Post-From-the-Past, February Archives

winter walk 2019

"In the end, what makes a plot twist effective? It's not difficult to give a friend a present they never would have expected. But one sign of a good friendship is that you can give your friend a present that they never would have expected, perhaps never would have even guessed they wanted, but are still delighted to have. That's the sign of a good plot twist as well." --Dave King, "Playing it Straight with Plot Twists," at davekingedits.com

Pulling again from my archives over the last nine years of blogging, I offer The Unexpected: 5 Tips on Plot Twists. This post first appeared in February 2012 and ranks in the top-10-list of my most viewed posts ever. Maybe you, like me, would like (might even need?) a review. Here goes:

Tuesday, February 7, 2012
The Unexpected: 5 Tips on Plot Twists

"Creativity comes from looking for the unexpected and stepping outside your own experiences."

                                                                                                                                                --Masaru Ibuka

The jolt, when it hit, was palpable. Nothing really big, but a hit all the same.

I was on my morning walk, approaching the turnaround point at the curve. The scene is so familiar at this particular spot--that of an old barn that for years was a picturesque fixture of the landscape. In fact, I often told myself that I should bring my camera and get a picture of it. Admittedly the barn was dilapidated and abandoned, but it had such character built as it was on a stone foundation with weathered boards that had seen many a day. It shouted history--even a story or two. I'd even analyzed the angle from which to take the shots. Yes, one day I would do that.

This time as I approached, I looked up to see a small earth-mover nearby. I couldn't tell if it was parked on the road, and if I'd have to skirt around it. I wondered what project was about to be embarked upon. That's when the surprise hit, and the unexpected registered on my brain.

The barn was gone.

Razed. Obliterated. Kaput. The bulldozer's job had already been done. The landscape was forever changed. What a twist that revelation brought to my morning!

Well, as is so often the case, thoughts went from personal disappointment over a lost photo op to the question of how such an event could be useful in plotting our stories. How can we use the unpredictable, the unexpected, surprises, twists and turns in order to keep our readers reading? And why?

Scanning several sources, I uncovered five tips on plot twists:

1. Predictable to Unpredictable. Barbara Dunlap, autocrit, defines plot twists as: "anytime something unexpected happens in a story that changes its fundamental direction. Where the characters and the plot are moving along in a direction that feels predictable then something happens to alter that predictability, that's a plot twist."

2. But...There's No Formula. Janice Hardy, at The Other Side of the Story, gives great advice about plot twists related to reader expectations. She writes, "We're all looking for a great plot twist, right? Be it in the books we write or the ones we read. That unexpected event or revelation that changes everything we thought we knew and takes it to a whole new level. The things that make us go, 'wow, that was awesome. I never saw that coming.' Trouble is, knowing you want one is a lot easier than coming up with one. There is no formula for devising a great twist, because every plot is different and any number of things can work in a story. My trick for twisting my plot is pretty simple: Reader expectations...You want to give readers what they expect, but not in the way they expect it."

3. Murphy's Law. Ansel Dibell in his book, Plot, suggests we play with Murphy's Law. "Try to think of what, within that fundamental situation, could go surprisingly wrong, yet seem believable and reasonable, within that context, when it happens...Your twist must satisfy and improve upon what it substitutes for, not just change it to something else."

4. Connect the Dots. This from Amanda Hannah, at YA Highway: "Most surprises need to have some roots grounded early in the book--little whispers that could hint at something to come. Things that the reader might not consciously pick up on at first, but once the surprise is discovered, they can connect all the dots together."

5. Multiple Implications. Scott Edelstein, in The Writer's Book of Checklists, amps plot twists up another notch. He says, "Look for events, developments, and twists that work in two or more ways at once, or that have multiple implications, meanings, or consequences. These can be among the most powerful elements in any piece of fiction."

Maybe we won't surprise our readers with a barn in one scene, only to find it unexpectedly leveled in another, but we do want to provide them with the occasional jolt that keeps them reading. What about you? How do you plan for the unexpected in your stories? Any outstanding plot twists you've read and marveled at recently?

**********

And, now, back to the present: Re-reading this post gave me pause to ask myself, what books have I read recently in whose pages lay memorable plot twists? My list includes:

Cold Mountain, by Charles Frazier

Empty Places, by Kathy Cannon Wiechman

Waiting for Augusta, by Jessica Lawson

The Girl in the Torch, by Robert Sharenow

The Unfinished Angel, by Sharon Creech

Other lists, other compilers:

Favorite, Most Shocking Plot Twists, Goodreads

Novels with Best Plot Twists, Goodreads

10 Children's Books with Surprise Endings, thechaosandtheclutter.com

Any books with memorable plot twists you might recommend? What are you currently reading?

__________________________________

Elizabeth Varadan's Carnival of the Animals, and An Interview

One of the best parts of blogging over the past few years has been the meeting of people who share in the passion of writing. Getting to know them—even if it’s only through cyberspace—and follow them in their journey to publication is an added bonus. When one of those now-friends announces the exciting news that their book has been published, we celebrate with them.

Today I am pleased to help celebrate the publication of my blogger-friend Elizabeth Varadan’s latest book, The Carnival of the Animals (Belanger Books, 2018). The Carnival of the Animals is a story collection for children based on Camille Saint-Saëns’ 19^th century musical fantasy, The Carnival of the Animals. Although geared for readers grades 2-5, the book is ‘layered’ so that older readers can enjoy it as well. There are thirteen tales based on the thirteen animals in Saint-Saëns’ work, and they all take place in different countries.

I caught up with Elizabeth to ask her about her book and her journey to publication.

Welcome, Elizabeth! First may I say I read your first book, Imogene and the Case of the Missing Pearls, a MG mystery that included none other than Sherlock Holmes himself, and enjoyed it very much. You obviously write in varied venues. What inspired you to write The Carnival of the Animals? 

The idea of a collection of stories occurred to me one night over dinner when my husband and I were talking about music. We both like all kinds of music, and Saint-Saëns’ musical fantasy is one of his favorite pieces of music. I said, rather flippantly, “I should write a story about each animal. Afterwards, the idea started growing on me. I love to do research, so the challenge I gave myself was that each story had to happen before the date Saint-Saëns wrote the music.

Of the thirteen animals you wrote about, which is your favorite?

Oh, gosh. That’s really hard to say. I liked each one as I wrote them, and each is so different. I like them all.

I know that you and your husband spend a period of time each year in Spain. Have any of your travels inspired one or more of the animals in Carnival?

Actually, “The Burro from La Mancha” was inspired by our visit in 2005 when Spain was celebrating the IV Centennial Anniversary of the publication of Cervantes’ Don Quixote. I had seen the musical The Man from La Mancha years and years ago, and the idea popped into my head, “What about a burro from La Mancha? A burro who hears a poet relate the tale of Don Quixote and then sets off to have adventure of his own . . .? So that was great fun. I actually read Don Quixote for this story, and I must say, it is a truly funny novel. 

What is one highlight you experienced in writing this book? A challenge?

A repeating highlight was finishing each story. As I say, each one was so individual. It was like writing 13 separate books. Which was also the challenge. As much as I love research, I had no idea how much research I would end up doing. Each story called for its own special research. I suppose another highlight was how helpful people were when I contacted them for special information. It’s wonderful how supportive of writers people are.

What does a typical writing day look like for you?

Ha-ha-ha. I really don’t have a typical day. I have days when I read all day for information or inspiration. Other days when I write for a few hours. Some days when I write all day like a maniac. Other days when I just journal. And some days when I don’t write anything at all.

You’ve now published four books for children along with short stories and poetry. What piece of advice might you share with aspiring authors just starting out in their publication journey?

Follow your own dream, not someone else’s. Try everything. Find good writing groups that are both supportive but hard-nosed. And read! Nothing improves your own writing like reading terrific writing by masters. Most of all, persist. Keep writing your stuff and sending it out.

Congratulations again, Elizabeth, on the publication of The Carnival of the Animals, and thanks for sharing with us some insights into your writing journey. Wishing you all the best as The Carnival of the Animals makes its way into the hands of children in the days ahead!

Blurbs:

“Thanks to Elizabeth Varadan, you will roar with the lion, bound over clouds with the unicorn, dance with the tortoise, weep with the elephant, feel the friendship of a magical bird, know the enduring love of a swan…and more. Best of all, you will enjoy the genuine magic of this carnival of creativity!’ –T. A. Barron, author of The Merlin Saga

“In the Carnival of the Animals, Varadan takes us through a colorful world of animal stories that will entertain readers of any age. Her whimsical style and effortless storytelling allows her three-dimensional characters to leap off the pages, causing the reader to feel for and love the characters she’s created. These stories beg to be read aloud to children again and again. The subtle morals of her tales give hints of fables while introducing young readers to well-known characters like Don Quixote and Shakespeare’s Puck. Since Carnival’s characters are from all over the world, these stories will spark discussions with young children about cultures, languages, and even animal habitats. Truly a wonderful work of art.” –JaNay Brown-Wood, author of Imani’s Moon

“The stories in Elizabeth Varadan’s The Carnival of the Animals are a wonderful tribute to Camille Saint-Saëns’ musical suite. Children will be drawn to the clever, charming narratives and come away with a real appreciation for both the stories and the music that inspired them.” –Steve Richardson, author of Canlandia and Lavender Blue and the Faeries of Galtee Wood.

“A beautifully penned tale inspired by the musical suite The Carnival of the Animals, by Camille Saint-Saëns. The story and its settings will delight children of all ages. Varadan’s magical menagerie is marvelous!” –Victoria Lindstrom, author of The Tale of Willaby Creek

Read an Additional Interview with Elizabeth:

Follow Craig's Journey in Galicia

Visit Elizabeth at:

http://elizabethvaradansfourthwish.blogspot.com

https://victorianscribbles.blogspot.com/   

Links to Elizabeth's Books:

The Fourth Wish

Imogene and the Case of the Missing Pearls

Dragonella

The Carnival of the Animals

_______________________

James Scott Bell: The Doorway of No Return

In the neighborhood, February 2014

"Think of it as the Doorway of No Return. The feeling must be that your lead character, once she passes through, cannot go home again until the major problem of the plot is solved." --James Scott Bell

Has my MC passed through the Doorway of No Return? Ah, that's the issue I'm addressing this week after coming across an article in Writer's Digest (January 2013): The Two Pillars of Novel Structure by James Scott Bell. In this article, Bell uses two metaphors to help explain novel structure: a bridge and a door.

A Bridge to Somewhere. Bell discusses the idea of a suspension bridge and how it represents story structure: "The key foundational elements here are the two pillars, or pylons. These pillars are set down in bedrock, allowing the suspension cables to support a solid and secure platform... Think about it: Every story has to begin, and every story has to end. And the middle has to hold the reader's interest. The craft of structure tells you how to begin with a bang, knock readers out at the end, and keep them turning pages all the way through."

The Doorway of No Return. This, according to Bell, is the first pillar of the bridge. "The beginning of a novel tells us who the main characters are and introduces the situation at hand (the story world). It sets the tone and the stakes. But the novel does not take off or become 'the story' until that first pillar is passed. Think of it as a Doorway of No Return. The feeling must be that your lead character, once she passes through, cannot go home again until the major problem of the plot is solved...There is no way back to the old, comfortable world." She will not be able to turn around and go back across the bridge the way she came. She has no choice but to go forward.

"And," Bell says, "the timing of the first pillar should be before the 1/5 mark of your book." That means our character needs to hit that bridge running. There is no place for hanging back or dawdling on that bridge.

The Second Pillar. This pillar is another doorway of no return, according to Bell. It makes possible or inevitable the final battle and resolution. "Remember, the first door has been slammed shut...Then the second pillar, or doorway, happens. This is often an event that feels like a major crisis or setback. Or it can be a clue or discovery. Regardless, it pushes the lead character into Act 3." Our lead character must go through that door, too, with no hope of return to what used to be--but, at the same time, this door becomes her access to the final battle and the story's resolution on the other side.

The Other Side. "The two pillars of structure will never let you down. In defining the three acts of your story and creating points of no return for your characters (and your readers), they will guarantee that the platform of your story is strong. And they will free you to be as creative as you like with the elements of your story--characters, voice, scenes, without fear of falling off a rope bridge into the Valley of Unread Novels."

This week's assignment: build a page-turning bridge of a story with strong pylon doorways of no return at both ends. And while you're at it, don't look down. That valley of unread novels doesn't have your name on it. The story of your character's exciting, completed journey does!

What challenges in story structure do you struggle with? How do you build your story bridge?

________________________ 

Sensory Details: 5 Reminders from a Tube of Watermelon Chapstick

"Think of your story as a living, organic entity. It breathes, it smells. It touches and it tastes. Your job is to feed these senses, to keep them alive amidst the challenge and conflict and turmoil your hero must confront." --Nancy Lamb, The Art and Craft of Storytelling.

A memory-maker. Little Angelica was scheduled to stay the night with us. When we got to her house to pick her up, we found her suitcase packed, ready, and propped up by the front door.

"She packed it herself," her mommy told us. "She's very excited to go to Grandma and Grandpa's house."

What does a three-year old pack? Well, pajamas, of course. Boots. An extra shirt and pair of leggings. A child-sized toothbrush. Oh, and a tube of chapstick. Watermelon-flavored, to be exact.

"See, I put it here, in the pocket." She unzipped the side pouch of the suitcase to show me. And, I think, to reassure herself it was still there.

Let the adventure begin!

Curious George stories. Puzzles. Bathtime with Grandma's tub toys. A wake-up call at 2 a.m. that involved a nightlight, a fly around the shade, and sounds that go buzz, flick, buzz, flick in the dark (but that's another story). Helping Grandpa bake his famous chocolate bread. A trip to the park. Dress-up with hats from the box under the bed. But sprinkled throughout the whole experience was the effort it took to keep track of the watermelon chapstick. And uncounted requests to apply it "just one more time."

"Where's my chapstick, Grandma?"
"Can I put more on, Grandma?"
"See, I put it on this shelf. So I don't lose it."
Later: "I put my chapstick back in my suitcase so I won't forget it when I go home."
"Just one more time, Grandma, okay? Then I'll put it away again."

And so it went. By the end of the visit, the smear above the top lip had expanded with each application until the area all around her mouth was covered with a pink film.

Children. They learn about the world through the five senses--sight, smell, hearing, taste, and touch. In the case of Angelica's chapstick, there's the palm-sized tube with a red cap and picture of a slice of watermelon on the label, the snap of the cap on and off, a sweet (albeit "synthetic") scent, the watermelon flavor (which, truth be told, was the biggest draw), and the smooth glide of the tongue over lips smeared with wax. I don't think she'll ever forget it!

Still, children aren't the only ones to learn about the world through the five senses. We all do. And our readers learn about the world of our books when we include sensory details in our writing. Such details are instrumental in engaging readers, transporting them into a scene, evoking emotions, and providing a memorable experience (the old "show don't tell" adage). Sensory details breathe life into the story--which is what we're aiming for, aren't we? Something we certainly don't want to lose track of.

And so I take note. Along the way I've gathered five reminders of what sensory details in our writing can accomplish. The reminders include:

1. See. "Sensory details awaken sleeping thoughts and feelings, allowing our imaginations to exist in two places at once." --Nancy Lamb, The Art and Craft of Storytelling

2. Smell. "Appealing to more than one sense at a time will not only orient your readers but will make scenes more vivid and memorable. After the sense of sight, smell is often the most evocative." --Rebecca Rule and Susan Wheeler, Creating the Story, Guides for Writers

3. Hear. "Writing can only get better when sensory details are added to the narrative....Using the five senses, or sensory details, to create an atmosphere and mood can add great depth to writing." --Sarah Lynne Davis, suite 101.com

4. Taste. "The beginning of human knowledge is through the senses, and the fiction writer begins where human perception begins. He appeals through the senses, and you cannot appeal through the senses with abstractions." --Flannery O'Connor, Mysteries and Manners

5. Touch. "In the big scenes, try to incorporate all five senses. Sensory details pull the readers into the story in a way that allows them to transcend thinking about your story to feeling it." --Martha Alderson, Blockbuster Plots.

There is yet one more thing, however. And that is, as important as sensory details are to a story, we don't want to overload our readers with them. There is a balance we need to strike.


Sort of like too much watermelon chapstick?


Do sensory details come easy to you in your writing, or do you find yourself struggling to include them? Are you liberal with them in your first drafts, or do you have to go back to plug them in? How much watermelon chapstick do you use?

______________________ 

The Unexpected: 5 Tips on Plot Twists

"Creativity comes from looking for the unexpected and stepping outside your own experiences." 
                                                                                                                                           --Masaru Ibuka

The jolt, when it hit, was palpable. Nothing really big, but a hit all the same.

I was on my morning walk, approaching the turnaround point at the curve. The scene is so familiar at this particular spot--that of an old barn that for years was a picturesque fixture of the landscape. In fact, I often told myself that I should bring my camera and get a picture of it. Admittedly the barn was dilapidated and abandoned, but it had such character built as it was on a stone foundation with weathered boards that had seen many a day. It shouted history--even a story or two. I'd even analyzed the angle from which to take the shots. Yes, one day I would do that.

This time as I approached, I looked up to see a small earth-mover nearby. I couldn't tell if it was parked on the road, and if I'd have to skirt around it. I wondered what project was about to be embarked upon. That's when the surprise hit, and the unexpected registered on my brain.

The barn was gone.


Razed. Obliterated. Kaput. The bulldozer's job had already been done. The landscape was forever changed. What a twist that revelation brought to my morning!

Well, as is so often the case, thoughts went from personal disappointment over a lost photo op to the question of how such an event could be useful in plotting our stories. How can we use the unpredictable, the unexpected, surprises, twists and turns in order to keep our readers reading? And why?

Scanning several sources, I uncovered five tips on plot twists:

1. Predictable to Unpredictable. Barbara Dunlap, autocrit, defines plot twists as: "anytime something unexpected happens in a story that changes its fundamental direction. Where the characters and the plot are moving along in a direction that feels predictable then something happens to alter that predictability, that's a plot twist."

2. But...There's No Formula. Janice Hardy, at The Other Side of the Story, gives great advice about plot twists related to reader expectations. She writes, "We're all looking for a great plot twist, right? Be it in the books we write or the ones we read. That unexpected event or revelation that changes everything we thought we knew and takes it to a whole new level. The things that make us go, 'wow, that was awesome. I never saw that coming.' Trouble is, knowing you want one is a lot easier than coming up with one. There is no formula for devising a great twist, because every plot is different and any number of things can work in a story. My trick for twisting my plot is pretty simple: Reader expectations...You want to give readers what they expect, but not in the way they expect it."

3. Murphy's Law. Ansel Dibell in his book, Plot, suggests we play with Murphy's Law. "Try to think of what, within that fundamental situation, could go surprisingly wrong, yet seem believable and reasonable, within that context, when it happens...Your twist must satisfy and improve upon what it substitutes for, not just change it to something else."

4. Connect the Dots. This from Amanda Hannah, at YA Highway: "Most surprises need to have some roots grounded early in the book--little whispers that could hint at something to come. Things that the reader might not consciously pick up on at first, but once the surprise is discovered, they can connect all the dots together."

5. Multiple Implications. Scott Edelstein, in The Writer's Book of Checklists, amps plot twists up another notch. He says, "Look for events, developments, and twists that work in two or more ways at once, or that have multiple implications, meanings, or consequences. These can be among the most powerful elements in any piece of fiction."

Maybe we won't surprise our readers with a barn in one scene, only to find it unexpectedly leveled in another, but we do want to provide them with the occasional jolt that keeps them reading. What about you? How do you plan for the unexpected in your stories? Any outstanding plot twists you've read and marveled at recently?

p.s. What fun! Words and Such's 100-follower milestone has been reached (thanks, Maria!). My 100-Up Give-Away drawing is coming soon. If you would like to be a part of the drawing, comment here. Deadline is midnight this Friday, February 10. Winners will be announced this Saturday, February 11!

_______________________________     

Heading Off to Pitch

"Stick to the facts, but make those facts fascinating." --Blythe Camenson

Although the dry weather has pretty much nixed colorful foliage this fall, I did notice a few bright spots on my walk this morning. There is beauty if we would only pause to look for it. And, although there were times in the past few days as I prepared for this weekend's pitch opportunity that the progress seemed to go dry, I found bright spots along the way there, too. Can I hear the collective cheer when we all say thanks to those who have posted so much wonderful help for the rest of us? One... two... three... YEAAAA.

Recapping highlights. First, on the one-sentence summary--the starting place for effective pitches:

"The resulting very basic pitch is: When OPENING CONFLICT happens to CHARACTER(s), they have OVERCOME CONFLICT to COMPLETE quest...The important thing to remember is that a good pitch is a description of what actually happens. It's a one sentence description of the plot, not the theme." --Nathan Bransford, Literary Agent

"The one-sentence summary, also known as a logline, a hook, or a one-sentence pitch (it is not a tagline, however)...is a one-sentence summary (that) takes your complex book with multiple characters and plotlines and boils it down into a simple statement that can be quickly conveyed and understood, and generates interest in the book." --Rachelle Gardner, Literary Agent

"Knowing a story's pitch (a one-line description) is an effective way to keep the main concept in mind when writing and revising. To develop your one-sentence pitch, here's a formula: Title + Genre + Life Change = Pitch." --Adventures in Children's Publishing

On the verbal pitch itself (which I will have six minutes alloted to me to do):

"Be prepared...Conquer the nerves...Accept criticism."--Sue Lick, writing-world

"Keep it short. Focus on a character and the character's problem. Stop at a moment of tension and wait." --Jane Friedman, Writer's Digest There Are No Rules

"So if you do get an agent or editor in front of you, relax. Impossible, I know. But once you relax, you can actually talk to the other person. Tell them about your book. Ask a question. Talk as well as listen. There's nothing I appreciate more than a writer who is prepared yet flexible, professional yet casual. Someone who'll talk to me as another person who loves books, not as someone desperately trying to get my approval." --Mary Kole, Literary Agent

So here we are. Ready and raring to go. I expect the entire workshop to be fun, and the pitch to be a great experience.

As for the future, I think I will reverse the order. Instead of trying to come up with the one-sentence summary and short pitch paragraph after writing the book, I want to follow Blythe Camenson's advice in his book Give 'Em What They Want, The Right Way to Pitch Your Novel to Editors and Agents: "If you create your pitch line before you actually write the novel, it can guide your writing and keep your plot on track." And, may I add, cut lots of time off the work to the finished product? I think so.

I'll share some of what I learned when I get back. Until then, happy plotting, revising, dreaming, imagining, pitching--whatever part of writing occupies your time in the days ahead. May there be many bright spots along your way, too.