Wednesday, October 31, 2018

Nanowrimo: Narrative Structure Cheat Sheet

by Alexandra Sokoloff

Happy Nanowrimo!  Here's a road map (or cheat sheet!) for you, incorporating various elements of the Eight Sequence Structure, the Hero/ine's Journey, and other structure paths. 

I'll be posting questions and prompts throughout the month for Wrimos.

But also I have something to say to writers who aren't doing Nano this year:

Good for you!

The most important thing is to work in a way that is effective and right for you. You may not be ready to launch head first into 50,000 straight words of writing. So work on your outline. Work on revising the draft you have. Brainstorm your best possible idea (which is really key to everything that comes later). Whatever it is, DO IT. Commit to write for five minutes a day, every day. It's amazing how that five minutes turns into an hour, or three. And a year later,  or less, you suddenly have a book.

Next month's posts are for you, too.

Good luck, everyone!

- Alex

Get free Story Structure extras and movie breakdowns

Act One: Key Story Elements

Narrative Structure Cheat Sheet:


ACT I

We meet the Hero/ine in the Ordinary World.

S/he has:

-- a Ghost or Wound

-- a strong Desire

-- Special Skills

And an Opponent, or several, which is standing in the way of her getting what s/he wants, and possibly wants exactly the same thing that s/he wants.

S/he gets a Call to Adventure: a phone call, an invitation, a look from a stranger, that invites her to change her life.

That impulse may be blocked by a

-- Threshold Guardian

-- And/or the Opponent

-- And/or s/he is herself reluctant to take the journey.

But she overcomes whatever opposition,

-- Gathers Allies and the advice of a Mentor

-- Formulates a specific PLAN to get what s/he wants

-- And Crosses the Threshold Into the Special World.

ACT II:1

The Hero/ine goes after what s/he wants, following the PLAN.

The Opponent blocks and attacks, following his or her own PLAN to get what s/he wants.

The Hero/ine may now:

-- Gather a Team

-- Train for battle (in a love story this can be shopping or dating)

-- Investigate the situation

-- Pass numerous Tests

All following the Plan, to achieve the Desire.

No matter what genre, we experience scenes that deliver on the Promise of the Premise: magic, flying, sex, mystery, horror, thrills, action.

We also enjoy the Hero/ine’s Bonding with Allies or Falling in Love.

And usually in this Act the Hero/ine is Winning.

Then at the Midpoint, there is a big Reversal, Revelation, Loss, or Win that is a Game-Changer.


ACT II:2

The Hero/ine must Recover and Recalibrate from the game-changer of the Midpoint

And formulate a New Plan.

Neither the Hero/ine nor the Antagonist has gotten what they want, and everyone is tired and pissed.

Therefore they Make Mistakes

And often Cross a Moral Line

And Lose Allies.

And the Hero/ine, or if not the Hero/ine at least we, are getting the idea (if we didn’t have it before) that the Hero/ine might be WRONG about what s/he wants.

Things begin to Spiral Out of Control

And get Darker and Darker (even if it’s funny)

Until everything crashes in a Black Moment, or All is Lost Moment, or Visit to Death.

And then, out of that compete despair comes a New Revelation for the Hero/ine

That leads to a New Plan for the Final Battle.


ACT III

The Hero/ine makes that last New Plan

Possibly Gathers the Team (Allies) again

Possibly briefly Trains again

Then Storms the Opponent’s Castle (or basement).

The Team (if there is one) Attacks the Opponent on his or her own turf, and all their

-                       -- Skills are Tested.

-- Subplots are Resolved

-- and Secondary Opponents are defeated in a satisfying way.

Then the Hero/ine goes in alone for the final battle with the Antagonist, and in some way faces her Greatest Nightmare. Her Character Arc, everything s/he’s learned in the story, helps her win it.

The Hero/ine has come Full Circle

And we see the New Way of Life that s/he will live.


---------------------------------


If this works to make the process a little easier for you, great! It may be more useful to look at it later, during your rewrites.

And if not, no problem — forget it! I'm just always looking to try to explain things in different ways, because I know for myself, sometimes it just doesn't sink in until I hear it for the tenth or ten thousandth time.



=====================================================

All the information on this blog and more, including full story structure breakdowns of various movies, is available in my Screenwriting Tricks for Authors workbooks.  e format, just $3.99 and $2.99; print 15.99.


                                           STEALING HOLLYWOOD

This new workbook updates all the text in the first Screenwriting Tricks for Authors ebook with all the many tricks I’ve learned over my last few years of writing and teaching—and doubles the material of the first book, as well as adding six more full story breakdowns.

 


STEALING HOLLYWOOD ebook    $3.99
STEALING HOLLYWOOD US print  $15.99
STEALING HOLLYWOOD print, all countries 








WRITING LOVE

Writing Love is a shorter version of the workbook, using examples from love stories, romantic suspense, and romantic comedy - available in e formats for just $2.99.


Smashwords (includes online viewing and pdf file)

Amazon/Kindle

Barnes & Noble/Nook

Amazon UK

Amazon DE


---------------------

You can also sign up to get free movie breakdowns here:

                Get free Story Structure extras and movie breakdowns

--------------------

In the mood for some female vigilante justice? My HUNTRESS series is ON SALE for $1.99 US.

A haunted FBI agent is on the hunt for a female serial killer. This time, the predators lose. 

 
Click here to shop.


--> -->

Thursday, October 25, 2018

Nanowrimo Prep and a battle cry for the midterms on St. Crispian's Day

Today is St. Crispian's Day, the anniversary of the Battle of Agincourt. I thought I would post a couple of clips of one of my favorite Shakespearean monologues, to mark the day and as an example of a perfect SETPIECE SCENE, our next Nanowrimo Prep topic. We will go into Setpieces in depth next week.

But today I'm posting to reaffirm my personal commitment to writing politically despite some pretty vicious trolling, and to give us all hope and that extra bit of courage going into the midterms.

Here's a history of the battle of this day, fought with an at-the-time revolutionary new weapon, that changed the course of history. The small British force had every expectation of being decimated by the mass of French troops, five times the size of the British army. 

In Henry V, Shakespeare envisions the battle speech that gave the army the spirit to go in to almost certain death, taking the very Shakespearean view that it is the human spirit that wins battles, rather than any physical weapon.

These two scenes are absolute masterpieces of political writing, and of cinema - and I've written about this monologue as a perfect example of one of the key story element of a war story: The Going Into Battle Rallying Speech.

The films show auteurs at their best: both actors also adapted and directed.

Here's Olivier as King Harry:



And Kenneth Branagh's version, which never fails to make me cry (I'm not a crier).



We're at an equally dire moment in history. A growing authoritarian threat, pipe bombs, an angry mob.

But this time, women are fighting, too.

She that outlives this day, and comes safe home,
Will stand a tip-toe when the day is named,
And rouse them at the name of Crispian.
She that shall live this day, and see old age,
Will yearly on the vigil feast her neighbours,
And say 'To-morrow is Saint Crispian:'
Then will she strip her sleeve and show her scars.
And say 'These wounds I had on Crispin's day.'

From this day to the ending of the world,
We in it shall be remember'd;

Keep fighting.

- Alex



=====================================================

All the information on this blog and more, including full story structure breakdowns of various movies, is available in my Screenwriting Tricks for Authors workbooks.  e format, just $3.99 and $2.99; print 13.99.


                                           STEALING HOLLYWOOD

This new workbook updates all the text in the first Screenwriting Tricks for Authors ebook with all the many tricks I’ve learned over my last few years of writing and teaching—and doubles the material of the first book, as well as adding six more full story breakdowns.

 


STEALING HOLLYWOOD ebook    $3.99
STEALING HOLLYWOOD US print  $13.99
STEALING HOLLYWOOD print, all countries 








WRITING LOVE

Writing Love is a shorter version of the workbook, using examples from love stories, romantic suspense, and romantic comedy - available in e formats for just $2.99.


Smashwords (includes online viewing and pdf file)

Amazon/Kindle

Barnes & Noble/Nook

Amazon UK

Amazon DE


---------------------

You can also sign up to get free movie breakdowns here:

                Get free Story Structure extras and movie breakdowns

--------------------

In the mood for some female vigilante justice? My HUNTRESS series is ON SALE for $1.99 US.

A haunted FBI agent is on the hunt for a female serial killer. This time, the predators lose. 

 
Click here to shop.











Tuesday, October 23, 2018

Nanowrimo: Three essential questions about your story

by Alexandra Sokoloff

So you've been working on your index cards to build your story (see HERE). Or maybe not! Either way, here are three questions that will help crystallize what you're writing.

     What does your protagonist WANT?

     What is her PLAN to get it?

     Who and what is standing in her way?  (FORCES OF OPPOSITION)

You'd be surprised how many people come to my workshops (some with half-completed books!) who can't answer those essential questions.

So let's talk about PLAN. In most cases, understanding your hero/ine's plan will quickly focus what might be a very amorphous idea and save you endless rewriting (or giving up completely). PLAN really is the key to the drive of your story.

              Get free Story Structure extras and movie breakdowns



You always hear that “Drama is conflict,” but when you think about it – what the hell does that mean, practically?

It’s actually much more true, and specific, to say that drama is the constant clashing of a hero/ine’s PLAN and an antagonist’s, or several antagonists’, PLANS.

In the first act of a story, the hero/ine is introduced, and that hero/ine either has or quickly develops a DESIRE (usually triggered by the INCITING INCIDENT). She might have a PROBLEM that needs to be solved, or someone or something she WANTS, or a bad situation that she needs to get out of, pronto.

Her reaction to that problem or situation is to formulate a PLAN, even if that plan is vague or even completely subconscious. But somewhere in there, there is a plan, and storytelling is usually easier if you have the hero/ine or someone else (maybe you, the author) state that plan clearly, so the audience or reader knows exactly what the expectation is.

And the protagonist’s plan (and the corresponding plan of the antagonist’s) actually drives the entire action of the second act. Stating the plan tells us what the CENTRAL ACTION of the story will be. So it’s critical to set up the plan by the end of Act One, or at the very beginning of Act Two, at the latest.

Let’s look at some examples of how plans work.

 At the end of the first sequence of Raiders of the Lost Ark (which is arguably two sequences in itself, first the action sequence in the cave in South America, then the university sequence back in the US), Indy has just finished teaching his archeology class when his mentor, Marcus, comes to meet him with a couple of government agents who have a job for him (CALL TO ADVENTURE). The agents explain that Hitler has become obsessed with collecting occult artifacts from all over the world, and is currently trying to find the legendary Lost Ark of the Covenant, which is rumored to make any army in possession of it invincible in battle.

So there’s the MACGUFFIN, the object that everyone wants, and the STAKES: if Hitler’s minions (THE ANTAGONISTS) get this Ark before Indy does, the Nazi army will be invincible (STAKES).

And then Indy explains his PLAN to find the Ark: his old mentor, Abner Ravenwood, was an expert on the Ark and had an ancient Egyptian medallion on which was inscribed the instructions for using the medallion to find the hidden location of the Ark.

So after hearing the plan, we understand the entire OVERALL ACTION of the story:

Indy is going to find Abner (his mentor) to get the medallion, then use the medallion to find the Ark before Hitler’s minions can get it.

And even though there are lots of twists along the way (the first being that Abner is dead!), that’s really it: the basic action of the story.

Generally, PLAN and CENTRAL STORY ACTION are really the same thing – the Central Action of the story is carrying out the specific Plan. And the CENTRAL QUESTION of the story can be generally stated as – “Will the Plan succeed?”

Again, the PLAN, CENTRAL QUESTION and CENTRAL STORY ACTION are almost always set up – and spelled out – by the end of the first act, although the specifics of the Plan may be spelled out right after the Act I Climax at the very beginning of Act II. 

Can it be later? Well, anything’s possible, but the sooner a reader or audience understands the overall thrust of the story action, the sooner they can relax and let the story take them where it’s going to go. So much of storytelling is about you, the author, reassuring your reader or audience that you know what you’re doing, so they can sit back and let you drive.

Try taking a favorite movie or book (or two or three) and identifying the PLAN, CENTRAL STORY ACTION and CENTRAL QUESTION of them in a few sentences. Like this:

             - In Inception, the PLAN is for the team of dream burglars to go into a corporate heir’s dreams to plant the idea of breaking up his father’s corporation. (So the CENTRAL ACTION is going into the corporate heir’s dream and planting the idea, and the CENTRAL QUESTION is:  Will they succeed?)


             - In Sense and Sensibility, the PLAN is for Marianne and Elinor to secure the family’s fortune and their own happiness by marrying well. (How are they going to do that? By the period’s equivalent of dating – which is the CENTRAL ACTION. Yes, dating is a PLAN! The CENTRAL QUESTION is: Will the sisters succeed in marrying well?)


             - In The Proposal, Margaret’s PLAN is to learn enough about Andrew over the four-day weekend with his family to pass the INS marriage test so she won’t be deported. (The CENTRAL ACTION is going to Alaska to meet Andrew’s family and pretending to be married while they learn enough about each other to pass the test. The CENTRAL QUESTION is: Will they be able to successfully fake the marriage?


Now, try it with your own story!

             - What does the protagonist WANT?

             - How does s/he PLAN to do it?  

             - What and who is standing in her or his way?


For example, in my spooky thriller, Book of Shadows, here's the Act One set up: the protagonist, homicide detective Adam Garrett, is called on to investigate the murder of a college girl, which looks like a Satanic killing. Garrett and his partner make a quick arrest of a classmate of the girl's, a troubled Goth musician. But Garrett is not convinced of the boy's guilt, and when a practicing witch from nearby Salem insists the boy is innocent and there have been other murders, he is compelled to investigate further.

So Garrett’s PLAN and the CENTRAL ACTION of the story is to use the witch and her specialized knowledge of magical practices to investigate the murder on his own, all the while knowing that she is using him for her own purposes and may well be involved in the killing.  The CENTRAL QUESTION is: will they catch the killer before s/he kills again – and/or kills Garrett (if the witch turns out to be the killer)?

             - What does the protagonist WANT? To catch the killer before s/he kills again.

             - How does he PLAN to do it? By using the witch and her specialized knowledge of magical practices to investigate further.

             - What’s standing in his way? His own department, the killer, and possibly the witch herself. And if the witch is right … possibly even a demon.

It’s important to note that the Plan and Central Action of the story are not always driven by the protagonist. Usually, yes. But in The Matrix, it’s Neo’s mentor Morpheus who has the overall PLAN, which drives the central action right up until the end of the second act. The Plan is to recruit and train Neo, whom Morpheus believes is “The One” prophesied to destroy the Matrix. So that’s the action we see unfolding: Morpheus recruiting, deprogramming and training Neo, who is admittedly very cute, but essentially just following Morpheus’s orders for two thirds of the movie.

Does this weaken the structure of that film? Not at all. Morpheus drives the action until that crucial point, the Act Two Climax, when he is abducted by the agents of the Matrix, at which point Neo steps into his greatness and becomes “The One” by taking over the action and making a new plan: to rescue Morpheus by sacrificing himself.

It is a terrific way to show a huge character arc: Neo stepping into his destiny. And I would add that this is a common structural pattern for mythic journey stories – in Lord of the Rings, it's Gandalf who has the PLAN and drives the reluctant Frodo in the central story action until Frodo finally takes over the action himself.

Here’s another example. In the very funny romantic comedy It’s Complicated, Meryl Streep’s character Jane is the protagonist, but she doesn’t drive the action or have any particular plan of her own. It’s her ex-husband Jake (Alec Baldwin), who seduces her and at the end of the first act, proposes (in an extremely persuasive speech) that they continue this affair as a perfect solution to both their love troubles – it will fulfill their sexual and intimacy needs without disrupting the rest of their lives.

Jane decides at that point to go along with Jake’s plan (saying, “I forgot what a good lawyer you are”). In terms of action, she is essentially passive, letting the two men in her life court her (which results in bigger and bigger comic entanglements), but that makes for a more pronounced and satisfying character arc when she finally takes a stand and breaks off the affair with Jake for good, so she can finally move on with her life.

I would venture to guess that most of us know what it’s like to be swept up in a ripping good love entanglement, and can sympathize with Jane’s desire just to go with the passion of it without having to make any pesky practical decisions. It’s a perfectly fine – and natural – structure for a romantic comedy, as long as at that key juncture, the protagonist has the realization and balls – or ovaries – to take control of her own life again and make a stand for what she truly wants.

I give you these last two examples – hopefully – to show how helpful it can be to study the specific structure of stories that are similar to your own. As you can see from the above, the general writing rule that the protagonist drives the action may not apply to what you’re writing – and you might want to make a different choice that will better serve your own story. And that goes for any general writing rule.

 QUESTIONS: 

1. Have you identified the CENTRAL ACTION of your story? Do you know what the protagonist's and antagonist's PLANS are?  At what point in your book does the reader have a clear idea of the protagonist’s PLAN?  Is it stated aloud? Can you make it clearer than it is?

2. What is Katniss's PLAN in The Hunger Games  - in one word? (Or two at most). 

Think about it, and we'll talk about it next post!

Alex


=====================================================

All the information on this blog and more, including full story structure breakdowns of various movies, is available in my Screenwriting Tricks for Authors workbooks.  e format, just $3.99 and $2.99; print 13.99.


                                           STEALING HOLLYWOOD

This new workbook updates all the text in the first Screenwriting Tricks for Authors ebook with all the many tricks I’ve learned over my last few years of writing and teaching—and doubles the material of the first book, as well as adding six more full story breakdowns.

 


STEALING HOLLYWOOD ebook    $3.99
STEALING HOLLYWOOD US print  $13.99
STEALING HOLLYWOOD print, all countries 








WRITING LOVE

Writing Love is a shorter version of the workbook, using examples from love stories, romantic suspense, and romantic comedy - available in e formats for just $2.99.


Smashwords (includes online viewing and pdf file)

Amazon/Kindle

Barnes & Noble/Nook

Amazon UK

Amazon DE


---------------------

You can also sign up to get free movie breakdowns here:

                Get free Story Structure extras and movie breakdowns

--------------------

In the mood for some female vigilante justice? My HUNTRESS series is ON SALE for $1.99 US.

A haunted FBI agent is on the hunt for a female serial killer. This time, the predators lose. 

 
Click here to shop.


Wednesday, October 17, 2018

Nanowrimo Prep: The Three-Act, Eight Sequence Structure

Today we talk about maybe the most useful thing you can ever learn about story structure. If you read any post in this Nanowrimo Prep series, this is the one!

(If you're just joining us today, you'll want to read this post first:

Brainstorm Your Book with Index Cards
So last post I asked you to try brainstorming on index cards: writing down each scene you already know about your book on the cards, one scene per card. And if you did that, I bet you came up with all kinds of other scenes, right?

You'll probably want to keep brainstorming scenes. But now we can also go on to arranging these scenes into a story.

We're going to do that on a structure grid, like this:

Yikes! What the hell is THAT?

Well, there's a rhythm to dramatic storytelling, just as there’s a rhythm to every other pleasurable experience in life, and the technical requirements of film and television have codified this rhythm into a structure so specific that you actually already know what I’m about to say in this post, even if you’ve never heard it said this way before or consciously thought about it.

And what’s more, your reader or audience knows this rhythm, too, because of all the thousands of films and TV shows we've all seen in our lifetimes. Which means your reader unconsciously EXPECTS it. Which means whether you're writing film, TV or books, if you’re not delivering this rhythm, your reader or audience (or prospective agent or editor) is going to start worrying that something’s not right, and you have a real chance of losing them.
You don’t want to do that!

                   Get free Story Structure extras and movie breakdowns

So today we’re going get conscious, and talk about everyone’s favorite subject. You know it’s true! What’s not to like about a climax?
Early playwrights (and I’m talking really early, starting thousands of years ago in the Golden Age of Greece) were forced to develop the three-act structure of dramatic writing because of intermissions (or intervals). Think about it. If you’re going to let your audience out for a break a third of the way through your play, you need to make sure you get them back into the theater to see the rest of the play, right? After all, there are so many other things a person could be doing on a Saturday night….
So the three acts of theater are based on the idea of building each act to a CLIMAX: a cliffhanger scene that spins the action of the play in such an interesting direction that the audience is going to want to hurry back into the theater at the warning chime to see WHAT HAPPENS NEXT. Many plays have just one break, at the middle, so the Midpoint Climax is equally important.
This climactic rhythm was in operation for literally thousands of years before film and television came along and the need for story climaxes became even more, um, urgent. Not just because life was faster paced in the 20th century, but again, because of the technical requirements of film and television.
In a two-hour movie, you have not three climaxes, but seven, because film is based on an eight-sequence structure. And of course these days you'll need to factor in a teaser, something that happens in the first three minutes or so.
The eight-sequence structure evolved from the early days of film when movies were divided into reels (physical film reels), each holding about 10-15 minutes of film. The projectionist had to manually change each reel as it finished, so early screenwriters incorporated this rhythm into their writing, developing sequences that lasted exactly the length of a reel and built to a cliffhanger climax, so that in that short break that the projectionist was scrambling to get the new reel on, the audience was in breathless anticipation of “What happens next?” – instead of getting pissed off that the movie just stopped right in the middle of a crucial scene. (If you get hold of scripts for older movies, pre-1950’s, you can find SEQUENCE 1, SEQUENCE 2, etc, as headings at the start of each new sequence.)
Modern films still follow that same storytelling rhythm, because that rhythm was locked in by television – with its even more rigid technical requirements of having to break every fifteen minutes for a commercial. Which meant writers had to build to a climax every 15 minutes, to get audiences to tune back in to their show after the commercial instead of changing the channel.
So what does this mean to you, the novelist or screenwriter?
It means that you need to be aware that your reader or audience is going to expect a climax every 15 minutes in a movie – which translates to every 50 pages or so in a book. Books have more variation in length, obviously, so you can adjust proportionately, but for a 400-page book, you’re looking at climaxing every 50 pages, with the bigger climaxes coming around p. 100 (Act I Climax) p. 200 (Midpoint Climax), p. 300 (Act II Climax), and somewhere close to the end.

Also be aware that for a shorter movie or book, you may have only three acts and six sequences.
So again, if you put that structure on a grid, it looks like this:




Looking at that grid, you can see that what I started out in this article calling the three-act structure has evolved into something that is actually a four-act structure: four segments of approximately equal length (30 minutes or 100 pages), with Act II containing two segments (60 minutes or 200 pages, total). That’s because Act II is about conflict and complications. While plays tend to have a longer Act I, because Act I is about setting up character and relationships, the middle acts of films have become longer so that the movies can show off what film does best: action and conflict. And books have picked up on that rhythm and evolved along with movies and television, so that books also tend to have a long, two-part Act II as well.
You don’t have to be exact about this (unless you’re writing for network television, in which case you better be acutely aware of when you have to hit that climax!). But you do need to realize that if you’re not building to some kind of climax in approximately that rhythm, your reader or audience is going to start getting impatient, and you risk losing them.

Once you understand this basic structure, you can see how useful it is to think of each sequence of your story building to a climax. Your biggest scenes will tend to be these climaxes, and if you can fit those scenes onto the grid, then you already have a really solid set of tentpoles that you can build your story around.
So here’s a challenge: Start watching movies and television shows specifically looking for the climaxes. Use the clock on your phone or the counter on your DVD player to check where these climaxes are coming. It won’t take long at all for you to be able to identify climactic scenes, every 15 minutes or so.
Your next task is to figure out what makes them climactic!
I can give you a few hints. The most important thing is that the action of your story ASKS A QUESTION that the audience wants to know the answer to. But climaxes also tend to be SETPIECE scenes (think of the trailer scenes from movies, the big scenes that everyone talks about after the movie).
And what goes into a great setpiece scene?

That’s another post!
For today, try making yourself a structure grid. You can use a big piece of cardboard, or a white board or cork board, or Post-its on a blank wall. I particularly like trifold boards, like kids use for science projects - you can get them at any Office Depot or Staples for a few bucks.





Now take the index cards you've been brainstorming and start to stick them on the structure grid.

This is the fun part, like putting together a jigsaw puzzle. If you know where a scene goes, or approximately where it goes, you can just pin it on your board in approximately the right place. You can always move the cards 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.
Can you pick out some scenes that are natural climaxes?

You will find it is often shockingly fast and simple to structure a whole story this way.

Give it a try! 

- Alex


=====================================================

All the information on this blog and more, including full story structure breakdowns of various movies, is available in my Screenwriting Tricks for Authors workbooks.  Any format, just $3.99 and $2.99.


                                        STEALING HOLLYWOOD

This new workbook updates all the text in the first Screenwriting Tricks for Authors ebook with all the many tricks I’ve learned over my last few years of writing and teaching—and doubles the material of the first book, as well as adding six more full story breakdowns, ten complete ones and lots of partials.

 


STEALING HOLLYWOOD ebook    $3.99
STEALING HOLLYWOOD US print  $15.99
STEALING HOLLYWOOD print, all countries 








WRITING LOVE

Writing Love is a shorter version of the workbook, using examples from love stories, romantic suspense, and romantic comedy - available in e formats for just $2.99.


Smashwords (includes online viewing and pdf file)









Get free Story Structure extras and movie breakdowns


-----------------------------------------------------------------------------------------------

Want to sell to television? Read books and series that have sold. :)

HUNTRESS series ON SALE for $1.99 US.

A haunted FBI agent is on the hunt for a female serial killer. This time, the predators lose. 

 
Click here to shop.