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Shiny New Starts

I often see September as a time of new beginnings. Yes, I was the kid that loved going to school, loved learning new things, loved taking on new challenges. September meant a shiny new start. And I’m all about shiny new starts. New starts need new pens, new color-organized pencil crayons, and new notebooks. Sometimes they need a new backpack and a new lunch bag (but those aren’t as important as the pens and paper).

A couple of years ago, I started the tradition of Plan Evaluation where I sat down with my six month plan and my five year plan to see if I’m on track. I check things off the list and make adjustments. Then I set new goals.

At the moment I feel like I’m in limbo. My career has taken a step to a new level, one where I’m still learning the ropes. There are new skills that I need to develop and I’m not sure how they will fit into, or affect, any of my plans. This makes the organized part of me uncomfortable.

Restless, troubled-sleep uncomfortable . . . or is that the heatwave mixed with the smog and all the ragweed pollen in the air?

Anyway, while I’ve had “look at 5 year plan” on my To Do List for over a week now, I don’t feel ready to look at it. For now, I think I’ll start small. Figure out my daily schedule, when to work on new manuscripts, when to edit, when to hangout with friend sonline, and when to do research.

I know I can’t control or organize all the chaos in my life. That’s just a part of life, and it exhausts me just thinking about trying to stay on top of ALL of it. But, with my shiny new pen and my crisp new notebook I can harness what I need and keep focused on my goals.

You’ve finished your manuscript, sent it through spellchecker and you’re ready to go, right? Not necessarily. Spellchecker won’t catch everything. It’s a good place to start, it will catch mangled words (and some obvious grammar errors) but it won’t catch homonyms (words that sound the same but are spelled different like: there, their, they’re), words that are actual words but not the ones you want, or word echoes. And all three are simple things to fix that will help make your prose look more professional.

For homonyms and typos (as well as other possible issues) you’ll need to do focused edits on your manuscript. If you have time, leave your piece for a while – a few days or a week or more. This will help you to see it with “fresh” eyes when you return. Obvious mistakes can jump out at you if you just take a little time away.

Another technique is to have someone you trust read over your story and make notes. Often times an outside reader can notice homonyms and typos a spellchecker won’t point out, as well as awkward sentence constructions.

But don’t rely entirely on reading and re-reading. The brain can become accustomed to what you’ve written and skim over mistakes. Keep a list of the words you commonly mistake and look for them. Most word processing programs have a find/replace feature. Take your list of words, “find” each of them, and read your sentences to ensure you’ve used the right one. I also use this technique for words I commonly mistype, since spellchecker won’t tell you if you’ve used “bust” instead of “burst” (and that can be an embarrassing error).

Finally, look for word echoes. A word echo is a repeated word. Repetition can be used for emphasis and rhythm, however these instances should be few and far between. For the most part, echoes stick with the reader and stand out, drawing them away from your story.

An example of a word echo is: He ran his hands through his hair. His hair was wavy and black.

This is a pretty basic (and obvious) example. “Hair” is echoed, and in this case “hair” can be replaced in the second sentence with “it”

Echoes can occur within sentences or paragraphs, and they can also happen between paragraphs, pages, and even entire books. An echo through a book is often an unusual word. This word used once or twice and the reader thinks, “what an unusual word, I don’t mind.” Used more often and the reader begins to thinks that you’ve fallen in love with the unusual word and can’t think of any other way to say it.

One way of finding word echoes is to read your manuscript out loud or have someone else (or a computer) read it to you. This can also help with the flow, pace, and rhythm of your prose. By paying attention to these three simple things, your manuscript will appear more polished and professional.


While books for young adults have been around for a while, I don’t think we’ve been so keenly aware of it until Harry Potter by J.K. Rowling and Twilight by Stephenie Meyer became world-wide phenomena. Here are a few links for fellow writers about the books and the market.

At Romance University is the article “Young Adult Romance Sub-genre: Hot? Not?” where New York Times Bestselling author Simone Elkeles and Young Adult Librarian Amy Alessio discuss the YA genre.

Even the New York Times Has Joined the discussion with the article “The Kids’ Books Are All Right

And Sara at Smart Bitches, Trashy Books has insight on the themes within the genre with regards to how YA incorporates romance. “YA and Romance.”

The End of the Experiment

Here I am at the end of my blogging five days a week experiment. Twenty-two days ago I wondered what to do with my blog, how often I should blog, what I should blog about. Twenty-one days ago I decided to post Monday to Friday until the end of August.

What have I learned?

In truth, I’m not sure I’ve blogged enough to learn much of anything. They—whoever they are—say it takes 90 days to create a habit and I know this hasn’t become a habit yet. I still find it challenging to come up with an intelligent paragraph … or three.

I’m still uncertain about the direction I’d like to take my blog. I’m most comfortable chatting about writing craft, but I don’t want to appeal to just writers (that and there are a lot of writers’ blogs out there).

What does this mean?

Apparently I’ve learned that three quarters of a month wasn’t long enough to for this particular experiment, at least for me. And I’m still not certain what I’d like to do.

How was the month for you? Was five days a week too much, not enough, just right? Was there something you wanted to read more about or less about?

Thank you to those who joined me during this experiment. I’m not sure what I’ll do next. Perhaps try another month and see how I feel about it.

This urban fantasy has an interesting blend of Celtic mythology and Native American mysticism. The heroine is half Irish and half Cherokee and both aspects of her heritages are intertwined in the story. And I’m really enjoying it.

From a writer’s perspective, what I find interesting is how C.E. Murphy uses suspension of disbelief not just with the reader, but with the characters within the book when faced with the “fantastic” elements. I’ve often wondered about level of “acceptance” from characters when being told about fantastic events. I tend to learn toward a low level of acceptance. For me, characters need to see the fantastic, be faced with it and experience it, before they’ll believe it. Sure there’s always one or two trusted friends who believe the protagonist, but everyone else is skeptical (and my protagonists often fear revealing the truth because they think everyone will think they’re crazy.)

C.E. Murphy has a number of character who, while have limited or no experience with the fantastic, accept the protagonist’s story as truth. For the most part it didn’t bother me that this was happening, which means I was engrossed in the story and she handled the technique well. I will have to spend some time to study what she’s done and how she’s done it.

The Climax and Resolution (or Denouement) is the finally pillar or plot point. This is where the villain is defeated, the hero wins the heroine’s love (or vice versa), the murderer is apprehended, the one ring is thrown into the fires of Mordor….

If you write genre fiction the readers expect to see this final confrontation (whether they consciously know it or not). And there are some basic themes expected as well – although there are always exceptions to the rule.
• Mystery = justice will prevail
• Fantasy/Science Fiction = good will defeat evil
• Romance = love will conquer all

In Shrek it’s primarily love will conquer all, but I’d accept a good argument of good defeating evil.

In the movie, after a brief musical montage of Shrek being depressed and thoughtful, Donkey, tells him if he really loves Fiona he’ll go after her. And Shrek really does love her. He rushes to the castle to stop the wedding. There’s a big battle, the villain, Lord Farquaad is defeated. Shrek gets his swamp back and shares it with Fiona.

So there you have the basic mythic structure points that I use when I write. Through these posts, I’ve added Vogler’s book “The Writer’s Journey: Mythic Structure For Writers” and Blake Synder’s book “Save the Cat” to my “to be read” pile to learn more about mythic structure and story structure.


The Dark Moment is the moment when the worst possible thing that happens, happens. This is when it looks like all hope is lost, the magic thingy needed to save the world has been destroyed, the hero is dead, or the girl of your dreams has gone back to her ex-boyfriend.

I’ve heard some people refer to this as the Grey Moment. I’m not sure if the Black Moment and the Grey moment are one in the same (I’m hoping I’ll find out when I read Vogler’s book.)

Carrying on with our “Shrek” example, the Dark Moment is when Shrek realizes he doesn’t really want to be alone, he wants to be with Fiona. But when he goes to tell her how he feels, he overhears her telling Donkey that no one wants to be with someone who’s hideous. Shrek thinks she’s talking about him and slinks away. All hope for Shrek’s happily ever after is lost.

But we know this isn’t the end of the story (unless, of course, we’re writing a tragedy, and then this would be the end). But because I write happy endings, there is one more major plot point to go: the Climax (and Denouement)

An excellent question from Josh on my Facebook page: “What do you see separating each act in the three-act structure? Is it enough that each act “feels” different (different location, different theme, different subplots at the forefront) and the transition itself is less important? Or is there a required storytelling milestone (PoNR, Dark Moment, etc.) that tells us one act has ended and another has begun?”

When I’m thinking about story structure and three-act structure, I don’t think about “differences” in act in terms of location, theme, subplots. Many stories take place in one location or have one or two themes, etc. But I know some authors do look at their acts that way.

For me, it’s the milestones/pillars (which I think is the more traditional way of looking at the three-act structure). So we’re talking about the Inciting Incident, the Point of No Return (PoNR), the Turning Points, the Dark Moment, and the Climax.

The Point of No Return signifies the beginning of Act II. Up until then, Act I is traditionally character introduction and plot setup. But by combining the Inciting Incident and the Point of No Return I tend to have a very short Act I and/or blur the line between Act I and Act II.

Act II is the part of the story where the “stakes are raised.” For the most part the situation gets worse and worse (although there can be some bright moments of “false success”.) This can happen in the same location, subplots can (but don’t have to be) explored, different themes can come out, etc. This act (if we’re talking about script writing is double the length of Act I and Act II) and if you want to be really structured, Act II can be divided into a miniature three acts as well.

Act II ends with the Dark Moment (which I will be blogging about soon). This is the moment where all seems lost. And we move into Act III, where the protagonist picks himself up and comes to a new realization about himself and his world.

In Act III everything comes together for a satisfactory climax and resolution. (Note: if you are writing horror or literature you don’t have to have a satisfactory ending. The readers of other genres, however, will want love to conquer all, good to win over evil, or justice to be served.)

This is my basic understanding of the three-act structure
(and story structure in general). It is very script oriented and some novelist may have a different perspective on structure. For a deeper understanding of this I’ve been told to read Blake Snyder’s “Save the Cat”. It comes highly recommended and is on my “to be read” pile.

It’s a short tale and best done with a picture:

Every now and then the birds at my feeder go crazy and disappear. Now I know why.


And I did spend some time wondering if I should say “More Tales…” or “More Tails…”


The Turning Points (and Mid-Point) always seem a little looser in the structure for me. These are major points where the story takes an unexpected turn. They are found in the second act (if we’re looking at three-act structure)

(hmmm, perhaps I’m working in three-act structure and not mythic structure. I’ll have to look into this. Anyway … back to Turning Points).

The two major turning points in “Shrek” are:

1)Shrek fights past the dragon into the tower to wake the Princess and she isn’t what he was expecting. He isn’t what she was expecting either.

2)The Princess refuses to let Shrek see her during the night and we learn that there is something “different” and mysterious about her.

Depending on how the story is organized there might also be a Mid-point (putting a three-act type structure within the middle of the second act). The Mid-point is a significant event that changes the direction of the plot (just like the Turning Points) which occurs … you guessed it … at the mid-point of the story.

This is also the mid-point of “my basic mythic structure” posts. Next time: The Dark Moment.

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