The Importance of Setting

By Patricia Smiley*

michael-discenza-331452-unsplashYears ago I bought a novel written by a well-known author because it took place in Seattle, a city where I’d lived, went to school, and worked for many years. A few chapters in, I was dismayed that the descriptions of setting were so generic that the story could have taken place anywhere. It was almost as if that the author had never set foot in the city.

Setting matters. The place of your novel includes the broader vistas into which you set the story, such as the culture and customs of the people who live there, history, land, floral and fauna, and even the shape of the clouds. It’s also where each scene takes place, be it the backseat of a Mini Cooper, an English garden, a Federal prison cell, or a home kitchen.

We were given five senses for a reason. Detail specificity enriches your writing. Don’t just say the kitchen was messy; describe the smell of spaghetti sauce oozing down the wall, the feel of that sticky green substance puddled on the floor next to the baby highchair, and the tick tock of the antique grandfather clock in an otherwise silent room. Descriptions should not just be an inventory of the space. Each one must illuminate an element of plot, theme, or character and, in the case of this kitchen, raise a myriad of dramatic questions about what happened there and to whom.

Description as fine sauce. Descriptions need not be long and rambling, but a writer must persuade the reader that the story is real. Even people who’ve never been to a location should feel as though they’re experiencing it firsthand. This also applies to imaginary settings. To prevent long passages of boring prose, take Elmore Leonard’s advice, ”Don’t write the parts people skip.” Instead, distill the essence of a place into a fine sauce. Below is an example of reporter Jeffrey Fleishman’s brilliant and evocative description of Port Said, Egypt, from the Los Angeles Times:

“This shipping city of factory men, with its whispers of colonial-era architecture, was once a crossroads for intellectuals, spies and wanderers who conspired in cafes while the Suez Canal was dug and Egypt’s storied cotton was exported around the globe. Rising on a slender cusp in the Mediterranean Sea, the town exuded cosmopolitan allure amid the slap of fishing nets and the creak of trawlers.”

Don’t trust your memory—verify. Get the specifics right. Nothing takes a reader out of the story faster than getting hung up on inaccurate details. If you can’t visit the location, read travel blogs, talk to friends with knowledge of the area, consult Google Maps, online photos, and YouTube videos.

People like to “travel” when they read. Effective use of description creates atmosphere and mood, and stimulates emotions. Anyone who is familiar with the cold, bleak settings in Scandinavian crime novels or films knows how integral “place” is to every part of those stories. So, give your readers a compelling setting and then wish them a bon voyage.

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Patricia Smiley is the author of four novels featuring amateur sleuth Tucker Sinclair. Her new Pacific Homicide series profiles LAPD homicide detective Davie Richards and is based on her fifteen years as a volunteer and a Specialist Reserve Officer for the Los Angeles Police Department.

The third in that series, The Second Goodbye, is set for release on December 8, 2018.

Patty’s short fiction has appeared in Ellery Queen Mystery Magazine and Two of the Deadliest, an anthology edited by Elizabeth George. She has taught writing at various conferences in the U.S. and Canada and also served as vice president for the Southern California chapter of Mystery Writers of America and as president of Sisters in Crime/Los Angeles.

PatriciaSmiley.com

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Photo by Michael Discenza on Unsplash
*This blog article is posted for Patricia Smiley by The Writers In Residence member, Jackie Houchin

 

A Library By Any Other Name…

by Jackie Houchin

Mention “Valentine’s Day,” and instantly visions of  cute or sentimental greeting cards, heart-shaped boxes of chocolates, and bouquets of red roses come to mind. You may even dream of romantic dinners or diamond bracelets.

But it was none of these things that Kristin Molloy of Mission Viejo, California, wished for last year for Valentine’s Day.

“I love books and libraries,” she said with a smile. “So do my kids. We love to go to our Mission Viejo library to check out books. Growing up, everyone in my family had a book to read around the dining room table. I wanted my own library!”

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From left to right: Jenna Brown, Kaitlyn Schisler and Astha Parmar take a photo with the Little Free Library, a book kiosk at the Lake Forest Sports Park designed by the three from Cadette Girl Scout Troop 1859. Contractor Bradlee Rodecker helped in building the house-like kiosk.

Her husband, Kevin Molloy, a fireman, knew exactly what she meant. Earlier that year while visiting the Lake Forest Sports Park and Rec. Center they spotted an amazing tiny wooden library on a pole. Designed and built by three Girl Scouts with help from the Park staff, the cheery blue and white painted Little Free Library is a house-like box of books. Visible through two Plexiglas doors are perhaps 30-40 books for all ages. Anyone can take a book to read…free. After reading it, they can return it or bring back a different one. The organization’s motto is “Take a Book, Return a Book.”

Kristen thought her own Little Free Library would be great for their neighborhood.

IMG_2702Kevin drew plans and constructed his Valentine’s Day gift, painting it to match their house. He checked with city regulations (though not all the Libraries I visited did) and sunk a post into their front lawn three feet from the side walk and about 24 inches from the ground. Three small flagstone steps invite kids to visit. He attached a mailbox flag which is extended when new books are added.

Kristin loved it!

(The height of the Libraries is a personal preference. I saw ones sitting on a base at 3 and 4 feet high.)

The family says they have quite a few kids & teens stopping to choose books on their way to/from a nearby park. The couple’s children, Georgia and Ryan, enjoy sharing their own books as well.

Check out the organization for information on buying or building your own library, and to see an amazing variety of Little Free Libraries, including some that look like a church, schoolhouse, caboose, or English telephone booth! https://littlefreelibrary.org/faqs/

Of course, right away, I had my hubby build a Little FREE Library for ME for THIS Valentine’s Day, and paint it to match our house. (I’ll let you know how it goes in a later post, if you are interested.)

Other Little Free Libraries in Mission Viejo.

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Now let me tell you about some other things to LOVE and to GIVE on February 14th, and these are especially meaningful to us writers of books.

I love a libraryThe 14th of February is also LIBRARY LOVERS DAY.

Here are some things you can do to celebrate:

  • Visit your local library and check out a book or film.
  • If you know someone who doesn’t have a library card, encourage/help them to get one.
  • Volunteer time at the library (shelving, tutoring, reading to kids), or donate money and/or a few of your books.

Without the library, you have no civilization.” ― Ray Bradbury

“Libraries really are wonderful. They’re better than bookshops, even. I mean bookshops make a profit on selling you books, but libraries just sit there lending you books quietly out of the goodness of their hearts.” ― Jo Walton

“The library is like a candy store where everything is free.” ― Jamie Ford

“Libraries made me – as a reader, as a writer, and as a human being.”  –Laurie R. King

 

book-giving-day-bookmark-original-copyThe 14th of February is also INTERNATIONAL BOOK GIVING DAY.

Here are some ways to participate:

  • Share your favorite book with a friend.
  • Give books as gifts to your own children or to those of friends.
  • Donate books to children’s libraries, schools or charities.
  • Leave books in places where they’ll be found, such as doctors’ waiting rooms, train or bus stations, or airports.

“Give a Book” is a UK based charity with the sole aim of giving books where they will be of particular benefit including prisons.  http://giveabook.org.uk/

“Give a Book” works with Ellie’s Friends, a charity who helps women who are recovering from Cancer. They send a monthly mixed selection of light reading to be enjoyed. Each bundle contains ten titles and is delivered to a different recipient each month.  https://elliesfriends.org

“Give a Book” also works with First Story, a registered charity which places published authors in schools to hold weekly workshops on creative writing. At the end of the program, the students’ pieces are published in their own anthology.  https://firststory.org.uk/

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TWEETABLES: 

What else can you do for your Sweetheart on February 14th? (Click to Tweet)

Library Lovers Day & International Book Giving Day share February 14 with Valentine’s Day. (Click to Tweet)

Creating Seasonal Articles*

Christmas sugar plumsby Jackie Houchin

Does reading all those December magazines with their holiday stories, recipes, tips, traditions, and inspirations make visions of sugar plums, er, I mean, ideas for articles to dance on your head?

“Oh dear! I so wanted to write an article about those fun games we play for identifying Grandma’s tag-less gifts under the tree!” (Family Circle Magazine?)

“And how I wished I’d shared my Mom’s Christmas fruitcake recipe from her recipe box (that I inherited this year when she died), and told all who read the article why they really should try fruitcake again.”  (Reminiscence Magazine?)

But, I forgot to write them.

And now it’s too late – WAY too late.

At least for this year.

But not for next year, if I plan ahead.  Many magazines need seasonal articles. But they need them long before the pub date. Articles with a “time-tag” are a good way for new writers to break into print (or seasoned writers to pick up some pocket money).

It’s all in the timing

Start by picking up Chase’s Calendar Of Events and look ahead to see what holidays will be celebrated in six months to a year. Or you can check the guidelines in the new The Writers Market Guide for specific publications you hope to write for.

Send a query letter with your idea ahead of the suggested time. If you get a go-ahead, be sure to deliver your article on time. And be patient. If it isn’t used in 2018, it may be held till 2019.

Low-profile holidays

Brain storm ideas for the less popular holidays, such as Arbor Day, Grandparents’ Day, Flag Day, Patriot Day, Friendship Day, Bastille Day, Poppy Day, or even…. Cookie Baking Day! (December 18)  Also think about back-to-school and summer vacation themes.

Your special “slant”

If those “sugar plum” ideas aren’t already dancing away up there, then:

  • Leaf through old magazines (yours or at the library).
  • Think about experiences you’ve had during holidays.
  • Write a short biography of a person linked to a holiday.
  • Research a holiday custom.
  • Remember anniversaries. (What happened 5, 10, 500 years ago?)
  • Interview a teacher, a parent, a coach, a Macy’s clerk.
  • Write a holiday short story or poem. (Some magazines are still open to them.)

Christmas funny poem

Before and After Tips

Start an idea folder with clipped articles from magazines or newspapers. Jot notes about ideas on each. Not all will be usable, but many will work. When you’re looking for a certain seasonal theme, these may trigger an idea.

After the original-rights sale, look for reprint markets for next season. Make a list of potential ones and their lead times, and keep your original article with them.

Open a new bank account!

Christmas bank accountJust kidding!  You won’t get rich from these sales, but you will get “writing clips.”  And when magazine editors discover your timely, well-written articles/stories etc., they will approach YOU with their needs.

Okay… do you need some ideas for NEXT Christmas?  Check out these:

  • Favorite Christmas books, movies, musicals/plays (pastiche or true likes)
  • Christmas mishaps (humorous, or coping skills)
  • Christmas trees: cutting your own, uniquely decorating (we knew friends who lit live candles on their tree!), a special nostalgia ornament
  • Family traditions (oldies, or how to start your own)
  • How to make homemade gifts (food, ornaments, clothes, home decor)
  • Holiday baking (how-to, tastes & smells, shipping)
  • Holiday traditions from other countries (foods, decorations, activities)
  • Or…. interview someone with over 3,500 Santa Claus decorations (Hint: I can give you her name.)

Take away

After all the gifts are opened, the holiday meal is eaten (and cleaned up), the kids are playing with new toys (or the boxes), and the older “boys” are watching football, go grab a piece of crumpled wrapping paper, smooth it out, flick open that new expensive gold-plated pen, and start writing up your holiday impressions, experiences, and ideas while they are still “dancing in your head.”

Christmas garland

Merry Christmas &  Happy New Year !

 

*Inspiration for this post came from Jewell Johnson’s article, Writing Seasonal Articles in the Christian Communicator, Nov-Dec, 2017.

(RE)STARTING YOUR ENGINE

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Bonnie Schroeder started telling stories in the Fifth Grade and never stopped. After escaping from the business world, she began writing full-time and has authored novels, short stories and screenplays, as well as non-fiction articles and a newsletter for an American Red Cross chapter.

 

 

(RE)STARTING YOUR ENGINE

I was on an author panel recently, and a member of the audience asked us if we wrote every day. The other panelists confirmed that they did, and I had to confess that I do not. I know, call me Slacker.

 
It’s not like I don’t enjoy writing—most of the time. I usually have plenty of ideas of what to write, I know where my work in progress is heading, and I WANT to sit down and write, but there are days when it just doesn’t happen. The phone rings—Caller ID tells me it’s a friend I haven’t heard from in weeks, so of course I must answer. Or the computer goes on the fritz and I spend an hour in Help Desk Hell, listening to a robovoice assure me that my call is very important, so please stay on the line for the next available representative. Or the dog begs me for a walk with an irresistible, pleading expression on her furry face.

 
And there go my good intentions right out the window.

 
Generally, I make up for lost time, sooner or later. I turn off the phone, let the dog amuse herself in the yard for a while, and swear off Facebook until I’ve done at least 1000 words or put in an hour of writing, whichever comes first.

 
Recently, however, everything ground to a screeching halt—not for a day, or even a week.

 
For a month.

 
I had a good excuse: hip surgery. The surgery itself was uncomplicated and successful, and I’m making a rapid recovery. But in the days leading up to it, I had too many things to think about besides my current work in progress, where I was a little over the halfway point.

 
Post-surgery, there were many more distractions: follow-up doctor appointments, physical therapy, and fatigue that demanded frequent naps. Additionally, for a while I needed heavy-duty prescription pain meds—a creativity-killer if ever there was one. The opioid fog began to clear, but I still felt apathetic about writing. I’d abandoned the unfinished novel at a point where I wasn’t sure exactly what should happen next, which was a huge tactical error, but by then it was too late to remedy it.

 
I stared at the pile of pages on my writing table, overwhelmed with hopelessness. The novel reminded me of a car with a dead battery; the parts were all there, but the battery was drained and the vehicle was just a cold, unresponsive lump of metal—or, in this case, paper. Stalled car

At that point, I gave in to despair. Why bother? Who cares? Does the world even need another book from me?

 
Then I remembered that some people did care: my writers’ critique group. I soon would owe them 30 pages of new work. With that deadline looming, I sighed. How could I let them down? I must at least try to produce something for them. So I picked up the pages and re-read what I’d written before I went under the knife, all the while laughing at my foolish assumption that I would “catch up on my writing” while I was recuperating.

 
The pages I’d already written weren’t bad, and I’d gotten some positive feedback from my fellow writers. I started writing down words, reminding myself that if  I simply put them on paper, I’d have something to work on, something to build on and edit. I remembered a valuable saying: You can’t fix what’s not on the page.

 
I knew this approach as surely as I knew my own name, so I gritted my teeth and ground out five pages. They seemed flat and pointless. But at least I had something to show for my time and effort. And as I read over what I’d written, I had an idea for how to make them better. A flicker of hope beckoned. Hey, maybe this wasn’t a lost cause.

 

I wrote a few additional pages, and the more I wrote, the more ideas started to flow. First a trickle, then a stream. I lost track of time as I scribbled the outline of what needed to happen next, and a delicious enthusiasm flowed over me, that feeling I’d begun to fear was lost for good. That poor old dead engine had finally turned over. It sputtered a few times, but then it started chugging along.

 
I still have a long way to go to “The End,” but if I hadn’t sat down and made myself pretend to be a writer again, the muse would not have whispered in my ear. Why try and talk to someone who’s not listening?

 
So you see, magic can still happen. Believe in it. You may think the game is lost, but there’s always the chance it isn’t over yet. There may be a tiny spark of life left in that engine after all, but you won’t know unless you fiddle around with it a while.

Anybody out there who had to abandon a project and then fought to resurrect it after some time had passed? How did you get going again, or did you? Or perhaps now you’re thinking, maybe you will . . .?

 

Respecting the Muse by Bonnie Schroeder

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Bonnie Schroeder started telling stories in the Fifth Grade and never stopped. After escaping from the business world, she began writing full-time and has authored novels, short stories and screenplays, as well as non-fiction articles and a newsletter for an American Red Cross chapter.

 

 

Most writers inevitably encounter the question, “Where do you get your ideas?” I’ve been on the receiving end more times than I can count, and I often wonder aLife after Lifebout other writers, too.

Where, for example, does Stephen King come up with all his intricate storylines? Where did Kate Atkinson get the idea for Life After Life? 

Actually, ideas are everywhere, and they’re often triggered by those magic words, “What if . . ..?”

In my experience, however, the initial spark tends to morph into something quite different when I begin to work on a story. My first novel, Mending Dreams, came about because I knew a woman whose husband did the same thing my protagonist’s husband did: came home one day and told her he was leaving her because he was in love. . . with another man. “What if,” I wondered, “that had happened to me? How would I react?” The eventual premise turned into something quite different than I expected, as themes of love and courage emerged from the mess I created in those first pages.

I was married to an artist in the 60s and 70s, and as I was looking over old photos from those days, I asked myself, “What if my husband had become really famous?” This led to Write My Name on the Sky, which will be published this summer. The story changed tremendously in the execution, but that first flash of inspiration arose from those old pictures.

A couple of years ago, during my annual physical exam, my doctor remarked that both my hearing and breathing capacity had improved in the past year. Hmmm. What if I was growing younger? That idea became the cornerstone of the novel I’m currently writing, and it’s become more than a case of mere wish fulfillment.

Webster’s New World Dictionary defines “Muse” as “a source of genius or inspiration,” but I have other names for her. She is quite a trickster, and if I don’t pay attention to her whispered ideas, they vanish like smoke. That’s why I am almost never without pen and paper—or in today’s world, without my trusty iPhone, which I use to record the Muse’s suggestions and sometimes even to photograph the source of them.

Yes, ideas are everywhere, but writers need to respect them when they appear; don’t squander them; nurture them and preserve them.

I believe the writing process is at least one part voodoo. Inspire

For me, it seems that once I set my intent to write about a particular topic, the creative universe springs into action. For my woman-getting-younger novel, even while I was sketching out the premise, articles started appearing in newspapers and magazines I read, about “age disruption” and “life extension.” My research file on the subject is over six inches thick!

I would love to hear from my fellow writers and readers about this subject. What inspires you? Where do you get your ideas? And how do you hang onto them when they appear? What do you do with them? Please share!

Beginnings, Middles, and Endings

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A former private detective and once a reporter for a small weekly newspaper, Gayle Bartos-Pool (G.B. Pool) writes the Johnny Casino Casebook Series and the Gin Caulfield P.I. Mysteries. She also wrote the SPYGAME Trilogy: The Odd Man, Dry Bones, and Star Power; Caverns, Eddie Buick’s Last Case, The Santa Claus Singer, Bearnard’s Christmas and The Santa Claus Machine. She teaches writing classes: “The Anatomy of a Short Story” (which is also in workbook form), “How to Write Convincing Dialogue” and “How to Write a Killer Opening.” Website: http://www.gbpool.com.

Beginnings, Middles, and Endings… A Thought or Two

When I start writing a story I usually don’t have the entire story blocked out in my head. Sometimes I have a beginning and an end. That’s the best way because I know how the story opens and blessedly where the story is going to end. Usually I have at least a sentence or a paragraph that tells me what the story is supposed to be about. Sometimes I have a page or two of the gist that provides the flavor of the story. That tells me the sub-genre: a detective yarn, a lighthearted mystery, a darker tale, or maybe a holiday story because I write those, too.

notebookIf you ever come to my house you will see small notebooks all over the place that I can grab and jot down an idea if it drops out of the sky. And they do on occasion. My fellow author, Bonnie Schroeder, gave all us Writers-in-Residence ladies a notebook and pencil set for the shower that writes in the wet. What a concept. So I am covered wherever an idea strikes.

The all-important beginning sets that Tone for any piece of writing. This is when the reader bites off a chunk and chews it to see if they might like to stay around for the rest of the meal. When these ideas strike, they have to grab my imagination, too, or I’ll discard them and wait for another inspiration.

Sometimes the initial idea is a bit of business that sets up a crime. Once I know how it’s done, I have to see who does it. The all-important villain will be the second, if not the first, character I must get to know. Remember, the bad guy or gal is the reason the story is being written. If nothing bad happens, I won’t need my private detective or amateur sleuth or long arm of the law to solve the case.

The Plot might be something that I hear on television that sparks the idea. I seldom rip a headline off the front page because I can almost hear half of the writers out there in “Fiction Land” ripping it off their newspapers and I want to write something new. But I will take a headline and turn it upside down or inside out to get a story.

That’s the old “What if?” game. If there is a story about a politician killing his playmate on the nightly news, what if the playmate sets up the politician instead in the fictional take on that account? I did that in a story in From Light To Dark, a collection of short stories that run the gamut from lighthearted to down right evil.

typewriterStories are everywhere. The writer just has to see the possibilities. But remember, as a writer, you control your world and you can twist the story into something unique if you try. Just try not to twist it into something that doesn’t make any sense. More and more TV shows are turning into pretzels that barely make sense. That’s why I read more books than watch television.

So now you have a great beginning and maybe you are lucky enough to have an ending in your head. As I said earlier, knowing the ending lets the writer know where he or she is going. You don’t want to wander. And this isn’t only for the writer’s sake. If the reader gets lost along the way, they might put the book down and never pick it up again.

Make the ending as stunning as the beginning. When you are having a great meal and the dessert is terrific, too, you know you have had an experience. When someone puts down your book or even finished your short story, you want them to feel satisfied. And you want them to come back for more.

In TV shows, I can usually guess whodunit in the first ten minutes. That’s because of the formula that shows use. Sometimes it’s the lousy actor who plays the part who just looks guilty. He read the script and knows he did it and it’s written all over his face. I hate that.

In a book, I seldom analyze the story as I am reading it to see if I can pick out the villain. I want to enjoy the story and know we’ll get to the end eventually. I never read the end ahead of time, either. I wouldn’t have dessert before the main course, so why soil the meal?

I like to read the set-up, watch for clues, and at the end I’ll go back over the story in my head and see where those clues were if I missed any of them. Good writers leave them in plain sight. Readers just don’t know they were clues. There is nothing better than to say, “Boy, there was that clue right there all the time.” I love that.

The only thing I can caution writers against is dropping the villain and the clues in at the end where the reader had no chance to pick them up. Not fair to the reader or to the story. You can do better.

fat-lady-dancerNow how about the middle? There it sits. Is it a big, hulking middle that the reader has to push around the dance floor with no music or is it thin and bony with no rhythm at all? This middle section is where the reader learns all the little things that hold the story together. Some backstory and some character traits are sprinkled in along with the bulk of the plot. Whether it’s on the high-calorie side with lots of detail or maybe a diet plate with most of the fat is trimmed off, you have to make the middle tasty.

scissorsEditing happens here. Add a little to enhance the story. Cut some off to make the pages turn faster toward the climax. Sweeten it with some good dialogue. Add some choice settings to give it flavor.

Some writers over-write their work. They cut and paste so much that they lose the story completely with all the tape and staples and glue. If your story is ponderous you will lose readers faster than if it is short and sweet.

But don’t shortchange the reader either. They paid for a story, so tell them a story. Give them the details, not an encyclopedia. You want them to know the characters, but remember: some characters are only there for color or to give some vital information before going off stage. Have a few main characters, some minor ones, and everyone else is just there to set the stage.

This holds true for novels and short stories. I have read quite a few mystery novels that packed in so much extra stuff that I lost track of the plot. The characters might be fun and the banter clever, but that dead body lying in the living room still needs to be discovered along with his killer.

Tell me a story first. I’ll get to know the people along the way. Have a beginning that pulls me in. Have a middle that holds my interest. Have an ending that makes me glad I bought your book or read your short story. I’ll look for your books on the shelf again if you can do that.

books-on-shelf

Step by Step with Bonnie Schroeder

with Bonnie Schroeder 
Bonnie Schroeder started telling stories in the Fifth Grade and never stopped. After escaping from the business world, she began writing full-time and has authored novels, short stories and screenplays, as well as non-fiction articles and a newsletter for an American Red Cross chapter.
One morning last week as I was brewing coffee and contemplating the novel I’m getting ready to write, it all seemed overwhelming. I felt like shelving the whole thing; it was too, too much. I’ve sketched out the premise and drafted a few opening pages, but that’s it. The book will require a lot of research, I don’t know my characters, I’m not even sure I like those opening pages, I’m facing a long road of drafts, critiques, rewrites, and blah blah blah. “How am I ever going to do it all?” I muttered to myself.
A few sips of coffee later, I quit whining. The last two or three years have been focused on writing/revising/editing my latest project (for which I hope to find a home this year), so I haven’t started a novel from scratch in a long time. But I went through my preliminary notes for the last one, hoping to find a clue as to how I did it, and I rediscovered a nifty technique I learned about through the recommendation of a writer friend. It’s called “The Snowflake Method.” You might have heard of it.
Lest I be thought an internet pirate, let me give full credit for the technique to Randy Ingermanson. I do not know Mr. Ingermanson personally; I found his website by Googling “Snowflake Method for Writing a Novel.” You can buy his book on Amazon, but he also offers the basic technique for free on his website, and I took advantage of his generosity.

 

The principle is simple: you start with a brief premise, then expand the premise, get into character descriptions, sketch out your scenes, and so on. The narrative is developed via a logical progression that takes you deeper and deeper into the story and the characters. Each step leads to the next, more complex step, much the way that an actual snowflake is structured.
On my last novel, I of course deviated from the original design work with each revision, but I’d never have gotten started without the guidance of the Snowflake technique.
The beauty of this approach, for me, is that it breaks down the writing process into separate specific tasks. It is very freeing to realize that I don’t have to do everything at once. By breaking it down into bite-size chunks, I can tackle one at a time without worrying about the road ahead. Looking ahead, at this stage, just freaks me out.
Some of my fellow dog-owners and I like to hike the trails in Griffith Park, and one of our more challenging climbs is up to Mt. Hollywood—a 1600 ft. gain. I invited another friend to join us, and when she looked up at our destination, she started to cry. Honest, she did. I knew she could make the climb okay, she’s in good shape and works out at the gym, so it wasn’t the physical challenge that daunted her; it was the mental one. The end point seemed too far away, the road too steep. I explained to her what the rest of us knew: the secret is not to look up. Focus on the trail in front of you, and take it one step at a time. It keeps you from getting discouraged and it’s safer, too—you won’t trip over any rocks if you keep your eyes on the road just ahead.
There are times, of course, when it’s good to take the long view. On our climb we stop midway for water (and to catch our breath.) And we take in how far we’ve come before we look up at the top of the mountain. Somehow, at that point, it doesn’t seem all that far away. Then we shoulder our back packs and focus on the trail right in front of us, and we do that all the way to the top.
My friend made it just fine, by the way. We were all sweaty and out of breath, but we did it. And the view from up there is always—always—worth the exertion.

 

So that’s what I’m doing now. Since I have the premise and a couple of characters, I’ll move through the design process and eventually begin to write the manuscript, with my Snowflake roadmap to light the way. And one of these days, I’ll be able to look at the stack of paper on my writing table and think, I’ve come this far. I can make it to the finish line. One step at a time.