EAS 2: Authentic Character Emotion – Flaws, Growth, Arcs, and Transformation

Our characters are people – real in our mind, real on the page, and real in our hearts. Make them as real to your readers as they are to you.

This is the most important part of a novel. We might have excellent plots that twist and turn with fresh surprises at every angle, or a beautiful, imaginative world that inspires us with awe. Maybe a fresh, fascinating story rarely told, or even masterful prose with transcendent knowledge and application of language. But take any book you love, replace the characters with flat shadows of people, and you are left only with empty, black ink.

From the first line of our story, invest the reader in the characters we create. Show us what they care about. It could be as important as saving the universe, or as small as caring for a single daisy. But if our characters care, our readers will care. So, how do we do this?

Real people have passions. If our character loves gardening, don’t tell us that she gardens everyday. Show us how warm she feels as the sun beats on her back, as her hands ache with the pressure of churning soil, how much she sweats as she labors away for hours, but show us her satisfaction of witnessing seeds of nothingness grow with time into delicious tomatoes, or red roses, or juicy watermelons. And she doesn’t have to be good at it. She just needs to be passionate about it.

Emotion is universal. Everybody can identify with it, so the stronger the emotion (well…this can be overdone), the stronger the connection. I recommend overstating emotion. In theatre, emotion is overstated, as it is in cinema and books. But the reader won’t be able to tell if you do it right. Exaggerated emotion is one of the keys to storytelling. This doesn’t mean our character runs around on a rampage shooting or slicing everyone up, neither does it mean our character should drive around crying everywhere after her boyfriend dumps her. Here’s what it can mean: Our character reacts internally after witnessing a herd of buffalo stampede over her freshly budded grove of plant life. Depending on what kind of person she is, she could scream, “NOOOOOOOO!!!!!!” (not recommended), or we can show her feeling the strong loss of creating something from nothing, then shoving down the exaggerated emotion, only to unleash it at a later time – directed at someone undeserving. Which is the more interesting story? Who do you identify with more? If your answer is the screaming psychopath, perhaps you should join Darth Vader and the Dark Side.

Point is, when readers identify with the characters, and when they have a stake in the story, we become invested. And when we become invested, we now have a stake in the story. We’ll flip the pages from cover to cover to see what happens next, unable to set the book down. We’ll feel both satisfied at the end, and disappointed there is nothing of the story left to read.

In the title, I also mentioned growth. In a great story, not only does our protagonist change, but our antagonist also changes. Many writers miss the latter point. This doesn’t necessarily mean our antagonist transforms into a saint, but it can mean they learn an important life lesson, or devolve into something even worse.

So, growth of our protagonists. (We can also show protagonists devolving.) What better way to show growth at the end, than flaws at the beginning. Real people have flaws, right? You have flaws, don’t you? I certainly have no flaws, but we all know you do, right? Right, where were we? Flaws, yeah. It’s okay for our characters to have flaws, especially if they’re universally identifiable. What makes a story interesting is how our characters deal with those flaws. Do they learn from their mistakes and get over hard-learned obstacles? Or do they fall to the Dark Side like our forever-friend Darth Vader? Show the story, don’t tell it. Make the reader a friend by showing our characters’ experiences as they endure them. Then leave that lasting impression by showing how far they’ve come. Key is to show our protagonists’ progression little at a time, then compound the growth with extreme experiences. But never leave them stagnant. On the opposite end of the spectrum, if our characters grow too much too quickly, they might lose that ever-so-important quality – reader identification.

Transformation also ties integrally with growth, the difference being, they are rarely recognizably the same person when comparing them at the beginning of the book to the final page. We need to be careful here. As advised above, if our characters grow too quickly, we will lose our audience. Want your characters to transform? Throw unique, interesting, and hard – very, very hard – decisions and obstacles in their paths. They need to make the emotional or logical choice for who they are at that time – which changes them forever. Then keep doing it again. But beware, always change the pace. If we have a non-stop, hard-hitting pace from start to finish, our readers will never be able to come up for air. And breathing is important for most of us.

In Elements of Advanced Storytelling, I promised to dig into the differences between active, reactive, and proactive characters, and which are the most interesting in stories. Okay everyone, raise your hands. Active? Eh, might get a few hands in the air. Reactive? Hmm, probably only one or two. Okay, what about proactive? AHA! There they are! Raise them nice and high! Yep, you are right. Proactive characters are by far the most interesting, and here’s why.

Reactive characters only do what? That’s right – react! Our antagonists will likely be the most interesting characters in this type of character story because they are making everything happen. They are making the decisions for our protagonists – shaping them, forcing them to enact whatever evil plans our antagonists are concocting. Just about the only interesting thing our protagonist can do in this situation is react unexpectedly. But that’s a far cry from our other two types. Active characters are good. They will react, but will also push back. They will create tension, and exert a moving role to drive the story forward. Now, proactive characters take charge. Proactive characters don’t necessarily always know what they want, but they always make decisions (good or bad). This makes for a much more interesting story. It is highly common for the inciting incident in our novel to cause a reaction in our character that impels the story forward all the way to the last page. But if our protagonists are actively doing something in the beginning, and drive the story forward all on their own, that’s when we get caught staying up into the wee hours of the night reading that novel we just can’t put down. This is real tension – driven purely by our proactive characters.

Outlines. Some of us use them, some of us don’t. But I recommend everyone sketch out at least enough about our main characters to understand who they are. The worst thing we can do is think we know our characters, then make them do something they normally wouldn’t for the sake of the plot. If you want a good reference for an outline, here’s my advice. Make your own. There are numerous character outlines you can download off the net. Some are very detailed, some are vague. But, we all need to find that character outline that fits our story, then make it. It could be as little as describing their personalities, their likes/dislikes, tastes, experiences, and what they would do if held at gunpoint. Yes, many characters will never face that latter problem, but you need to know your characters. What better way than to consider what they would do in a life or death situation?

Want more outlining? Okay, write down how you want them to change throughout your novel. Who do they meet? How do they interact? Write down a few jokes they would tell, or physical tics or eccentricities. Show us their turning points and future moments of clarity. The list goes on and on. We should never put it all in our novel, but as writers, we need to know. Key is, stay organized, stay on track. And remember, sometimes when we write that novel, the outline flies out the window. Allow our characters to change, to experience life beyond the bounds we’ve set forth in an outline.

Any questions or comments? Feel free to express yourself. I want to hear your thoughts. I’ve found the above to be some of the best methods (that by the way work universally), but I always keep an open mind, and I’m always striving to learn and grow – to be better than I was yesterday. Thanks for reading, and I look forward to your comments. Thanks!

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Elements of Advanced Storytelling

In the following weeks, I’ll delve into how to take our writing to the next level. In the past months, I’ve written a lot about basic storytelling, shared best practices, shown how to hone our skills, and revealed a little about characters and world building. Here, I’ve broken out Advanced Storytelling into a number of important elements, and will detail each of these into individual posts in the weeks that follow. Hope you enjoy!

• HOOK YOUR READER: From the first line in your story, it is important to suck the reader in by showing immediate tension with your protagonist. Next week, I’ll discuss what first lines we should avoid, which are overused, and what ingredients grill up an exciting hook. However, this goes far beyond that introductory sentence. When is it appropriate to relax the tension? When should we begin to delve into back-story? At what points in our story should we re-hook the reader with another twist? How do we end it in a way that is both satisfactory to the reader, and leaves them craving for more? Stay tuned, and we’ll delve into the details.
• AUTHENTIC CHARACTER EMOTION – FLAWS, GROWTH, ARCS, AND TRANSFORMATION OF PROTAGONISTS AND ANTAGONISTS: I’ve shown in previous posts how important character emotion is. Emotion links us to our characters, gives us a stake in the story, and makes us truly care about what happens – connects us to fresh and new experiences. Might even have an impact on our world outside of reading. In this topic, I’ll discuss at what points in our story we should show character growth, (or the lack of), and dig into how to make this experience truly impactful to the reader. We’ll review best practices and the art of taking our characters’ arcs to the next level – both protagonists’ and antagonists’. I’ll explain the differences between proactive, active, and reactive characters. We’ll also dig into this scientifically – showing outlines and how this relates to our plot elements and increases tension.
• TENSION, CONFLICT, AND THE DRIVING FORCE: To keep the story moving and our readers impulsively flipping the pages into the wee hours of morning, it is imperative to show the steady progression of plot and characters, the enticing details of hazards and wrenches, and the difficulties and growth that ensues. Some good advice: the more we torment our characters, the more interesting the story. When should we ramp up the tension and conflict? When should we relax? Sub-plots are at times necessary, but many times they are not. It is important to consistently progress the storyline, and at the same time, show the little steps and interesting details that keep the readers holding their breath.
• YOUR WORLD – DETAILS, CULTURE, AND SENSES: It is easy to bog the reader down with unnecessary details, or do the opposite and not show enough. Where is the balance? This depends a lot on the story, style, genre, characters, length, and voice. But it is always important to make the world we portray real to our audience. Here, we’ll delve into the finer details and examples of great stories with interaction – and the differences of styles and how they relate to the overall theme and story structure.
• THE THREE ACTIONS – ACTION, REACTION, INTERACTION: Characters and the world, the reader and writer, the plot and details. In this topic, I will discuss how we put it all together with the “Three Actions.” I’ll show how they interrelate and the parallels between them. I’ll reveal why these elements are so important and how they impact the storytelling experience.
• STORY STRUCTURE AND THEMES – OUTLINING VS “PANTSING”: Hundreds if not thousands of books crowd the market, all showing the best ways to structure a story. Here, we will dig into why there are so many different methods, which to use, which to avoid, and why. Is there a “best” way, or does it depend on the style of the author? Should we conform to what the world is telling us, or enhance our natural strengths? There is much controversy here, and I will take a neutral stance in order to show the broadest picture, explain why so many authors are adamant that their own opposing and conflicting views are correct, and give my advice on how to proceed in this vast sea of style.
• PROSE WITH STYLE AND VOICE – CLARITY, BREVITY, AND WORD CHOICE: Writing is an art, but with any art, the more knowledge and experience one has, the more likely one will succeed. The broader our experiences and perspectives, and the more we open ourselves to possibilities and ideas, the more likely we will achieve our goals. Our work ethic matters. Our passions matter. We must know ourselves, stay in tune to our strengths and weaknesses, then actively make ourselves improve and grow. Grammar might seem basic, but the more knowledgeable one is, the more command one has of language – not to mention an understanding of which rules are breakable and when. In this topic, I will discuss the differences between character and author voice, and expand on the importance of the words we use, and how we use them. There are many styles of storytelling, and I will show examples of some of the most common, and analyze their differences.

Like many, I have a passion for storytelling, but I’m also acutely aware of my strengths and weaknesses. The elements of self-awareness, knowledge, patience, understanding, wisdom, and work ethic are all fruits that set me on my path to success. To grow as a writer is to grow as a person. I look forward to your future comments and interactions.

Raise Our Glasses to POV

What is a POV? Well, at my day job, it’s an acronym for Personal Owned Vehicle, but in the writing world, it’s known universally as Point of View.

What does it mean? Merriam-Webster defines it as: “A position or perspective by which something is considered or evaluated; standpoint.” Its first known use was in 1720.

Great. Now we know what it means, but how and why can it be applied to storytelling?

There are varying answers to this all-encompassing question, so let’s start with the how – the different ways to apply it, the different tenses, and the different perspectives. Here are some of the most common.

Third Person Limited: This is the hottest third person view to write from on the marketplace right now because of how easy it is for the reader to relate to the main protagonist. We see the world from the main character’s eyes only, know only what the character knows. We see his/her thoughts, feel those emotions, and sense the world with the character’s smells, tastes, sounds, sights, and touches. We know nothing about any other person or even the world except for how our main character perceives them.

This is most commonly written in past tense, and allows the reader to truly get to know him/her with immediacy and intimacy, and it illicits a strong emotional response. While reading, instead of watching the scenes progress through a window, we are right there with the character, seeing through his/her eyes, reacting when the character reacts, and thus, we have a stronger emotional connection. We have a more personal stake in the story. This above all keeps readers turning the page, keeps us interested, shows instead of tells of the scene real-time. And even though it is written in past tense, the reaction is immediate and close. Disadvantage is – we are unable to confront the world or learn anything that the character does not experience. This is most widely used across all genres except non-fiction, and less often used in Romance, YA, and MG.

Example: The moment Matt jumped from the plane, he regretted ever having agreed to this foolish notion. From the pit of his stomach, panic swelled to immeasurable heights. The cold wind howled in his ears, making him shiver as the land grew closer. He clenched his jaw, tightened his abdomen, and wondered if he’d ever have the courage to reach out and pull that cord to open his parachute.

Third Person Omniscient: This is a more old-fashioned style of third person storytelling, most often written  in past tense, but is still used today in some circumstances. This is commonly known as the narrator POV. As the reader, we can see all, hear all, know all. Writing has evolved through the years, and some consider this a lesser form of storytelling because it becomes more difficult to relate to the main characters. Personally, I believe it simply to be out of style. However, it has major disadvantages. It’s hard to feel immediacy with this form, more difficult to connect emotionally with the characters. There’s a greater distance between the reader and the protagonist. But it also allows the writer to show things that the main character would not normally see, which might be integral to the story. We can often see this in traditional Literary Fiction such as Count of Monte Cristo, in dated Fantasy and Science Fiction, and in older Historical Fiction, and Historical Fantasy.

Example: The moment Matt jumped from the plane, Joe smiled from behind. Unknown to Matt, Joe hadn’t packed the parachute properly, didn’t realize it was done on purpose. As he spiraled through the air closer to his death, both contemplated what would soon happen. But neither realized the repercussions of their decisions, or anticipated what the actual result would be.

Third Person Head Hopping: If done properly, this can create tension, illicit a strong emotional reaction, and allow the reader to see the world through several eyes at once, experience the world from more than one perspective. However, it isn’t often done correctly, and even if it is, can create confusion. The danger is jarring the reader: as soon as we are able to relate to one character, we are ripped out of their POV and slammed into another. Using this mode of storytelling makes it difficult to be sucked into only one character, and creates distance between us and the protagonist. However, it has the distinct advantage of allowing the reader to forge a relationship with more than one character at a time. Often, the POVs are separated by paragraphs, but sometimes are changed sentence by sentence. This form is the rarest used of this bunch, but can be read across all genres except non-fiction.

Example: The moment Matt Jumped from the plane, Joe cracked his knuckles, feeling giddy to finally having rid himself of this jackass. The punk had stolen his wife. Well, this would be the last time Matt robbed anything from anyone.

As Matt sailed through the air, death drawing closer with every moment, the cold wind howled in his ears, making him shiver as the land grew nearer. He clenched his jaw, tightened his abdomen, and wondered if he’d ever have the courage to reach out and pull that cord to open his parachute.

As we can see, the transition shift from the two points of views in the above example is jarring, and it takes a moment for us to readjust.

First Person Present Tense: An excellent perspective to write from, this style allows the reader closeness to the character that no other POV can grasp. It is one of the most popular of this bunch, and is primarily seen in but not limited to YA, MG, and Romance genres. Disadvantages of using this style are how description is given, and how often the pronouns “I,” “me,” and “my” are used. As a normal person, I don’t narrate myself picking up a sandwich to eat – I simply do it. But, those who write in this format often face this problem. This sometimes reveals oddness to the writing that wouldn’t be caught if written in third person.

Example: I jump from the plane and tumble down across the sky. My throat tightens and I shiver as the land grows near. My hands frozen by both cold and fear, I wonder if I have the courage to pull that cord before my young life ends. Before I get to tell Joe’s wife goodbye.

In conclusion, if you haven’t yet decided which perspective to write from, experiment a little. The most popular of the above group today are First Person Present Tense, and Third Person Limited. Find out what works best for you. None of these styles are necessarily better or worse, comparatively speaking, but all have advantages and disadvantages you should consider before choosing. My advice, choose a situation to write about, then create it from multiple POVs. Write it from the different styles, then choose the one you feel most connected with.

As all of us grow as writers, so may our styles change. But the important moral here is to learn, and continue learning. Keep our minds open to possibilities, because as soon as we form a strong opinion on the matter, we limit ourselves to growing. As a balance, we must know ourselves, know our voice, so that when faced with differing opinions, we will not sacrifice who we are for the benefit of others.

Writing With Writers

Since this is a writers blog, and many of us have already discussed the value of a writers group, I’d like to express what this means to me. What Stonehenge has done for my writing, how, and why. And how you can start your own. Maybe even join ours.

I’ve often expressed that I wrote a book before I knew how to write, but how did I learn? Well, with a solid group and a little dedication, it could mean the equivalent of a free MBA, and practical world experience. Many of us have degrees in various arenas, some of us are subject matter experts. All of this helps, but is it all necessary?

What’s important is you find a solid group of writers with similar goals. Certainly, the quality of the writers is valuable, but what matters more is the feedback. The ways critiques are expressed, the format of the meetings, their frequency, and measurability of improvement.

Here’s the way we do it. Of course, this doesn’t mean this is the way it must be done. Certainly, there are other formats that work better for different people, but I would highly recommend starting with something similar.

• Frequency: We meet every week. Some believe this is too often, but I’ve found that a small core group of people show up every week, and everybody else will show up when they can – some every other week, a few only once per month. Personally, I attend every week. It keeps me motivated to write, gives me a reason to get out of the house and socialize, allows me time to meet with friends and professionals of the same mind, and always forces me to improve upon myself.

• Reading Aloud: This is one of the most valuable tools any writers group should use on a regular basis. I stated above that different formats work for different people, but all writers groups should read each others’ submissions. Aloud. Why? The flow of the language, the clarity of ideas, realistic dialogue, pacing, word choices, the sound of grammar and sentence structure, transitions, and simply to catch anything that otherwise would be difficult to uncover. This alone has been worth its weight in platinum.

• Submissions: This can vary from group to group, but here’s what works for us. Depending on the tenure of our writers, volunteers bring in a 2-6 page submission to be read aloud by peers. We have nights where longer submissions are preferred, and they are detailed below. But why, do you ask, are they so short? Well, it is amazing what can be intuited about the rest of a piece by a short slice of it.

Advantages of Short Submissions: The writing style of the author can be quickly determined. Have they developed their voice? How is their pacing, sentence structure, formatting, grammar? How do they show emotion? Action, reaction, interaction? Does the short piece capture the attention of the reader? What is the driving force of the scene? Does it move the plot? Short submissions can be read aloud, which aforementioned, is one of the most beneficial experiences a writing group can have. More often than not, focusing on short submissions, (especially if brought in consistently), will also indirectly affect the next section.

Disadvantages of Short Submissions: Here are a few things that short submissions cannot directly capture. How does the overall story flow? What are the main plot points? Are they consistent? Does the story follow an overall structure – such as the three-act structure? What are the overall themes? Are the questions posed at the beginning getting answered in the end? What are the character arcs? How does the protagonist change? What about the antagonist and supporting characters? And the big question, how are all of the aforementioned points addressed in a group that works primarily with short submissions? Keep reading, we’ll get there.

• Format of Meetings: There are usually 10-15 writers at each of our meetings, and 5-7 submissions total. The submitter brings a copy for each of us, (sometimes we need to share), and the submitter chooses somebody else in the group to read it aloud. While the piece it read, we mark up our copies. Some of us are strong with grammar. Others – pacing and flow. Others still – word choice. Tense agreements, dialogue flow, clarity, brevity, transitions… When the reader is finished, each of us take a turn expressing our overall impressions of the piece. And because time is a factor, our finer points are left on the page, to be read by the submitter at a later time. During this time, the submitter must allow the rest of us to express ourselves, but it is very important that we do this correctly. Writing is personal. For many of us, it’s difficult to accept criticism. We are a self-conscious bunch, and when one of us musters up the courage to bring something in, it is the responsibility of the rest of us to be aware of that when offering criticism.

• Difference Between Opinions, Qualitative, and Quantitative Analyses: Writing is an art, first and foremost. But as with any art, there are rules – well, more like guidelines. Grammar and spelling are mostly quantitative – meaning they are hard, measurable rules that do not vary much, except over the span of decades and centuries. (But that’s for a different post.) It is important to know the rules before we can break them, but since writing is an art, there are many opinions on the matter. These are more qualitative analyses, and as close as we can come to becoming scientific, it ultimately comes down to opinion. So this point is important when discussing others’ work. They might not have the same opinion as you, and that’s okay. When offering criticism, speak in a positive, encouraging manner, but always be truthful. Some of us prefer a more blunt method, others need a lighter touch. And it is the responsibility of those who submit to listen. Listen. Do not speak unless clarity is necessary, of if there is a misunderstanding. Our group is a little more open about this than others, as I believe healthy, respectful debate can oftentimes root out the real issues, and get to the bottom of a problem, but this needs to be managed by a facilitator. Someone needs to be in charge who will keep the night rolling, keep the meeting from getting bogged down. This is a must. But still, every member of the group needs to understand that most of what we say is based on opinions and experiences. And we have a variety of members who come from many walks of life, which is fruitful because of the differing number of perspectives. And now, after the critique, it is up to the writers to decide which suggestions they approve, and which ones to discard.

• Change It Up: As mentioned above, short submissions are highly beneficial, but are not the keys to everything. We have featured author nights – where one author submits a long piece ahead of time, and is critiqued before the meeting. There’s the option of choosing Beta readers for finished manuscripts that are discussed outside of meetings. Make a night of discussing outlining, or industry evolution, or story structure. I find that once per month, changing up the format of the meeting keeps the members challenged, increases learning, and sparks highly interesting discussions.

So if you aren’t convinced of the benefits of a writers group by this point, try to join one and see for yourself. It might take some time to find one that works for you, or one that has the right mix of fun and work, or even one that offers critiques in the right manner, but if you haven’t tried, or if you haven’t yet found the right one, keep searching. I recommend searching meetup.com to find one in your area, or start one yourself. And if you haven’t already, check us out at meetup.com/Stonehenge.

Writing is a journey. It’s work, but it is also a passion. Be consistent, know your value as a writer, be realistic about where you’re at in your journey, but keep those passions and goals alive. Never lose yourself, never lose that spark of life you infuse in your work. And most of all, have fun doing it.

Step Up That Game

It has happened!

What, you ask? We’ll get to that in a moment, but first, allow me to show how I got here.

As a writer, my immediate payoff for writing is in fact…the joy of writing. Slaving away those hours upon hours in front of a computer, brainstorming ideas throughout the day, locking ourselves in a closet as we outline…(well maybe not ALL of us can relate to that), all of these things don’t always feel like work. Because face it, most of us write because we have a passion for storytelling, a love of the craft, or a character that keeps pounding on the inside of our skulls, begging to be released onto paper.

But it isn’t all fun and games, is it? No matter how we cut it, writing is hard. Very hard. The first draft of my novel read worse than a kindergarten drawing. My parents thought it was great, but then, they are a little biased, aren’t they? Only after I joined a writers group – Stonehenge – did I understand just how terrible it was.

And then, the real work began.

First, I studied the craft. I learned the basics of grammar – by reading books, practicing what I learned, listening to podcasts, then doing it all over again. And yes, my friends, this was work. A lot of work. I then unearthed the value of great storytelling, discovered the advantage of 3rd person limited versus omniscient. (For those unfamiliar, stay tuned for a post about this.) Learning and practicing. Learning and practicing. It was hard work, but once I felt comfortable with my writing, and felt that it was publishable, do you think I stopped there?

Good guess. No. While continuing to read about and practice the craft, I researched the publishing industry and conferences. I learned about agents, query letters, synopses, pitches, developmental editors, the various forms of publishing…and my head was spinning. How, oh how, was it possible for my baby to get published? Why did I ever pick up the pen? Of all the talent, all the writers in the world, why would I ever believe anything from little old me would be put into print?

Well, I also believe self-doubt, self-loathing is a part of most every writer’s process. Yes, process. And when we find a way to get over this, the cycle repeats. But, that’s for another post…

Above, I mentioned conferences. Browsing on the internet one day, I discovered this thing called San Francisco Writers Conference, and it was super expensive. But the more I read about it, the more I knew I had to attend. I read it was a great way to not only learn more about the craft and industry, but to also meet published authors, agents, editors, and publishers.

So I signed up with an excited, but heavy heart. I wasn’t sure it would pay off. Couldn’t that money be better spent elsewhere? I have a family, mouths to feed. How could I justify paying so much for this little hobby? Well, writing is more than a hobby to me. It is a passion. I strive to learn more, to build upon myself, to make my writing better than I’d ever thought possible.

My lovely wife has always supported me, (though she rarely cracks open a book). But, there are many ways to support those you love. She knows my passion, and she felt justified to encourage me to pursue my dream.

In 2012, I attended the San Francisco Writers Conference. I left renewed, invigorated, and felt more connected to the industry. I met lots of great people, and discovered us writers are one giant, family. I took what I learned back to my writers group, worked on a few more revisions, then decided to go again this year.

This year, in 2013, this year, I did not expect this to happen. With a much improved manuscript, I reconnected with some great people I met at the conference the previous year, and thought to continue to improve upon it even more. I write Fantasy, which is only 6%-8% of the market. But those hopes, those dreams which haunt in the dead of night, those passions that keep my fingers punching the keys, would not allow me to see reason.

The final day of the conference, the awesome Pam van Hylckama Vlieg – book blogger, agent, and social media extraordinaire – offered me representation.

Often times, I daydreamed about that moment – what I would say, how I would feel, how I would act if that moment ever arrived – but none of those dreams compared to the emotion that moment elicited. My jaw was on the floor. I was confused. Could this really be happening? Me? Joe Shmoe? I looked from Pam to my manuscript sitting before her, then back to Pam. And I was still confused.

But yes. She nodded, confirming that impossible notion. And like any unintelligible cave man, all I could say was, “Really?”

Obviously, I’m a writer, not a speaker.

And now the journey begins. I look forward to working with her on the last revision of this manuscript, look forward to the moment she finds a publisher, and I look forward to our many future projects together.

You can find us here: Pam’s Clients

Here are my final words. I wrote a book before I knew how to write. If I can do it, so can you.

Hold Me To It!

January 25th! This is the date I plan to have my beta copy of Eyes of the Eidolon out in print. No. Not “plan to.” Will.

Stonehenge has inspired me over the years to rewrite this manuscript several times over – each marked by significant improvement. At the end of each, I found myself asking, Is it good enough now?

The answer became apparent in the form of subsequent rewrites…

After finishing the first draft of this manuscript, I felt I was not yet a writer, but I didn’t know how to improve. I couldn’t understand the differences between my manuscript and the published works of those many professionals who spent years developing their craft. Fortunately, I found my critique group – Stonehenge. They massaged me with hot coals, diced me up with samurai swords, pounded me with meat hammers, but yet, they never left a bruise. Their honest words, kind encouragement, and realistic critiques allowed me to grow and understand those differences I lacked.

And so, the rewriting commenced. First draft, second draft, third draft, and fourth. Mind you, the original manuscript was 214,000 words. Fifth draft, sixth draft, and now seventh. I read books about writing, then wrote more. I listened to podcasts, then wrote again. I read books outside my succor, analyzed classic literature, studied genres of today, and learned through hard work, time, dedication, and by forcing my mind open to the thoughts of others. I attended writers conferences, met with agents, publishers, editors, and authors…

Now, I know my writing is publishable. The core story remains the same, but every aspect of this manuscript has changed for the better.

Why so many drafts? What was I thinking? I attribute this partially to my perfectionism, partially to my love of writing, and partially to the inspiration of my writers group and friends. But here’s the answer. After finishing the last words of every draft, I read the beginning and found myself saying, (aloud mind you), “Ugh, this is crap!”

Was it crap? I don’t know – I think the first few drafts were, but I continued believing this because I had learned so much over the course of rewriting each version. When I started rereading each, it was ridiculous to think this thing was publishable. Yes, I was down on myself and depressed. I tried to stay positive, but at times it proved nearly impossible. But the love of writing inspired me to continue my goal of perfection. And now I realize, writing is an art. It cannot be perfected. And I must say – as a perfectionist – this idea was very challenging to overcome.

Am I still improving? Yes! And always will! I will never be better than my potential, and this idea does not, nor ever will, depress me. It does not weigh me down. It thrills me. It testifies that I can always improve, that I can always be better than I am now.

But the acceleration of growth has reduced. I reread my last draft and thought to myself, This is pretty good! It’s not perfect, nor will it ever be, but for the first time, I am satisfied with it. I am satisfied with the writer I’ve grown into. I know my voice, have a definitive style, and understand so much more than I thought possible.

January 25th! Hold me to this promise. Bug me. Prick me with red pens until I turn black and blue. The paper copy of Eyes of the Eidolon will be available to my beta readers by this date. I look forward to your unique perspectives, inspiring views, careful hands, and final words. Thank you all for the gift of learning.