A Pirate, an Author, and a Baby

One sketchbook page today, three pictures. Also a demonstration of the difference between what I draw from life (or, in this case, pictures of life) and what comes out of my head.

I'll save the best for last, cuz I'm like that. So first up is Fitch Mickells, an air pirate whose only loyalty is saving his own keel. It's almost a shame he hooked up with Sam Draper when he did.

Drawing from my imagination like this is fun, but hurts my fear of failure. I never know where everything is supposed to go. So I figure if I draw like a thousand real faces, I'll be better at drawing made-up ones. With that, here's one of my very favorite authors:


And one of my very favorite sons:

Trying New Things

Although I love planning and starting new novels, it makes me a little crazy too. I mean, in addition to all the normal worries (e.g. am I wasting my time? will I ever get published? if the previous novel(s) didn't get me an agent, what makes me think this one will? etc.), I have worries about new things.

I have to try new things. Unless it's a sequel, I need new characters, a new world, and a whole new idea, otherwise, what's the point? But new things are scary.

For example, The Cunning will be the first time I've tried writing a female protagonist.* Not only that, but she's a teenager. I don't know if I can do that convincingly. What if I'm trying something I'm just not good enough to write yet?

And Suriya doesn't even speak English. Am I going to have a lot of dialogue tags with "she said in Thai"? Will Suriya and Anna** have telepathic dialogue the entire time? What about the times Anna tries to speak to Suriya in English and she doesn't understand?

It also looks as though the entire first book (I think in trilogies) takes place in Thailand. I wanted to give this story something unique from my experience, but I'm afraid I'm going overboard with it -- including every little thing I know about this place. Even crazier, what if it does work, everybody loves it, but they're all disappointed because Book 2 takes place in the US?***

What if I can't find Suriya's voice? What if I do and it's no good? What if I can't bring the humor from Air Pirates into this story? What if I force the humor in and it doesn't fit?

I'm being totally stupid, I know (and thank you for caring enough to read this far, btw). Ultimately this is just a fear of failure I need to get over. The truth is if I don't try new things, I'll never know the answers to any of those what-ifs and I'll never get to tell Suriya's story.

I keep thinking that if this doesn't work it will be a year (or more) wasted writing this story, but the only way it would be wasted is if I didn't learn anything. What I really need to do is stop writing to get published and start writing for me again.

Hey, how about that? The crazy's gone.


* No, wait. The original "Joey Stone" had one, but she wasn't a teenager. Also, that story wasn't very good.

** For those of you following along, Charity's name is now Anna.

*** Think that's crazy? I'm also thinking, "What if I can't write Book 2 because I haven't lived in the US for 4 years?"

Planning Ahead

If you didn't know, I'm a planner. (Also, if you didn't know that it means you're new, so welcome!).

I love planning. I know everyone's different, with their own process that works for them, and so I can't tell you how to write. But listen. If you don't like your process, if you feel like your stories lose direction halfway through, if you find yourself quitting on stories because they don't go anywhere... you might try planning.

You might even like it.

So first of all, I'm neurotic (totally selling you on this planning thing, aren't I?). When I'm in a draft, I can't skip scenes, I hate retconning the beginning, and I have recurring nightmares about getting to the end and finding out it's stupid.*

But when I'm planning, I can do all those things and it doesn't bother me. Maybe because revising an outline takes like a hundredth of the time it takes to revise a draft. Maybe because I'm insane. I'm not sure.

I've seen people say they don't like planning because it takes all the surprise and creativity out of writing - as if there's no reason to write the draft once we know what happens. But see, there's so much surprise and creativity that happens while I'm planning, but it happens faster. It's like taking a week to discover the story instead of a year.

Does that mean the draft is a chore once the planning is done? Heck, no!** I'm obsessive about planning, but even I don't plan every little detail. I know who wins the fights, but I don't know how. Someone convinces the protagonist to change their motivation, but I don't know what they say. Characters I didn't realize I needed appear sometimes. Sometimes my outline even changes.

I know, I'm such a hypocrite.

And even if I know exactly what happens, down to the details of who hits who and how hard, there's still the surprise and creativity of figuring out how to say it. It's not like I ever think, "Oh well, gotta write this scene now. Sigh." The scenes I've thought the most about are the ones I'm most excited to write. Always.

So for me, planning doesn't remove any surprise or creativity; it just shifts it around. At the same time, it gives me some element of confidence that the weeks and months spent drafting are not wasted on a story doomed to crap out on page 212. It lets me know, in a relatively short amount of time, that the idea is sound (even if I fail later on execution).

Like I said, everyone's got their own process that works for them. Planning might not be for you. If you're not sure, maybe try it out on a short story or even just a chapter. Outline it down to a sentence or two per scene and see what happens. It might be better than you think.


*I still do those things, but planning helps minimize it - all the more as I get better at writing.

**Well, yes, sometimes. But I've never met anyone for whom drafting isn't a chore at some point, planner or no.

Thinking Through Airships

I've been debating increasing my blog output here to 3x a week. I'll try it for a bit, see how it goes. No guarantees.

I've also been thinking about posting my sketches. As I've said before, I'm trying to draw once a week, but I'm more motivated if I know people are going to see what I draw.

That said, these sketches are pretty old, but I wanted to show you the evolution of the Air Pirates' airships a little. This first one is how I envisioned them looooooooonnnnggg ago - about 4 years. Back then airships were called cloud busters or dusters (in my story). Their airbags were called squits. Thankfully, very little of that slang survived.


I never liked that version, and anyway, airbags are not very conducive for ship-to-ship battles - one bullet through the bag and it's done. Below is another sketchbook page from a couple years ago. It's me trying to figure out what I wanted the airships to look like (I don't know who the girl is).


The ship at the bottom is Shadow's End, a 'dropout' belonging to a pirate named Kiro. That design survived and makes its first appearance in chapter four, "Hagai's Death". (You may also recall Natalie used the same design in her drawing of Sam).

Don't expect all my sketches to be about what I write. I'm rarely happy with the drawings that come out of my imagination, preferring to draw from life instead. But who knows? The more I do this, the better I get. Right?

Hero's Journey

Last time I talked about the Three Act Structure as a way to map out your story. Today I want to talk about the Monomyth, or the Hero's Journey.

This one's kind of cool because it has transcended both time and culture (i.e. it's really old and lots of cultures' stories use it). Meaning this story is one that, for whatever reason, resonates with us as people. In fact, you'll see a lot of similarities between this and the Three-Act Structure.

The hero's journey is separated into three sections: Departure, Initiation, and Return. Each section has its own features, not all of which are present in any given story. But you'd be surprised how many are.

DEPARTURE
Innocent World: The hero starts in the normal and mundane, though they are not always mundane themselves. Frodo in the Shire. Luke on his uncle's moisture farm.
Call to Adventure: Something happens that draws the hero outside their world. Frodo inherits the Ring. Luke meets Ben Kenobi. There is often a refusal of the call at first. Frodo doesn't want to leave. Luke refuses until his aunt and uncle are killed.
Supernatural Aid: Once the hero has committed to the quest, their guide appears - Gandalf or Obi-Wan.
Crossing the Threshold: The hero passes through some ordeal to leave the innocent world and enter the world of adventure. Frodo is hunted by a Ring Wraith. Luke and Obi-Wan fight their way out of Mos Eisley.

INITIATION
Road of Trials: The hero faces a series of tests, often failing. Frodo's fall at Weathertop. Luke's attempts to save Leia.
Meeting with the Goddess: The hero finds his love, or something like it. Frodo meets Galadriel. Luke meets Leia.
Atonement with the Father: The hero reconciles with whatever has been holding him back. Gandalf's death and Boromir's betrayal forces Frodo to set out on his own. Obi-Wan speaks to Luke after his death.
Apotheosis: Literally, becoming divine. In the story, this is when the hero comes into his/her own. Sam faces temptation from the Ring and rejection from Frodo, and he overcomes them. Luke turns off his computer in the Death Star trench.
Ultimate Boon: The hero achieves their goal. The Ring and the Death Star are destroyed.

RETURN
Refusal: Sometimes the hero does not want to return to the normal world. Frodo wishes to stay with the Elves.
Flight: Sometimes, when the quest is complete, the hero must escape, and/or there is a return threshold that the hero must cross. Frodo and Sam escape Mt. Doom. Luke flies away from the exploding Death Star.
Master of Two Worlds: Part of the resolution shows the hero as competent both in the adventuring world and their normal world. Frodo and friends rescue the Shire from Saruman. Luke (later) returns to Tatooine as a Jedi.
Freedom to Live: This mastery of both worlds leads to a new contentment, freedom from fear, and love for life. Sam gets Rosie. Frodo leaves for the Gray Havens.

Obviously not every story is a hero's journey, but it's surprising how many of them are. Personally, this is one of my favorite stories. I find myself constantly coming back to this structure when I'm plotting. I hope this is useful for you too.

Three Acts

By popular demand (8 out of 15 votes), the new working title for my WIP is The Cunning. I want to thank everyone who voted and commented. You've given me a lot to think about for later when I give this thing its real title.

And a special thank you to the folks who said they liked the story idea. That kind of encouragement is always welcome here :-)

So I'm plotting out The Cunning now. I freaking love this part. Everything's out there, just waiting for me to figure it out, and (because I plan before I draft) I don't have to spend a lot of time doing it. I might talk more about that later. Right now, because it's on my mind a lot, I want to talk about the Three-Act Structure and (maybe later) the Hero's Journey.

The simple form of the 3-Act goes like this: (I) setup, (II) confrontation, (III) resolution. In more detail...

Act One
* Introduce protagonist, "normal" world, and supporting characters.
* Introduce simple conflict.
* Ends when the main conflict is introduced and the protagonist's world is irrevocably changed.

Act Two
* In an effort to solve the main conflict, protagonist tries and fails against increasingly difficult obstacles.
* Ends with the Final Reversal - the last bad thing before everything is resolved. The protagonist has had enough, or the villain thinks they have defeated the hero for the last time. Whatever.

Act Three
* The protagonist faces the main conflict in the climax.
* Everything else is resolved.

That's one way to look at it, albeit a simple one. But it doesn't explain much about Act Two, which is supposed to be half of the story. Screenwriter Syd Field saw this and improved upon the 3-Act Structure calling it the Paradigm...

FIELD'S PARADIGM, Act One
Opening Image: The first image or scene that summarizes the story, especially its tone. This is kind of a screenplay thing, but it can work in novels just as well.
Inciting Incident: The protagonist encounters the problem that will change their life.
Plot Point 1: The turning point, in which the protagonist's life is irrevocably changed.

FIELD'S PARADIGM, Act Two
Pinch 1: A reminder, halfway between the beginning of Act Two and the Midpoint, of the overall conflict (e.g. while the protagonist deals with his obstacles, cutaway to the villain for a scene).
Midpoint: An important reversal or revelation that changes the direction of the story. Field suggests that driving the story to this scene can keep the middle from sagging.
Pinch 2: Another reminder scene, connected to Pinch 1, and halfway between the Midpoint and Plot Point 2.
Plot Point 2: The final reversal, when the hero has had enough or the villain believes they've defeated them for the last time.

FIELD'S PARADIGM, Act Three
Showdown: Midway through Act 3, the hero confronts the problem for the last time. They don't have to win.
Resolution & Tag: The issues of the story are resolved, giving the audience closure.

This post is long enough already, so I put my examples in the comments. Feel free to add your own too; trying to match stories to this formula will probably teach you more than I could. (I learned a lot just figuring out my examples).

And remember, the three-act structure is not The Formula By Which All Stories Are Told. It's just one way to think about things. If you're not sure where your story needs to go next (like me) then it can be really helpful.

Your Call: New Working Title

For over a year, I've been using the working title Joey Stone for my next project. The name came from a short story I wrote about a powerful psionic-in-training believed guilty of treason like his father.

Unfortunately, that title and storyline is 100% obsolete. So I need a new working title, one that does as much of the following as possible (in order of importance): (1) makes you want to know more about the story, (2) conveys a sense of the world, (3) conveys a sense of the plot.

I know that's totally subjective and that there's no perfect title that does all three really well. Clearly, in situations like this, the best thing to do is to use an unscientific online poll:

(If you can't see the poll, click here).

I'd like you to vote without any more knowledge of the story, so please vote before reading on. If after reading the blurb below you change your mind, or think you have a better title than the options above, feel free to say so in the comments:

Suriya thought she'd hid her powers pretty well, until a group of Chinese bounty hunters comes after her. She escapes using her ability to call fire, but the fire gets out of her control and destroys an entire Chiang Mai city block. Even worse, now everybody knows what she is.

More bounty hunters come, but Suriya finds unexpected help from a woman named Charity.
They don't speak the same language, but Suriya understands when Charity speaks directly into her mind. She says Suriya is one of the Cunning - a group of people born with fantastic abilities. Charity wants to take her to the US where she can be trained.

Suriya wants to trust Charity, but when she overhears her speaking with the bounty hunters in Chinese, she wonders if Charity is telling the truth. She wonders if she can really trust anybody.