By noreply@blogger.com (Alexandra Sokoloff)
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You can sign up for my mailing list to get free breakdowns of The Silence of the Lambs, The Wizard of Oz, Chinatown, and other classic movies as I analyze them for my students and blog readers.
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By noreply@blogger.com (Alexandra Sokoloff)
Via: Alexandra Sokoloff
By noreply@blogger.com (Alexandra Sokoloff)
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For the rest of the summer (Scottish summer, that is…) – well, it’s August, so I’m taking a bit of a break next week to go down to London to see Benedict Cumberbatch in Hamlet.
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–>—September 11-13 Bloody Scotland
Stirling, Scotland
—October 8-11
Bouchercon World Mystery Convention
Raleigh, NC
Craig and I are both on the program.
—October 31-November 1
805 Writers Conference
2-hour Screenwriting Tricks for Authors workshop
Ventura, CA
Craig and I are both on the program.
—November 7
Land of Enchantment Romance Writers Association
All-day Screenwriting Tricks for Authors workshop
Albuquerque, NM
November 13-15
Shetland Noir
Shetland Islands, UK
Craig and I are both on the program.
Via: Alexandra Sokoloff
By noreply@blogger.com (Alexandra Sokoloff)
As I said a few days ago, I’m touring online for the print and audio release of Book 3 in the Huntress/FBI Thrillers. Today I’m at Crime Thriller Girl, talking with Steph Broadribb about the series (and dispensing advice for authors!). You can catch up with me at any of the stops listed below – comment on any blog to be entered in a drawing to win print books! And yes, you can enter multiple times.
This weekend I’m doing something a little different: I’m the lone American in a lineup of 40 British crime authors participating in the first annual Britcrime Festival, an all-online gathering of authors, readers and bloggers in a two-day series of panels, virtual drinking in The Slaughtered Author Pub – and I suspect, some happy mayhem.
Britcrime is the brainchild of sister Thomas & Mercer author Helen Smith, and it grew out of a private Facebook group of UK authors, of which I am a member by virtue of living and writing in Scotland. We were having such an entirely funny and fun time in this group that we wanted a way to bring some of the conversation and hilarity to readers, and use Facebook to do it because it’s free and accessible to anyone who wants to stop in.
In a masterful frenzy of organizing, Helen has pulled a real festival together, with intriguing, interactive panels; reader contributions, curated reviews, podcasts, and plans for upcoming events, including online classes and a Christmas party.
One of the complaints you hear most often from authors is how time-intensive live events are – the prep, the travel, and the possibility that no one will even show up. An online festival has the potential for great reach, a more casual interaction with readers, and room to grow. I’m excited to see how it turns out!
I’ll be talking about Serial Offenders on Panel #4, Saturday at 6-8 pm UK time, 1-3 pm EST, with Mason Cross, Graeme Cameron, and Emma Kavanagh. You can post questions for me and the panel in advance, here.
And for Craig Robertson fans (or the curious…!), Craig will also be talking about serial killers on an earlier panel (Helen was wise enough not to put us on the same panel about this particular topic!).
You can find him on Saturday, 1-3 pm UK time, 7-9 am EST, here: Serial Killers.
You can click through to check out the full lineup of panels, and learn more about Britcrime.
Hope you’ll join us!
– Alex
Cold Moon is out in print and audio this month and I’m doing a blog tour throughout the month of July, with lots of giveaways to celebrate!
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By noreply@blogger.com (Alexandra Sokoloff)
Cold Moon is out in print and audio today, and I’m doing a blog tour throughout the month of July, with lots of giveaways to celebrate!
Stop 1, July 7: The Big Thrill (Share or Tweet the article to be entered in the first drawing!)
Buy on Amazon US Buy on Amazon US Buy on Amazon US
Buy on Amazon UK Buy on Amazon UK Buy on Amazon UK
Via: Alexandra Sokoloff
By noreply@blogger.com (Alexandra Sokoloff)
I’m teaching a five-day workshop at the West Texas AMU Writers Academy this week. It’s a writing intensive in which I have 15 students plotting their entire books in one week. Exhausting, but highly rewarding, and miraculously, yet again we are right on course to get this all done. In five days!
Academy students are very motivated and I always end up doing adjunct sessions on ebook publishing and marketing. So here’s one free marketing resource I’m showing my students – an interesting wrinkle on book marketing called Thunderclap!
Thunderclap! is a crowdspeaking platform that amplifies messages by allowing large groups of people to share a single message together at the same time. Sort of an online flashmob.
I’ve just used Thunderclap! to create a book launch page for the print and audio release of Cold Moon on July 7. People who want to support me and the Huntress series can sign up for an automatic Tweet or Facebook share about the book release on the day, and the Thunderclap site automatically posts the tweets/shares all at the same time. Just once, no follow up, no spam, no need to you to remember, no need for me to bug anyone – and everyone who signs up to support is automatically entered in a drawing for a $25 Amazon gift card!
This is what gets posted:
Cold Moon, #3 of Alexandra Sokoloff’s Huntress/FBI Thrillers, is out today! Now evil has something to fear. #ColdMoon http://thndr.it/1GgkoVo
You can check out the support page to see how it works, here – and also, of course, I’m hoping you’ll sign up to have a Tweet and/or Facebook post go out on my launch day!
https://www.thunderclap.it/projects/27229-cold-moon-book-launch
I like how the dashboard page (which you can continue to edit up until the day of the Thunderclap) keeps count of the social media reach you’re accruing as people continue to sign up. It’s a much more efficient way of getting your friends and followers lined up to support your book launch. And apparently a Thunderclap can get your book trending on Twitter on release day.
Of course, I’ll report back on results.
Has anyone else tried this?
Via: Alexandra Sokoloff
By noreply@blogger.com (Alexandra Sokoloff)
Sorry for the VERY late notice, but I just found out myself that HUNTRESS MOON is a Kindle Daily Deals, .99 cents today only on Amazon US!
Fantastic deal – please share!
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By noreply@blogger.com (Alexandra Sokoloff)
I’m heading off to teach next week, the one really intensive workshop I do all year, at the West Texas A & M Writers Academy.
Usually when I do a workshop it’s a day-long interactive lecture that I give to a large class – sixty to several hundred people – in which I review the Three-Act, Eight Sequence Structure and other general film writing techniques that are invaluable for authors, and then start with Act I and go through all the story elements I talk about here and in the workbooks, one sequence at a time.
Which is a great overview, and I answer a lot of individual questions and use lots of examples, but it’s by necessity a very general class.
At the Writers Academy, the class size is limited to fifteen people and we can go through everyone’s stories one sequence at a time. I love being able to be hands-on (at least, for a limited time!) and it’s really remarkable to see writers at very different levels and at very different points in the writing process pull their ideas into coherent, complete and exciting story outlines in just five days.
I always give the class some exercises to prep for the class, and it occurred to me that I might as well post them here, especially for people who are doing Junowrimo (yes, there is now a Junowrimo, too). I know that anyone participating is already into the frenzy of writing, but index cards and the structure grid are brilliant refocusing tools if you, you know, get stuck along the way.
This is the number one structuring tool of most screenwriters I know. I have no idea how I would write without it.
Get yourself a pack of index cards. You can also use Post-Its, and the truly OCD among us use colored Post-Its to identify various subplots by color, but I find having to make those kinds of decisions just fritzes my brain. I like cards because they’re more durable and I can spread them out on the floor for me to crawl around and for the cats to walk over; it somehow feels less like work that way. Everyone has their own method – experiment and find what works best for you.
Now, get a corkboard or a sheet of cardboard – or even butcher paper – big enough to lay out your index cards in either four vertical columns of 10-15 cards, or eight vertical columns of 5-8 cards, depending on whether you want to see your story laid out in four acts or eight sequences. You can draw lines on the corkboard to make a grid of spaces the size of index cards if you’re very neat (I’m not) – or just pin a few marker cards up to structure your space. I find the tri-fold boards that kids use for science projects just perfect in size and they come pre-folded in exactly three acts of the right size! Just a few dollars at any Office Max or Staples.
Write Act One at the top of the first column, Act Two: 1 at the top of the second (or third if you’re doing eight columns), Act Two: 2 at the top of the third (or fifth), Act Three at the top of the fourth (or seventh).
Then write a card saying Act One Climax and pin it at the bottom of column one, Midpoint Climax at the bottom of column two, Act Two Climax at the bottom of column three, and Climax at the very end. If you already know what those scenes are, then write a short description of them on the appropriate cards. These are scenes that you know you MUST have in your story, in those places – whether or not you know what they are right now.
And now also label the beginning and end of where eight sequences will go. (In other words, you’re dividing your corkboard into eight sections – either four long columns with two sections each, or eight shorter columns).
Here is a photo of the grid on a white board – with sticky Post Its as index cards:
And an example of index cards on a tri-fold board from my friend, the wonderful author Diane Chamberlain. (As you can see, you can be as neat or as messy as you feel like being!)
So you have your structure grid in front of you.
What you will start to do now is brainstorm scenes, and that you do with the index cards.
A movie has about 40 to 60 scenes (a drama more like 40, an action movie more like 60), every scene goes on one card. Now, if you’re structuring a novel this way, you may be doubling or tripling the scene count, but for me, the chapter count remains exactly the same: forty to sixty chapters to a book.
This is the fun part, like putting together a jigsaw puzzle. All you do at first is write down all the scenes you know about your story, one scene per card (just one or two lines describing each scene – it can be as simple as – “Hero and heroine meet” or – “Meet the antagonist”.) You don’t have to put them in order yet, but if you know where they go, or approximately where they go, you can just pin them on your board in approximately the right place. You can always move them around. And just like with a puzzle, once you have some scenes in place, you will naturally start to build other scenes around them.
I love the cards because they are such an overview. You can stick a bunch of vaguely related scenes together in a clump, rearrange one or two, and suddenly see a perfect progression of an entire sequence. You can throw away cards that aren’t working, or make several cards with the same scene and try them in different parts of your story board.
You will find it is often shockingly fast and simple to structure a whole story this way.
And this eight-sequence structure translates easily to novels. And you might have an extra sequence or two per act, but I think that in most cases you’ll find that the number of sequences is not out of proportion to this formula. With a book you can have anything from 250 pages to 1000 (well, you can go that long only if you’re a mega-bestseller!), so the length of a sequence and the number of sequences is more variable. But an average book these days is between 300 and 400 pages, and since the recession, publishers are actually asking their authors to keep their books on the short side, to save production costs, so why not shoot for that to begin with?
I write books of about 350-400 pages (print pages), and I find my sequences are about 50 pages, getting shorter as I near the end. But I might also have three sequences of around 30 pages in an act that is 100 pages long. You have more leeway in a novel, but the structure remains pretty much the same.
In the next few posts we’ll talk about how to plug various obligatory scenes into this formula to make the structuring go even more quickly – key scenes that you’ll find in nearly all stories, like opening image, closing image, introduction of hero, inner and outer desire, stating the theme, call to adventure/inciting incident, introduction of allies, love interest, mentor, opponent, hero’s and opponent’s plans, plants and reveals, setpieces, training sequence, dark night of the soul, sex at sixty, hero’s arc, moral decision, etc.
And for those of you who are reeling in horror at the idea of a formula… it’s just a way of analyzing dramatic structure. No matter how you create a story yourself, chances are it will organically follow this flow. Think of the human body: human beings (with very few exceptions) have the exact same skeleton underneath all the complicated flesh and muscles and nerves and coloring and neurons and emotions and essences that make up a human being. No two alike… and yet a skeleton is a skeleton; it’s the foundation of a human being.
And structure is the foundation of a story.
ASSIGNMENTS:
— Make two blank structure grids, one for the movie you have chosen from your master list to analyze, and one for your WIP (Work In Progress). You can just do a structure grid on a piece of paper for the movie you’ve chosen to analyze, but also do a large corkboard or cardboard structure grid for your WIP. You can fill out one structure grid while you watch the movie you’ve chosen.
— Get a pack of index cards or Post Its and write down all the scenes you know about your story, and where possible, pin them onto your WIP structure grid in approximately the place they will occur.
If you are already well into your first draft, then by all means, keep writing forward, too – I don’t want you to stop your momentum. Use whatever is useful about what I’m talking about here, but also keep moving.
And if you have a completed draft and are starting a revision, a structure grid is a perfect tool to help you identify weak spots and build on what you have for a rewrite. Put your story on cards and watch how quickly you start to rearrange things that aren’t working!
Now, let me be clear. When you’re brainstorming with your index cards and you suddenly have a full-blown idea for a scene, or your characters start talking to you, then of course you should drop everything and write out the scene, see where it goes. Always write when you have a hot flash. I mean – you know what I mean. Write when you’re hot.
Ideally I will always be working on four piles of material, or tracks, at once:
1. The index cards I’m brainstorming and arranging on my structure grid.
2. A notebook of random scenes, dialogue, character descriptions that are coming to me as I’m outlining, and that I can start to put in chronological order as this notebook gets bigger.
3. An expanded on-paper (or in Word) story outline that I’m compiling as I order my index cards on the structure grid.
4. A collage book of visual images that I’m pulling from magazines that give me the characters, the locations, the colors and moods of my story (we will talk about Visual Storytelling soon.)
In the beginning of a project you will probably be going back and forth between all of those tracks as you build your story. Really this is my favorite part of the writing process – building the world – which is probably part of why I stay so long on it myself. But by the time I start my first draft I have so much of the story already that it’s not anywhere near the intimidating experience it would be if I hadn’t done all that prep work.
At some point (and a deadline has a lot to do with exactly when this point comes!) I feel I know the shape of the story well enough to start that first draft. Because I come from theater, I think of my first draft as a blocking draft. When you direct a play, the first rehearsals are for blocking – which means simply getting the actors up on their feet and moving them through the play on the stage so everyone can see and feel and understand the whole shape of it. That’s what a first draft is to me, and when I start to write a first draft I just bash through it from beginning to end. It’s the most grueling part of writing, and takes the longest, but writing the whole thing out, even in the most sketchy way, from start to finish, is the best way I know to actually guarantee that you will finish a book or a script.
Everything after that initial draft is frosting – it’s seven million times easier to rewrite than to get something onto a blank page.
Then I do layer after layer after layer – different drafts for suspense, for character, sensory drafts, emotional drafts – each concentrating on a different aspect that I want to hone in the story – until the clock runs out and I have to turn the whole thing in.
But that’s my process. You have to find your own. If outlining is cramping your style, then you’re probably a “pantser” – not my favorite word, but common book jargon for a person who writes best by the seat of her pants. And if you’re a pantser, the methods I’ve been talking about have probably already made you so uncomfortable that I can’t believe you’re still here!
Still, I don’t think it hurts to read about these things. I maintain that pantsers have an intuitive knowledge of story structure – we all do, really, from having read so many books and having seen so many movies. I feel more comfortable with this rather left-brained and concrete process because I write intricate plots with twists and subplots I have to work out in advance, and also because I simply wouldn’t ever work as a screenwriter if I wasn’t able to walk into a conference room and tell the executives and producers and director the entire story, beginning to end. It’s part of the job.
But I can’t say this enough: WHATEVER WORKS. Literally. Whatever. If it’s getting the job done, you’re golden.
Next up – a list of essential story elements that will help you brainstorm your index cards.
– Alex
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If you’d like some in-depth help, the writing workbooks based on this blog, Screenwriting Tricks for Authors and Writing Love, Screenwriting Tricks for Authors, II, are available for just $3.99 and $2.99.
If you’re a romance writer, or have a strong love plot or subplot in your novel or script, then Writing Love: Screenwriting Tricks II is an expanded version of the first workbook with a special emphasis on love stories, and more full story breakdowns.
– Smashwords (includes online viewing and pdf file)
Via: Alexandra Sokoloff
By noreply@blogger.com (Alexandra Sokoloff)
Buy on Amazon US Buy on Amazon US Buy on Amazon US
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By noreply@blogger.com (Alexandra Sokoloff) Just a quick note to let you all know – I’m chatting live tonight in the WriterSpace chat room, 9pm ET
http://www.writerspace.com/chat/
It’s 1 am for me so I’m not always coherent (!) but I’ll happily answer any questions you might have about the Huntress series, my concern over escalating violence against women in the media and in life, and, um, story structure.
All welcome, and there’s an audiobook giveaway, too!
YES, I am working on the Silence of the Lambs breakdown. Some family issues and a spate of traveling and the Cold Moon launch have slowed me down a bit….
– Alex
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