?