What's going on in there?

In my continuing effort to share nuggets from LJWC, I'm copying a post I made in the Literotica Authors Hangout in November 2006. (We don't spend all our time discussing our deviant and promiscuous lifestyles, after all. *rolls eyes*) I hope the spacing shows up nicely. The tables are giving me fits on this blasted blog.

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I recently attended the La Jolla Writers' Conference. As I sift through my notes, I hope to capture some of the tidbits I found interesting/helpful. (Kudos to the AH, though. Based on what was reinforced there by agents and best-selling authors, I can attest that we have one hell of an exceptional resource here.) Anyway, the following is from a session presented by Doug Lyle entitled The Psychology of Character Motivation:

Characters are defined how they fit into several arenas or domains: emotions, life skills, creativity, intellect, sociability, work ethic, morality, and spirituality.

Within each arena, a character fits somewhere along a spectrum between two poles:

EMOTIONS	TOUGH GUY	.............................	WHINER
LIFE SKILLS	TEAM PLAYER	.............................	REBEL
CREATIVITY	DOER	.............................	DREAMER
INTELLECT	SMART	.............................	DUMB
SOCIABILITY	OUTGOING	.............................	WALLFLOWER
WORK ETHIC	GRINDER	.............................	LAZY
MORALITY	GOOD GUY	.............................	BAD GUY
SPIRITUALITY	BELIEVER	.............................	DOUBTER

A character will, to varying degrees, tend toward one pole or the other. The opposite polarity will be his "shadow side," which is what gives him depth and credibility. Without a "shadow side," the character will seem flat/one-dimensional.

Character arc is the shift from one pole toward the other. It is usually most pronounced with your protagonist. The antagonist is the "pole around which everyone else dances." The plot applies stressors to the characters and pushes them off balance, and in the process of rebalancing, the characters arc.

To demonstrate, he plotted a couple of well-known characters along the continuum between each pole at the beginning of the book/movie and again at the end -- showing how they changed (and thereby made the story more interesting/engaging): Clarice from Silence of the Lambs and Sarah Connor from Terminator.

He said that the problem with serial characters (James Patterson's Alex Cross, for example) is that they can only arc so much before they appear wishy-washy to the reader.

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This is the example he made of Sarah Connor from Terminator.

At the beginning of the movie:

EMOTIONS	TOUGH GUY	......................X....	WHINER
LIFE SKILLS	TEAM PLAYER	....X......................	REBEL
CREATIVITY	DOER	.......................X...	DREAMER
INTELLECT	SMART	....................X......	DUMB
SOCIABILITY	OUTGOING	...X.......................	WALLFLOWER
WORK ETHIC	GRINDER	....................X......	LAZY
MORALITY	GOOD GUY	.....X.....................	BAD GUY
SPIRITUALITY	BELIEVER	..........X................	DOUBTER

At the end of the movie:

EMOTIONS	TOUGH GUY	.X.........................	WHINER
LIFE SKILLS	TEAM PLAYER	........................X..	REBEL
CREATIVITY	DOER	..X........................	DREAMER
INTELLECT	SMART	..X........................	DUMB
SOCIABILITY	OUTGOING	......................X....	WALLFLOWER
WORK ETHIC	GRINDER	..X........................	LAZY
MORALITY	GOOD GUY	.......................X...	BAD GUY
SPIRITUALITY	BELIEVER	........................X..	DOUBTER

She did a complete about-face along almost every continuum.

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Another Litizen suggested the addition of a couple of erotica-specific polarities:

COMMITTMENT	SLUT	.............................	MONOGAMOUS
OUTLOOK	PRUDE	.............................	HEDONIST

I don't think it's absolutely necessary for a character to arc along every pole, but it makes for interesting discussion.

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Leap Day Sale

Leap Day only comes around once every four years, and Phaze is celebrating with a special sale and Take a Leap Giveaway, with two ways to win!

All through Leap Day, 2.29.08, you can get 29% off all eBooks in the Phaze store using the checkout code LEAP2008. When you purchase a title directly from Phaze on Leap Day, you will be eligible to win one of TWO Phaze gift certificates valued at $29 each.

You can also enter the drawing by sending an e-mail to leapyear [at] phaze.com with your Name, E-Mail Address, and one sentence describing the best way to "take a leap" on this extra day.

How would spend your Leap Day? An actual "leap" with a bungee cord attached your ankles, or a metaphorical "leap" toward an exciting new job or romance? Let Phaze know. The answers best liked will be posted on the Phaze blog.

All entries for the giveaway must be in by midnight 2.29.08 to be eligible. No purchase necessary to win!

Until then, stay Phazed and Enthused!

Fiction in Three Acts

In November of last year, as anyone who interacts with me for longer than a couple hours knows, I attended the La Jolla Writers Conference. It was my second year attending, and I fully intend to attend every year until I achieve a level of success that warrants an invitation to be one of its presenters. When that happens, I'll gladly contribute my time, energy, and *cough* wisdom in the pay it forward spirit with which this conference was founded.

In that same spirit, I'd like to use this blog to share some of the nuggets gathered from its generous presenters, wildly successful authors who don't have a problem rubbing elbows with people like me.*

The following is taken from a presentation by Stephen J. Cannell. He said the secret to the success of his mystery/thriller novels is that he ensures his story arc follows the pattern of a three act play.

From Wikipedia ...

Three Act Play

In a three act play, each act usually has a different tone to it. The most commonly used, but not always, is the first act having a lot of introductory elements, the second act can usually be the darkest with the antagonists having a greater encompass, while the third act is the resolution and the protagonists prevailing. There is an age-old saying that "the second act is the best", owing to the fact of it being in between a starting and ending act and thus being able to delve deeper into more of the meat of the story since it doesn't need to have as prominent introductory or resolutive portions. Of course this isn't always so since a third act or even a first act can have the common second act characteristics, but the most used is that type of structure.

Act One

Act I comprises the first quarter of the screenplay. (For a two hour movie, Act I would last approximately 30 minutes.)

What happens in Act I?

Exposition--The part of a story that introduces the characters, shows some of their interrelationships, and places them within a time and place. This part of the story introduces the main character, the dramatic premise, and the dramatic situation.

Inciting Incident--an event that sets the plot of the film in motion. It occurs approximately halfway through the first act.

Act Two

Act II comprises the next two quarters of the film.

What happens in Act II (Confrontation)?

Obstacles--In the second act, the main character encounters obstacle after obstacle that prevent him from achieving his dramatic need.

First Culmination--a point just before the halfway point of the film where the main character seems close to achieving his or her goal/objective. Then, everything falls apart, leading to the midpoint.

Midpoint--a point approximately halfway through the film where the main character reaches his/her lowest point and seems farthest from fulfilling the dramatic need or objective.

Act Three

Act III comprises the final quarter of the film.

What happens in Act III (Resolution)?

Climax (Second Culmination)--The point at which the plot reaches its maximum tension and the forces in opposition confront each other at a peak of physical or emotional action.

Denouement--The brief period of calm at the end of a film where a state of equilibrium returns.

Will & I sat at a greasy spoon a day later picking apart our already-published work to see if and how it fit this structure. While it's not a set-in-stone formula, I think it has its merits both for an overall story arc and for an isolated sex scene. We spent far more time, though, staging the final chapters of our next release, Spring Training. I think it's a better book as a result. *tips hat* Thank you, Stephen J. Cannell.

Next, The Psychology of Character Motivation.

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* Hey, I said I wasn't going to "participate" on her blog ... not that I wasn't going to "read" it. But, twisting words seems to be a talent of hers. Ironically, it's also what gets her knickers in a twist when someone else does it. Ah, hypocrisy. It's everywhere. Just like the authors who have no problem attending workshops and picking the brains of those who actually have some of the experiences about which they're writing -- then looking down their noses at same. *snort* To them, I say: Lead, follow, or get the fuck out of my way.

Oscar Sale at Phaze

To accompany your Oscar celebration (or replace it, if you don't partake of Hollywood hoopla), Phaze is having a store-wide sale. All titles, including print, are 30% off today! Just use code GOLD2008 at checkout.

Mensa Bulletin Review

Coolness! ArtiFactual was reviewed in the latest issue of the Mensa Bulletin:

Happy Valentine's Day!

Valentine's Day Special:
All Romance eBooks Discounted!

Romance, love, chivalry, chocolate ... it must be Valentine's Day, and that means Fictionwise's big Romance and Erotica sale is on! Through February 25th, all Romance and Erotica eBooks are 20% off.

Lucrezia Magazine Interview

The February (GLBT-themed) issue of Lucrezia Magazine is now available. I'm absolutely thrilled with the in-depth interview about Coming Together!

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Yes, We Can

My state's primary is not tomorrow, but if yours is, please vote -- and remember: Yes, We Can!

She finally told me her name!

This morning, I returned to a neglected manuscript: my Urban Phaze novella, Succorae. The protagonist had been reticent to reveal her name, but she opened up to me this morning. Her given names are Gianna Grace, and her family calls her Gigi. Surname, as yet, unknown.

Gigi is a Succorae, a race of supernatural beings who feed on evil. Through sex, the Succorae absorb their partners' unsavory characteristics -- like benevolent succubi.

Given that I hope to dress as Gigi for the Romantic Times Blood & Steel Vampire Ball, I really needed to flesh her out (so to speak).

Here's an excerpt from the prologue:

The blade sliced through the meaty part of her thigh, carving flesh from bone, and Gianna watched in detached fascination as thick blood welled from the wound. It looked like motor oil, viscous and black in the hazy moonlight. She waited for the pain to register, knowing it must logically follow. It seemed to take a long time, but she forgave her nerve endings for their lassitude. A quick inventory told her she bled from at least three places, not least of which her ass. At least, she thought it was her ass. He might have torn her through when his cock failed and his fist took over.

When the fresh pain hit, it sucked the scream from her lungs and sent it echoing off the corrugated tin shed that served as shelter to the man hovering over her. The scents of blood and semen fought to overpower his Skoal-laced Iron City breath. Like a jackal, he turned his head, lifting it into the night, moments before she heard the approaching siren.

As he stood and hurriedly zipped his fly, Gianna thought she just might live to see another sunrise. That was a split second before he plunged the rusty dagger into her navel and disappeared into the muddy shadows of the Monongahela River bank.

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