Structuring a Story by Connie Vines

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As many of the readers know, I write in multiple genres of fiction as well as nonfiction.  Therefore, it only goes to reason I have attended workshops, conferences, enrolled in extensions classes, and networked with other authors to discuss the topic of story structure.

So many ideas, so many strong opinions, but no fail-proof map to success.  What I have discovered is that many authors (Note: my personal findings only), agree that there are thirteen basic plots.

The following are common plot motivations that have appeared in written literature for centuries.  Of course, more than one of these plot motivators may exist side-by-side, affecting the story.  Take your story idea, add one or more of these motivators to it, and, so I’ve been assured, you’ll have a plot and a storyline.

•  Catastrophe  
• Vengeance
• Love and Hate 
• Persecution
• The Chase  
• The Quest
• Grief and Loss  
• Rivalry
• Rebellion         
• Betrayal
• Survival  
• Ambition
• Self-Sacrifice

So, is this true in my own novels and fiction stories?  I have three books published at Books We Love, Ltd., as well as an anthology featuring five stories to be released this fall.  Let’s see if this is programed into a writer’s psyche, or if it is a learned skill. 

With my Rodeo Romance, Book 1, “Lynx”.  I have added Grief and Loss into my basic storyline for my heroine.  While my hero deals with Ambition, and one other (I don’t wish to give away too much of the story).

In Rodeo Romance, Book 2, “Brede”, Survival, Vengeance, are added to my romantic suspense novel.

“Here Today, Zombie Tomorrow”, obviously, deals with Catastrophe and Survival (with a light-touch).

Not the result I was expecting. Why?  Because, if you’ve been following my blog posts, you are aware that I follow Joseph Campbell’s “A Hero’s Journey” when plotting my stories.   Joseph Campbell based his teachings/writing on the power of the ancient myth. 

Of course, there is more to a story than just a great plot!  So, using the accepted rule of thirteen, let us progress to adding another layer or two to our story line.

 These added layers to the story do not appear to be genre specific, though some are more commonly used in romance than, say, mainstream fiction.

•      Authority        
•     Conspiracy
• Criminal Action/Murder 
• Deception
• Honor/Dishonor        
•      Making Amends
• Poverty/Wealth  
•      Rescue
• Mistaken Identity         
•      Searching
• Suspicion                 
•      Suicide
•      Misplaced Affection (or unnatural if it is a human and supernatural being)

I believe, for a story to be an excellent story, which of course, is every author’s goal. These plot motivators with the added layers to drive the characters in the story, result in the depth (landscape) and richness (emotion) we all crave in a good story.  

Readers, do you agree that all the stories you’ve read and loved these plot lines and motivators?

I admit was able to spot many of these plot lines and layers in the works of Homer, Shakespeare, and may of the Classic Greek Myths.

What do you think?  Are there certain plot lines that appeal to you more than others?

Thank you for stopping by today.

I hope to see you here next month.

Connie Vines 

Romancing the Landscape: Setting as a Character in your Novel ~ By Connie Vines

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I have titled my topic “Romancing the Landscape”.  However, the landscape can also be a menacing character in a horror novel; comic relief, or as in the movie, The Never Ending Story, be the embodiment of living creatures.

So, how do I approach this project?  Why would this be of interest to me?

While every writer knows, it is useful to infuse landscape/setting as a tool to set the mood/foreshadow, and do so as a matter of course.

• The beach at sunset, a tranquil waterfall.  If you hero has fought a major battle, don’t send him to a night club.  Turn his setting into a place to recuperate.
• A setting can introduce conflict, or cause trouble.  A violent storm, gridlock, a jungle where he becomes lost. 
• The library, bookstore, writing on ancient walls, can provide a ‘mentorship’ of sorts.  The hero will discover, overcome his fears.
• A setting can show the ‘flaw’ of the hero.  A man fighting addiction is at a bar watching others, a selfish man is at a soup kitchen.  Place him in a setting to examine his own flaws.
•  A model of who he wants to be. A church, a free medical clinic, a loving home, are all settings that can provide an atmosphere that fosters qualities to which he aspires.

 Setting as a character is a deeper commitment.  Setting as a character will appear throughout the course of your novel.  Therefore (groan) it requires research, plotting attention, and action and reaction on the part of the hero and heroine.

Often I will set up a flow chart, spread sheet, or make notes on my software writing programs when developing my novel.  In this case I use a notebook to take notes/or snap pictures to Evernote that correspond to the numbers on my “Setting Worksheet”.  Why a work sheet—“that’s so old school”.  Yes, this is old school but studies have proved that there is something about the process of pen to paper that activates creativity in the brain.

So what’s on my worksheet? 

·         Title of project

·         Year

·         Month and day that the story begins

·         Season

·         Location

·         Why am I setting my story here?

·         Why are the hero and/or heroine here?

Climate/Landscape

·         Climate

·         Average rainfall/temp etc.

·         Approximately what months do the season change?

·         Topography

·         Plants and animals that live here

·         Local land forms and points of interest

·         Natural obstacles that will help/hinder your hero/heroine

·         How did your hero/heroine get here?  How will he/she leave?

Social Setting

·         Population

·         Types of dwellings

·         Types of stores or businesses

·         Ethnic make up of the community

·         Local industries/jobs

·         What holidays and special occasions are celebrated

·         What kinds of entertainment are available?

·         What current events might be important to your story?

Weaving into to the story

·         One line characterization of this setting

·         How is it the same as/different from similar settings?

·         What trait will make this setting come alive, and why?

·         How does the hero/heroine fell about being there?

·         Will the readers like/dislike this setting and why?

Examples taken from novels to illustrate my point:

Perhaps the glide of long railway travel was still with me, for more than anything else I felt motion in the landscape; in the fresh, easy-blowing morning wind, and in the earth itself, as if the shaggy grass were a sort of loose hid, and the underneath it herds of wild buffalo. ~ My Antonia, by Willa Cather. (Chapter 2).

I feel a cold northern breeze play upon my cheeks, which braces my nerves and fills me with delight. Do you understand this feeling? This breeze, which has traveled from the regions towards which I am advancing, gives me a foretaste of these icy climes. ~ Letter 1, Frankenstein, by Mary Shelley.

Every novel is different.  Not every story calls for a setting to have a 'life of its own".  However, when the landscape demands a major role in your story line, listen.  The results are often soul-stirring and magical.

And from my own works:

It was only the cologne, Rachel reminded herself when Lynx leaned closer and pointed out the skill of the fiddle player--she always loved the scent of a good cologne. Warm, and Musky. Or, maybe it was his reputation that held such appeal--he was a rodeo cowboy. Bull riders flirted with death and danger every day, and that alone could be a real turn on for some women.

Still she knew none of those things was the real reason she was reacting this way. ~ Lynx, Rodeo Romance, by Connie Vines

She pulled the red gingham curtain aside from the kitchen window and stared out into the rain for the tenth tine in less than an hour.  In the distance, she could see Brede going about his chores. . .There was something about him, which spoke of power, especially in the way he moved.  But there was also wildness in him and profound loneliness. Perhaps the loneliness dept her from being afraid. . .~ Brede, Rodeo Romance Book 2, by Connie Vines

Twelve-thousand gleeful ghouls stormed Long Beach's Promenade. the crowd became so large that it spilled out over Pine Avenue for an all-out downtown invasion.  Meredith didn't recall much about the accident, nor who or what, reanimated her. She remembered over-hearing a security officer informing a pungent-smelling zombie. . . ~ Here Today, Zombie Tomorrow Book 1 Sassy & Fun Fantasy Series by Connie Vines

Photographs give me a reference point for ensuring I "know" the depth of my setting.

What do you think?  Can you name a novel where the setting took on a life of its own?

Thank you for stopping by this month to read my blog post. I hope to see you again next month.

1800's England

Nebraska Farmland

Happy Reading,

Connie Vines

MAKE LOVE NOT WAR - MARGARET TANNER

THE TURBULENT SIXTIES - I WAS PART OF IT

At the risk of revealing my age, I have to say the 1960’s was my time. Mini skirts, stilettos (I’ve bunions to prove it), beehive hair dos, I couldn’t quite manage that, although I did tease the life out of my hair and regularly put in coloured rinses, French Plum or Rich Burgundy, were the colours I favoured. I can remember when the Beatles made their first visit out to Australia. A couple of girls I worked with were lucky enough to get tickets to their concerts, (we hated them, of course), they came to work the next days minus their voices, and stayed that way for about a week, because they had screamed so much.

We used manual typewriters in those days. One original and four copies of everything we typed. I don’t know how many blouses I ruined because I got ink on the sleeves from changing the typewriter ribbon or the black stuff off the carbon paper.

During this time the Vietnam War loomed in the background. The Australian government introduced conscription. It was in the form of a ballot, or the death lottery as many called it. All twenty year old males had to register, their birth dates were put into a barrel and a certain number were drawn out, and those young men had to report to the army and subsequently many of them were sent to Vietnam. This of course caused severe bitterness and division in the community, and even though the government denied it, was subject to abuse and unfairness. Rich men kept their sons at university so they didn’t have to go.  Conscientious objectors were thrown into prison. Only sons were called up, yet families with two or three eligible males didn’t have any of their boys called up.

I only had one brother, and I can clearly remember my father (a World War 2 veteran) vowing, that if his son got called up, he would protest on the steps of the parliament with a placard on his back.

 

There were protests marches, anti-war demonstrations, and things often turned violent. Not that I went to any of the protest marches, but a cousin of mine did and got trampled by a police horse. A very turbulent time in our history and I was right in the middle of it.

 
My novel, Make Love Not War, from Books We Love, has been reduced to just 99 cents on Amazon for the month of September.

BLURB:  MAKE LOVE NOT WAR

Make love, not war was the catch cry of the 1960’s. Against a background of anti-war demonstrations, hippies and free love, Caroline’s life is in turmoil. Her soldier brother is on his way to the jungles of Vietnam. She discovers she is pregnant with her wealthy boss’ baby, and her draft dodger friend is on the run and needs her help. 

 

http://www.amazon.com/Make-Love-Not-War-ebook/dp/B0094WQOPU/ref=sr_1_12?s=digital-text&ie=UTF8&qid=1346642917&sr=1-12&keywords=margaret+tanner

 http://www.bookswelove.net/tanner.php