Keeping It Real: Developing Characters Throughout a Series

by Miko Johnston

I became an author when I finished the first in my series of fiction novels – my first book, period. Interestingly, Lala, the character I inaugurated thirty years ago, recently turned thirty herself. Is that a coincidence?

Maybe not.

Petal InTheWindMy writing has matured over those thirty years, as has my heroine. Granted, when introduced in my first book, she was “almost eight”, so her voice and thoughts had to reflect her age. However, the book was meant for adults, therefore it had to present the story at a more mature level. Much of the storyline and the tension springs from a child who’s unable to fully understand her situation and an adult audience who clearly can.

As the story develops, and Lala ages, she had grown up in the eyes of my readers as well as my own. I sometimes feel like thirty years ago I gave birth to this young girl, though I’m thrilled not to have actually given birth to an eight-year-old! Still, having lived with these characters for almost half my life and four books, they’ve become very familiar, and I’ve grown close to them. I sense a greater intimacy between the characters with each novel, in part because of my growing familiarity with them.

I feel the same way about characters in the series I still read. I’ve become invested in their lives, curious to see how they play out. It’s become an even more important aspect of pleasure in reading than the storyline. I’ve stuck with a few series with formulaic plots because of my attachment to the people who populate the stories.  I’ve also dropped a few series from my must-read list and always for the same reason – stagnant characters.

I asked several writers of serialized fiction about how their relationship with their characters – and their characters’ relationships with each other – has changed with each book, and each passing year.

51pZwz0PBbL GOTUMike McNeff introduced his hero Robin Marlette in GOTU (pronounced Got-U, it’s short for Guardians of the Universe). His action/adventure series features a covert ops team that has to balance work with home life. Mike’s currently writing the fourth book in the series. When I asked him how his characters have evolved over time, he decided to let Robin speak for himself:

“We were once cops who tried not to hurt anyone, including suspects. Now we kill just to survive and it has reached the point where killing has become a mere afterthought. I’ve killed sleeping men, men who didn’t know I was near them and men who were simply doing an assigned task at a particular moment. They were all involved in acts threatening innocent people, but I gave them no warning…no chance to surrender. I just killed them.” Robin’s eyes met the admiral’s. “My men and I have become dark and dangerous shadows moving through the night grappling with a squirming underworld. I’ve become unsure of just what and who the enemy really is…I just react to threats to the innocent people on this earth.”

I’ll add that the series has grown darker, but as Mike’s characters have developed into a close-knit team, they’re more comfortable teasing each other, and their humorous banter provides comic relief that lightens up the action.

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41SMl8rQs0L IndelibleWhat began for Heather Ames as a stand-alone novel turned into a deftly blended mystery, suspense and romance series featuring Detective Brian Swift and socialite/club owner Kaylen Roberts (due in part to encouragement from some members of this blog). Ames says, “My characters have evolved from two people who didn’t even trust each other enough to share confidences into two people who have been trying to work through various challenges. They weren’t sure they could work things out by the end of Book one, but they both wanted to try.”

In each subsequent novel she balances the suspense between solving the mystery and navigating their evolving romance. Readers root for the couple, but Ames keeps us wondering as we follow their emotional roller coaster ride. “Being mismatched soulmates isn’t an easy gig. Brian’s profession is a huge stumbling block for Kaylen (while) Brian feels like a fish out of water in Kaylen’s world, and isn’t so sure he wants to try fitting in.”

The couple has progressed with each book. “Kaylen has evolved into a much stronger character than she was at the beginning of the series, while Brian has developed chinks in his armor that make him more vulnerable.”

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41SMgxyg59L Last ConfessionPat Kelley Brunjes traveled a similar route with her characters as I, opening her series with a story loosely based on her family history. In her first novel, The Last Confession,  her protagonist serves as a stand-in for Brunjes. “Maggie was me seeking to find the truth about my grandmother’s relationship to the Catholic Church.” Although based on her research, she fictionalized the story, which allowed her to take Maggie in a non-biographical – and more dangerous – direction. In the sequel she’s writing, her heroine gets entangled in a cold-case murder and human trafficking. “In the second novel, Maggie has evolved into her own person dealing with what fate has thrown her, and how her personal beliefs guide her decision to help others.” Having given herself the freedom to step away from semi-autobiography, Brunjes will have much flexibility in plotting future entries in the series.

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51sKIWU-ULL._SX322_BO1,204,203,200_ PaulineAvis Rector faces a unique challenge in writing her historical fiction series, based on the early life of her family on Whidbey Island. In her first book, Pauline, the heroine and her husband settle on the island during the Depression. “So much of the first Pauline was based on my memories of the stories I heard as a child from my father who loved to tell stories—usually real happenings, but many embellished.” However, in her sequel, the story moves into the 1940’s, a time Rector lived through. She’s having to reinterpret her childhood memories through an adult’s perspective. “Actually, I’m having a hard time writing how the adults felt about the time. Pauline has changed.”

Part of that involves Pauline’s maturing. Rector admits she struggles to find the right balance between the irrepressible gal readers meet in the first novel and the responsible parent she becomes after adopting two children. “It was difficult for her to become a mother. She’s no longer the fun-loving young wife (as in the first book), but a serious, not so much fun, mother. I’m sorry about this, and feel I should…try to soften her personality, to enjoy the experience of being a mother like she always wanted to be.”

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Most of us in WInRs have written, or are writing, series – I’m interested in hearing their take on this. I also know some of you reading this post write serialized fiction. What challenges have you faced moving your characters through the years, either in ‘book-time’ or real time? Have they evolved over the course of your series, and if so, how?

 

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Miko Johnston is the author of the A Petal In The Wind Series, available through Amazon and Barnes and Noble. Miko lives on Whidbey Island in Washington. Contact her at mikojohnstonauthor@gmail.com

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This article was posted for Miko Johnston by Jackie Houchin (Photojaq)

In Defense of Clichés (and Other ‘Adjusted’ Words)

 by Miko Johnston

william-james-booksellerI frequent a bookshop in a neighboring town that sells books for and about writers, along with writing-related merchandise (if you’ve been to Port Townsend Washington you know which store I mean). They carry postcards and T-shirts with writing slogans like “Avoid Clichés like the Plague”. Cute. Unfortunately, it denigrates clichés. The meaning of the word has been ‘adjusted’, and unfairly so, IMHO.

Hear me out. I’m not endorsing the constant use of ‘isms’ we now label as cliché. But the word has become synonymous with trite, and that’s unfair. While some clichés may be trite, most are merely unoriginal, though with good reason – they’re shorthand for knowledge that’s been established throughout the ages and shown to be generally true.

clicheWhen selectively used, a good cliché expresses wisdom through metaphor. A stitch in time figuratively saves nine. Actions often do speak louder than words. Sometimes it is a dark and stormy night, but since that opening line shows up more in humorous writing nowadays, we expect it to be funny, not dark. Like cliché, the expression’s meaning has been ‘adjusted’.

Not a unique situation in phrases or in words. So many words have been adjusted – either with new meanings added on, or by having their definition abridged to one exclusive meaning. In one of my older posts (see July 17, 2019) I mentioned how Clarity in writing must include weighing a word’s intended meaning against what it’s perceived to mean.

Also consider how even when the word’s meaning should be clear, many don’t understand what the word means. Take secret, for example. It’s supposed to mean confidential, not to be disclosed, but too many people seem to be unaware of that, otherwise they wouldn’t try to get you to reveal a secret. Isn’t the very meaning of that word to withhold information based on a vow?

Or take the word average. It’s a mathematical term, meant to express the value of a group of data by adding it up and dividing it by the total of their number, yet it’s taken on social connotations. We hear the expression, the average person, or man, or woman, and wonder what that could be. We equate average with falling straight down the middle of a ranking system, not being good or bad, not taking sides. Somehow average has become something to avoid, either as a person or as an opinion. And don’t get me started on how compromise has become synonymous with cowardice.

How about proud? According to my dictionary the noun proud means: feeling deep pleasure or satisfaction as a result of one’s own achievements, qualities, or possessions, or those of someone with whom one is closely associated. Have you heard anyone say they were proud of themselves, even without accomplishing an achievement (which I believe includes making the attempt, working hard and doing your best)? Or proud of a celebrity whom they’ve never met?

As a writer, knowing words – their meaning, and using them in the proper context to express thoughts – has become more challenging as the meaning of words have become ‘adjusted’. Have you noticed this trend? How have you ‘adjusted’ to it?

 

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Miko Johnston is the author of the A Petal In The Wind Series, available through Amazon and Barnes and Noble. Miko lives on Whidbey Island in Washington. Contact her at mikojohnstonauthor@gmail.com

 

 

This article was posted for Miko Johnston by Jackie Houchin

What Did You Say?

By Miko Johnston

I’ve been thinking a great deal about words lately. Part of the reason is that I recently pitched a story I’d written almost two decades ago to a producer who’s shown some interest in the project. It contains language that would be inappropriate for this blog, but while the comic murder mystery at the heart of the story is meant to entertain, its satirical backdrop illustrates society’s relationship with certain words over the last half-century.

Anyone who’s lived more than a few decades has seen a loosening of standards in the media as well as in general life. While this blog – and  I suspect some of you – may eschew using certain words, I’ll bet your standards have changed along with the rest of our world. I’ve seen words in newspaper articles I’d never expect to see in print. I rarely watch TV except when I travel, but even with my limited exposure I’ve heard language in television programs – and I’m talking network TV, not cable – that wouldn’t have been permitted in the past.

Do you recall George Carlin’s Seven Words you can’t say on TV? Lately a few have slipped by. I recently heard a TV news anchor say a word I never expected to hear, having to do with bovine excrement, without a peep from the network or FCC. One of the Democratic candidates uttered another Carlin no-no during the first debate. A few words are still off-limits, and by my account we’ve added a new one to the list (hint: it starts with an N).

I’m not only thinking about obscenities. I’ve also noticed how many ‘ordinary’ words have been redefined or had their meaning augmented. Take the word average. It’s a mathematical term, yet it’s taken on social connotations. We hear about the average person and equate it with falling straight down the middle of a ranking system, not being good or bad. No one aspires to be average anymore; it has become something to avoid, either as a person or as an opinion.

As a writer, I find I must be more precise in my usage of certain words because of this. It concerns me that something I say or write could be misinterpreted. As a former journalist, my goals in reporting were ABC: Accuracy, Brevity, Clarity. Let’s not get into accuracy in news. Brevity translates into sound bites – catch phrases and such, or interrupting a speaker who takes more than a microsecond to get a point across. These days Clarity must include weighing a word’s intended meaning against what it’s perceived to mean. Social shifts, political correctness, and cultural rebranding have all contributed to this landscape, opening up new possibilities for writers as well as new dangers.

On occasion I’ve read lines of writing that could be misinterpreted. In each case I had close ties to the author, so I knew better than to take offense at what they wrote. However, readers who lack that personal advantage might not see it that way. I also worry a great deal about doing that myself and have on more than one occasion censored my work rather than risk the possibility of having someone take my words to mean something I never intended.

Have you thought about this as well? Are you concerned with the possibility that something you’ve written could be taken as insulting or offensive even if that wasn’t your intent?

 

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Miko Johnston is the author of the A Petal In The Wind Series, available through Amazon and Barnes and Noble. Miko lives on Whidbey Island in Washington. Contact her at mikojohnstonauthor@gmail.com

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(Posted for Miko Johnston by Jackie Houchin)

 

 

 

 

 

 

 

 

 

GET YOUR STORY PUBLISHED by Miko Johnston

Have you ever tried to get a story accepted into a writing contest or juried anthology? Wouldn’t you love having a covert resource who can give you a competitive edge? If so, then read on because I am going to share with you my secrets for getting your work published.

First, some background. Several years ago, I tried to get a short story accepted into a Sisters In Crime anthology. I wrote what I thought was a good story that fit the theme and technical requirements. I ran it though a few critique groups to help me polish it. When I got the notification that the piece wasn’t accepted, it broke my heart. I made it my mission to get my work accepted into the following anthology. The result: my story “By Anonymous” made it into Last Exit To Murder, published two years later. I succeeded in more ways than one; having a story in a prestigious anthology helped me win a publishing contract for my novels.

The experience taught me that it takes a lot more than just writing a good story to get your work into a competitive publication.

I       THE MORE SPECIFIC, THE BETTER

It’s hard enough to figure out what editors will consider ‘good’ or worthy of publication, but it’s even harder when they don’t clearly define what they want. If getting published is your goal, your odds are always better with a single genre competition and a clearly defined theme. Focus on competitions with a limited scope. ‘Stories under 500 words’ is vague , but ‘Heartwarming stories about rescued animals’ is more specific.

II      READ THE SUBMISSIONS GUIDELINES CAREFULLY AND BELIEVE THEM

Every contest or anthology will issue submission guidelines that contain vital information. Guidelines begin with an explanation of what the stories should contain or be about. For example, mystery anthologies generally want stories that include at least one murder or serious crime. If there is a theme, the guidelines will often state how the theme should be incorporated. Remember: the more specific the requirements, the easier it is to figure out what the editors want. Pay attention to technical information such as word count, page set-up, method of submission, and deadline for entries. Take that information seriously; consider them demands, not requests.

III     LEARN FROM THE PAST

Writing contests and anthologies are often sponsored by established organizations. Unless the sponsor is new, go back and read their previous publications. Determine what type of writing appeals to them. If everything they’ve published is dark and esoteric, your hilarious page-turner probably won’t get accepted. If the mysteries tend to be cozy, save your gruesome piece for another publication.

The sponsor’s website can provide invaluable help. Search online for any information about the selection process or editing of past competitions. I researched the Sisters In Crime L.A. website archives and located an old interview with the editors of an earlier anthology. All of them agreed that stories about previously unknown aspects of the city were more interesting than those that focused on familiar places and events. The anthology selections supported that. Which brings me to the next point:

IV      AVOID THE OBVIOUS

If the theme is U.S. landmarks, leave the most popular choices to ‘Family Feud’ and go with something less familiar. There are two reasons for this: First, many writers will select something famous like the Hollywood sign or the Statue of Liberty. Since editors may want one story based on that location there’s more competition. Or they might get bored reading story after story about the same place and reject them all. Secondly, as already stated, stories about unknown or unusual places and events appeal to editors. Think how omnipresent the White House has been in films, but we vividly remember Mt. Rushmore in “North by Northwest” or Devil’s Tower in “Close Encounters of the Third Kind” because they stand out due to their uniqueness.

V       WORK IT, WORK IT, WORK IT!

Everything I’ve shared with you so far will give any writer a competitive edge. The rest is up to you, though. You have to write a unique story. Start early, as soon as the announcement comes out. Brainstorm a few possible themes and work on them until you have a strong idea for a story. Take every advantage you have. I submitted one story to that first anthology although two submissions were permitted. For the next anthology, I finished my story months in advance and decided to write another before the deadline. I’m glad I did; the first piece was rejected, but the second one made it into the anthology.

Will any of my tips guarantee your story will get published? Of course not, but I assure you it will increase your chances of success. Good luck!

 

 

Fun with Writing by Miko Johnston

MikoJ Photo1Miko Johnston is the author of A Petal in the Wind and the newly released A Petal in the Wind II: Lala Hafstein.

She first first contemplated a writing career as a poet at age six. That notion ended four years later when she found no ‘help wanted’ ads for poets in the Sunday NY Times classified section, but her desire to write persisted. After graduating from NY University, she headed west to pursue a career as a journalist before switching to fiction. Miko lives on Whidbey Island in Washington. You can find out more about her books and follow her for her latest releases at Amazon.

Fun with Writing

Have you ever read a book that got you scratching your head and wondering, how did this mess ever get published? Perhaps the story started out great, then took a turn for the worse. Maybe at some point it read like a different author took over. Or the book was laughably awful from Once upon a time, but since you’ve always liked the author you stuck with it through the equally bad they lived happily ever after. This has happened to me too often, so I want my revenge!

Thanks to the inspiration of these bad novels, here’s a few writing exercises you can do on your own or with your writer’s group that will not only help sharpen your writing skills, but may provide a few giggles and even a groan or two.

I. BOOK DOCTOR

First, find a truly awful book. Unfortunately, it’s not that hard, but if you’re stumped, pick a genre and Google: worst (publisher) ever, or just: worst (genre) book ever and see what comes up. (Hint: I tried this using a well-known publishing company; their name is synonymous with Romance, though ironically, a synonym for ‘clown’.)

Then find a few paragraphs, a page or a short scene in the book that stands out as excruciating. Look beyond mistakes like spelling or grammar, you want prose you need a steak knife to cut through, or a decoder to comprehend. Now here’s the hard part. Read it a few times to determine exactly why it’s so awful – awkward phrasing, clunky dialog, too much or too little description – and try not to laugh. That might be the hardest part.

Then rewrite the passage in a way you think improves the work. You’re not looking to change the story, but to make it comprehensible and entertaining, introduce what’s missing – tension, clarity, recognizably human behavior.

You can do this exercise on your own, but it’s especially fun to do with other writers. Then once everyone finishes laughing over the original version, they can compare notes and see how each one reinterpreted the dreadful pages.

II. WORST LINE EVER

Take a page (pun intended) from the many ‘bad fiction’ contests: redirect your masterful literary skill and write the worst line of fiction ever. Mind you, this is not about bad grammar or a weak concept. This is about truly pathetic prose. Skip piecemeal and terse; instead, head directly for convoluted and illogical, but in a funny way. Challenge your writer friends to join you and then compare. If you need inspiration, review the first paragraph of BOOK DOCTOR above.

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III. “RASHOMAN”

The classic Japanese movie tells a story from the point of view of several characters. If you are part of a writers group and would like a fun exercise, try this:

Select a well-known historical incident, or find a story reported in the news, one that involves multiple individuals, such as a crime. Establish the story in the omniscient point of view – just the facts, so to speak. Then assign a character to each writer, who then tells the story from that person’s perspective. If any of the characters intersect, then the writers documenting their stories can work together to create those scenes. If you’re feeling extra-creative, make up your own story. Afterward, read all the individual accounts and see how well they link together, and how much they may differ.

IV. CREATE AN INDIVIDUAL CHAPTER BOOK

Remember the old game of telephone, when you whispered a story to someone and then they whispered it to the next person, and so on? By the end of the line, the story usually bore little resemblance to how it began.

I once belonged to a writers group that decided to produce a novel this way. They came up with a basic premise, really an idea to launch the story. Then one member wrote the opening chapter and passed it along to another writer, who created chapter two. By the end of the book, the story had emerged in an unusual way. The writers found the challenge of following and continuing the threads already written to be intriguing, but very challenging. They chose a science fiction genre, which allowed a degree of latitude in creating each successive chapter.

Although their book followed a linear storyline, it might be easier to create an episodic novel, similar to TV shows like “Route 66” or “Highway to Heaven”. If you try this, I would recommend selecting one genre and sticking to it. If dragons or flying saucers appear in the middle of your contemporary political thriller, it may get chosen for the next BOOK DOCTOR.

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Tell us of your experiences with these or similar writing projects.

Forward Into the Past by Miko Johnston

Miko Johnston is the author of A Petal in the Wind and the newly released A Petal in the Wind II: Lala Hafstein.
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She first first contemplated a writing career as a poet at age six. That notion ended four years later when she found no ‘help wanted’ ads for poets in the Sunday NY Times classified section, but her desire to write persisted. After graduating from NY University, she headed west to pursue a career as a journalist before switching to fiction. Miko lives on Whidbey Island in Washington. You can find out more about her books and follow her for her latest releases at
 Amazon.

When I was a kid, I loved imaginary games, where you established a world and then went there to play. Until kindergarten, many of the other kids in the neighborhood would join in, but by second grade, they’d all abandoned make-believe for Milton Bradley, preferring the organized play of board games to pretending, which they viewed as childish.

Board games like Monopoly and Life held no interest for me. The object was to win, and while skill played some part, winning depended on luck, literally a toss of the dice. Even without knowing what would happen, you knew the limits of what could, and it always ended the same way, with only the name of the winner changing. But even worse, to play you had to follow a precise set of rules, and I hated to follow rules when I played. With make-believe, you set up a situation, give yourself, your playmates, and your surroundings roles, and then see what happens. Two chairs and a blanket becomes a fort, or cave. A bed serves as a life raft as you flee a sinking ship, or the deserted island where you land. The network of cellars that interconnects apartment buildings on a city block are the tunnels and alleyways where the good guys and bad guys dart about and hide out, planning their strategies for battle. The goal wasn’t to win, but to experience an adventure. To have fun.

I sought out younger companions to continue my penchant for imaginary play, but eventually they, too, stopped. But I never did.

When you don’t have playmates to share in the experience, you create the games in your mind, including all the characters, the setting, the situations, the problems. You play it at night in bed, before you fall asleep. You daydream it when there’s nothing better to do. Maybe you write it in a notebook.

When I became a teen, many of my friends had crushes on some singer or actor. I was rather naïve, but I saw an opportunity, picked a harmless teen heartthrob and joined in the fun. A few of us would make up fantasies of what it would be like to be with these men, or at least, who we imagined them to be. They were really empty shells, with the physical presence we saw on album covers or on television, which we filled with all the qualities we imagined they would have. All the qualities that would appeal to a shielded thirteen-year-old, that is. But at a certain level they, and the fantasy lives we shared with them, became real to us.

Yes, I did play with board games, coloring books, paper dolls and real dolls. Outside we’d jump rope, play hopscotch, tag, or handball with my friends. It was fun and I enjoyed it, yet I always elevated make-believe to the highest level of play, and in a sense, I still do.

Is it any wonder I became a storyteller?

From Screen to Page, Part 3 by Miko Johnston

Miko Johnston is the author of Petals in the Wind.  
She first first contemplated a writing career as a poet at age six. That notion ended four years later when she found no ‘help wanted’ ads for poets in the Sunday NY Times classified section, but her desire to write persisted. After graduating from NY University, she headed west to pursue a career as a journalist before switching to fiction. Miko lives on Whidbey Island in Washington. You can find out more about her books and follow her for her latest releases at Amazon.




FROM SCREEN TO PAGE, Part 3

 

Today we wrap up our discussion about the basic rules of screenplays that would benefit fiction writers. We’ve already covered the four story questions every writer must be able to answer (see post from September 9), and how your protagonist must undergo a transformation (see post from November 4. And now the final point:

 

ü  Use the three-act structure in novels

 

Most plays and films are written in three acts. It’s a time-proven method to follow when writing any long form fiction, including books, because it provides structure without limiting creativity.

 

In a novel, Act I begins with Once upon a time and ends around the first crisis, or inciting incident – the event that launches the story. Act II follows and is often divided into two scenes with a second crisis point in the middle. This mid-point crisis lifts up the middle of the story and raises the stakes. Act II ends around the final crisis point, the story’s climax. Act III resolves the climax and takes us to the story’s resolution and ideally, a satisfying ending.  

 

Here is a simple diagram illustrating the three act structure as it appears in novels:

  

            

The four segments represent the acts and scenes, divided by vertical lines denoting the three major crisis points, each higher than the previous one. The peaks and valleys track tension, and the horizontal line at the bottom represents the story synopsis.

 

As the diagram shows, if you write your novel with the three-act structure in mind, it creates a solid foundation, a floor on which to build your novel –the protagonist’s arc, the plot – and a firm base to plant your crisis points. The structure provides guidance in finding where the story needs to be cut and where it needs to be fleshed out. If you want to create well-defined crises, steadily increase the tension throughout, and avoid the dreaded ‘middle act slump’ that dooms so many tales, use the three-act diagram like a map to lay out your first draft or direct you through a revision.

 

One way to see if your novel fits into the three-act structure is to take a sheet of paper, fold it in half twice lengthwise and twice widthwise. Open it; you’ve created sixteen crease boxes on your paper. See if you can summarize your novel in the sixteen boxes. Ideally the first row would cover the beginning through the inciting incident, the second row would end at the mid-point crisis, the third row would end at the climax, and the fourth row would include the story’s resolution and end. You can see by this exercise that Act II, or the middle of your story should be approximately the same length as the beginning and the end combined. If one section is bloated and another is skimpy, it can indicate your pacing is out of balance. Maybe the beginning drags, or you rushed the ending, or the middle isn’t developed enough. The crease box exercise works like GPS to identify problems in your manuscript.


A related screenplay rule that is especially relevant to short form fiction writers is: Keep the story simple. Unlike novels, where you must have at least three crisis points, in short form fiction there are only two – the inciting incident that launches your story, followed by a steady build-up to the climax and resolution. Don’t overcrowd your flash fiction or short story with too much plot or sub-plot, too many extraneous characters or locations. Instead, add complexity with multifaceted characters, crisp dialogue that drips with subtext, and vivid bites of description. Very short pieces can consist of a single scene – think of a standout commercial on TV as a visual form of flash-fiction.

 

Here’s a bonus: If you have scraps of ideas floating around but nothing firm enough to write about yet, try planting the idea on the diagram above. Often, when you decide where the idea should fall in the story structure, you ground it enough to work out more details and launch a story concept.

 

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If you have found this series helpful, we Writers in Residence would like to hear from you. If you didn’t, let us know that as well.