LET IT GO--- FROZEN writing tips

I've now seen the movie Frozen about 1,243,438 times.

Okay, maybe not that many.

But it's close. Much too close.

I've even seen it once in French, because my eldest daughter is facinated with the language and has vowed to learn how to sing ALL the songs in French.

I can't tell you how much that excites me. (Insert sarcasm here)

For some reason, this movie has taken hold of the hearts of children and adults alike. While there is such a thing as too much of a good thing, what is it about the movie that has made store shelves empty of the DVD?

And what can we learn from that for our writing?

Well, the first thing we can't replicate. Frozen has some amazing songs that caused even some super fun weatherman to mimic.

But catchy music aside.... there were several WINNERS about Frozen that helped make it the HIT that it was.

1.) Comedy. While most Disney "princess" movies have a few slices of funny in them, Frozen had more than most. It was FILLED with them, even though the movie itself wasn't a comedy at all. Some of our families favorites:

Olaf. Need I say more?
Ana walking like a penguin in her frozen dress.
The talking Sven.
The adorable trolls trying to matchmake:-)
"What if you hate the way he picks his nose.... and eats it?" "EWwww" "All men do it."

Those are just a few:-)

Regardless of your genre (except maybe thriller...), putting a couple natural giggle moments is a fantastic way to retain your readers attention. Giggle moments stay in our head almost as much if not more than deep emotional moments.

2.)  GREAT dialogue. I don't think there was one moment in the movie where the dialogue seemed unnatural. There were some GREAT lines in there...

"Just roll with it..." (Kristoff talking after the rocks rolled in and turned to trolls)
"If only there were someone out there who loved you..." (The turning point where we find out that the prince is not so prince-like afterall)
"Someone has to tell him..." (Kristoff talking to himself after Olaf's Summer song)

And probably my favorite... "Some people are worth melting for."

There were so many great lines in the movie, I couldn't possibly list them all.

Great lines are memorable. And we want memorable lines of dialogue in our books too!


3.) Romance. I've said this for years and I still remain true to this point. Romance makes every story just a little bit better. Obviously I write romance, so my books are going to have this as a central theme, with other things such as suspense and drama playing an important secondary roll. But even if you aren't writing romance, adding a sprinkle of romance to your novel can serve to be a wee bit of zing that helps your book be memorable.

4.) A takeaway. Spiritual theme. Frozen's theme was that an act of true love is more than true loves kiss. It is sacrifice. Risking ones self for the sake of another. That true love can thaw even the most frozen of hearts. While romance is a lot about love... love isn't all about romance. It's one of the things I loved about the movie, the hero's love didn't save the day (although he absolutely helped) but Ana's love for her sister is what saved the day.

5.) Speaking of heroes.... Kristoff was pretty cool. A GREAT example of an imperfect hero that you grow to love. He's an orphan and super rough around the edges. He begrudgingly helps Ana instead of being the over the top prince who dashes off to save her. (In fact, THAT guy ends up being a total dweeb.) He's real and has real issues... and loves his sled just a wee bit too much... but his redeeming qualities totally make up for it.

6.) A REAL heroine. She wasn't perfect. She's flightly and impatient and a bit cocky at times. But she's also fun and energetic and has charisma. And in the end, she lays down her life for her sister.

7.) A loveable villain. Elsa. A villain of sorts... but we love her. We don't want her to get hurt, but we want her to fix her mistake. She has a reason she is how she is, it's not really her fault, but then again, it is. If she'd just told Ana... then her sister would have understood and not provoked her, right?

8.) Suspense. Just like Romance, a little suspence, even if not the main thread, makes every story a little better. How were they going to stop winter? We thought we might know.. until we realized who the TRUE villain was.

9.) Body Movements. This is one of the things I noticed in Frozen that I don't remember in a lot of other animated movies. One moment in particular, when Elsa had just built her castle of ice, she was walking out to the balcony and her hips sashayed as she sang. That little movement told me more about what she was thinking than even the song itself. She was owning her power, her womanhood. It was her moment of throwing off everything she'd been taught and deciding she was her own woman.

That is something we can definitely do in our writing, and I confess. I forget about it myself. The importance of a flick of a wrist, a hand on a hip, a chest puffed up, shoulders sagging, or even a simple clenched fist. These all can SHOW our characters feelings without having to tell them. 

10.) And yeah. Great songs. I think maybe I need to make my song-writing hubby write me a song for a book trailer or something. It probably won't be Frozen quality... but hey, never hurts to try, eh?

Let it go... Let it go......

Sorry.

Discussion: Did you catch the Frozen craze? What are some of your favorite dialogue or comedy moments? Any story-writing lessens you learned?

Highlights from the Blue Ridge Mountains Christian Writers Conference-2011

Hello Writers Alley,

It’s me – Pepper, and I’m delighted to share the highlights of my visit to the Blue Ridge Mountains Christian Writers Conference two weeks ago. This was my fourth year at Blue Ridge, where each year I attend as a day guest because the conference is about an hour and a half from my home in TN.

Nestled in the beautiful Blue Ridge Mountains, just east of Asheville, Ridgecrest Conference Center might be a bit unexpected for this growing conference, but it’s the perfect place. Beautiful, quiet, with friendly people at every turn.

I was so pleased to recognize lots of faces this year, as well as be recognized by fabulous authors like Deb Raney, DiAnn Mills, and Jim Rubart. Getting to meet new authors like Edie Melson (we’d met last year, briefly, Gina Holmes, and Ramona Richards was another treat. And waving to familiar aspiring authors like Lisa Carter and Lori Roeveld. Oh what a blast. And this year there was even more courses , agents, and editors  than last year.

But I’m rambling (no surprise). I wanted to give you a few of the highlights.

I was only able to attend 2 days – so I tried to pack as much in as possible. I attended DiAnn Mills, Writing Romance That Sells course, Ramona Richards Writing a Lady to Love course, and returned to DiAnn Mills for Writing Dialogue.

From Writing Romance That Sells:

1.       Characters are vital. We remember well-written characters. KNOW THY CHARACTER!!!!

2.       DiAnn suggests filling out a detailed character chart on each character, and filling out the Myers-Briggs personality test for each of your main characters. It gives important information that makes your characters more three-dimensional and complex.

3.       What are some things that make a ‘selling manuscript’?

a.       The triumph of a character through pain to fulfillment

b.      Unusual plots with your unique ‘spin’ on them

c.       Transforming love that makes each main character better people

d.      Witty dialogue

e.      Emotive conflict

f.        Satisfactory ending

4.       Each page in your manuscript must have some type of conflict

5.       Your protagonist should initiate the action rather than be a victim*** (I liked this one. Readers like strong, independent women)

6.       Quick look at 5 Plot Elements

a.       A sympathetic character (make us care)

b.      A problem arises resulting in conflict (make us desire something)

c.       Conflict must have twists and turns, and character must grow (make us have to fight for our desire)

d.      A climax must exist (make us fight to the finish)

e.      Resolution (make us meet our goal, find our treasure, recover our lost item, get the guy, etc.)

A Lady to Love – this class was absolutely awesome. If you get the chance to sit in on it at a conference near you – DO IT! (here are some highlights)

What makes a woman unforgettable? Scarlett O’Hara, Marion Ravenwood, Jo March, Hester Prynne, Vivian (from Pretty Woman)

1.       All of our current movie heroines descend from Cinderella

a.       A young woman struggling against her environment

b.      Breaks free of the conflict because of her personality

c.       Finds her way to break out

d.      End of story resolved well

2.       What type of woman should we write?

a.       One who cares deeply

b.      Independent

c.       Women who face immediate conflict

d.      Smart

3.       Three conflict for your heroine:

a.       Environmental Conflict (something you can ‘see)

b.      Internal Conflict (something within the heroine)

c.       Interpersonal Conflict (with others)

4.       Heroines are one of 7 personalities:

a.       The Boss (ex. Queen Elizabeth I) a ruler

b.      Seductress (ex. Scarlett O’Hara)

c.       Spunky Kid (ex. Meg Ryan in most of her movies) ‘girl next door’

d.      Free Spirit (ex. Lucille Ball) – follow their own path; ultimate hippie

e.      Waif – ‘Ultimate damsel-in-distress’

f.        Librarian – control freak, prim, proper

g.       Crusader – (ex. Marion Ravenwood from Indiana Jones) adventurer

Most heroines have a basic personality of one of these, with another type or two layering over the foundational one.

Okay, I’m going to stop for now. I have so much information – so many notes, but I’ll just have to save those for next time. What would you like to hear more about? Writing romance? Writing Dialogue? Writing heroines? The dance of character and plot?

Or would you like to learn more of the basics? What are conferences like, or specifically the BRMCWC?

Character Sketches with Eccentricity

Today, I want to talk to you about ECCENTRICITY!! One of my favorite words, and one of the things that makes for memorable characters. So….sit back and get ready for a LOOONGER post than usual, but hopefully a fun one :-)


Modern day television shows have quite a few examples. Shows such as The Mentalist, Monk, Big Bang Theory, all play with eccentricity of characters. It adds humor and interest to who those characters are. They 'stand out' in the crowd.

As far as classics go, Dickens wrote all sorts of important eccentric characters.

So what does ‘eccentricity’ mean when referring to character development?

Extremes. Out of the ordinary. Fierce passions. Unusual mannerisms. Odd humor. Larger than Life.

In a word: Different.

Very few people point out the individuals who blend into the general masses. It’s the ones who don’t fit in that stand out in a crowd.

Scarlet O’Hara wasn’t like the other ladies – she had a fierce passion about her land…and herself. She had an eccentric drive to marry Ashley Wilkes. Why? I’m still trying to figure that one out, but her passion gave her a uniqueness.


Elizabeth Bennett stood out from her sisters because of her wit, intellect, and independence. She may not have appeared as ‘eccentric’ as someone like Edward Rochester from Jane Eyre, but the reader is drawn to her vibrant personality. It was ‘different’ from those around her.

So, the main point of writing eccentricity, is to make your character 'stand out' in some way or other. Different than the rest of the people on the page.
Well, my writing can’t compare to the classics, but I want to introduce you to some of my eccentric characters.

Here’s the paragraph synopsis of my novel Here To Stay.

Eisley Barrett is a single-mom of three, who has no intention of putting herself in jeopardy of heartbreak again. When her husband traded her in for a younger version, she determined to steer clear of romance unless it was safely tucked between the pages of a book. But when a gift from her parents sends her to England to research her ancestry, she runs face to face into a wounded heart’s worst nightmare, costume-drama actor Christopher Wesley Harrison. Will she be able to solve the 400 year old mystery of her ancestor without losing her heart in the process? And if romance is in the air, can it survive a culture clash, a devious ex-girlfriend, and an Appalachian family with loads of humorous plans of their own?

When Eisely started forming in my imagination, I went in search of a picture of her. The closest I could get was Amy Adams, and Amy's personality suits my Eisley character too, so I got a two-for-one special :-).

Now…my hero was A LOT easier. Already had him in mind before the story began. British heartthrob Richard Armitage.

‘Seeing’ the characters helps me when I write – but having a visual is not a necessary tool. If you pay attention to some of the classics, detailed physical descriptions are hardly given.

In more contemporary novels, Mary Connealy doesn’t do a lot of physical character descriptions, but still her characters are gripping – because she spends her time on what counts most. A character’s CHARACTER :-)

So – to get on with it…

Eisley is a hyperfriendly personality, who has a tendency to say whatever is on her mind. That can get her into trouble, but it can also be endearing. Her father is a lot worse. Larger than life. I LOOOOVE writing him.

Let me give you a few excerpts so you can see what I mean by adding eccentricity in small doses. This first scene is where Wes and Eisley are investigating a 16th century tower in search of clues to Eisley's ancestor.

Dust swirled into the gray-gold rays of morning light filtering in through the vine-draped windows. Three windows rounded this room, allowing more visibility, but there really wasn’t much more to see. A few sconces lined the walls, a cross shaped one and then two oval ones, but other than that…nothing, not even another doorway.


“It doesn’t seem right, does it?” Wes walked to one of the windows and peered out. “The tower appears taller than this, but there are no stairs.” He glanced up at the ceiling. “No attic door or ladder.”


Eisley searched again, crossing the room to stare out another window and then back at the near-vacant room. She fought the urge to stomp her foot like a four-year old. Disappointment was never welcome. “Do you think there’s a secret door or something?”


Wes shrugged. “Where would it be? The only thing in this room is a bookshelf, a fireplace, and a bed?”


Eisley studied the sconces and finally touched the cross-shaped one, the metal cool under her fingertips. “Well, sometimes if you turn a lever, it will open a secret door.”


“Did you get that idea from Indiana Jones?”


She grinned at Wes' crooked smile. “Actually I was thinking more along the lines of Scooby Doo, but Indiana Jones works too.”


"Sorry, I don’t have the magic of animation at my fingertips today. Do you think your ancestors from the 16th century knew those rules when building the tower?”


Eisley ignored the challenge in his lifted brow and tugged at the sconce. “You’re hilarious. Sure you’re ancestors weren’t from the jester line?” The sconce didn’t budge, so she tried to twist it. It loosened under her grip, inflaming her determination. She grabbed with both hands and POP. The sconce shot through the air an inch from Wes’ head, and imbedded itself in the wall beside the bookshelf.


Wes ducked just in time, his eyes wide.


“Oh goodness, Wes.” Eisley covered her mouth with her hand and ran to him. She could see the headlines now, 'Actor Christopher Wesley Harrison found dead in a 16th century tower. Clumsy American held responsible'.“I’m so sorry. I almost decapitated you.”


He threw up his hands in surrender. “I know that was the habit of the 16th century, but let’s not regress, shall we? I surrender. No more sarcasm.”


Eisley rolled her eyes and walked passed him, lightly punching him on the arm. Maybe she could be just friends with this guy. Maybe all this attraction would just disappear if she ignored it long enough. “Don’t loose your head, cutie, I wasn’t aimin’ for you.” \

The sconce stuck out from the wall? Eisley leaned closer. Or the bookshelf? How did it get stuck in a rock wall? She fisted it and tried to wiggle it free, but it was wedged. 

 “Eisley, do you feel that?” Wes was beside of her, his voice by her ear. Close.


“What?”


He took her hand and placed it just above the spotwhere the sconce disappeared between the bookshelf and the wall. Frigid air cooled her palm. Wes’ gaze locked with hers.

“The air…it’s coming from somewhere.”


“Exactly.” His face was inches from hers, lips tilted even closer. Her eyes flickered down to them and back up. Heat crept into her face and her breath must have gotten caught in her throat somewhere, because it wasn't making it into her lungs. Friends? Maybe not.


Wes wedged his fingers behind the bookshelf and pushed, then pulled. After the third attempt, the click of a latch released and a crunching noise followed by another loud click. The shelf creaked forward to reveal another set of stairs.

A subtle way Eisley is eccentric is her wide-eyed wonder. The fact that she’d think ‘Scooby Doo’ instead of ‘Agatha Christie’ is a bit of characterization through eccentricity. Plus, her internal dialogue brings out her innocence and struggle.

Okay – here’s one of my favorite characters. Eisley’s dad – a mountain man who is determined to protect his daughter’s heart from another jerk…so Wes gets put to the Daddy-test :-)


Here is Wes and Nate’s first meeting and then another small excerpt to give you a little of Eisley’s mom’s personality too :-) Btw, I see Nate as an older Jon Hamm and her mom, Kay, as Michelle Pfieffer. It helps with description, plus when you see the characters acting, it gives great ideas for describing their movements.


He stood about an inch above Wes, his hair a medium brown, and his body boasted hard labor from one massive shoulder to the other. A tennis ball sized lump gathered in Wes’ throat, but he squared his own shoulders and offered his most charming smile. Or at least he hoped it was charming. It felt a bit stiff at the moment.


“Nate Jenkins.” The man extended his hand and gripped Wes’ in an iron hold. “I gotta bone to pick with you, boy.”


Wes stuttered. “Pardon me?”


“How dare you bring some Ford pickup truck up my driveway? Don’t you know that’s almost criminal? We’re Chevy people ‘round here.”


Wes hoped for comprehension, but Ford and Chevy strung between the word driveway left him at a loss, and the half-furious look on Nate Jenkins’ face didn’t help.


“Don’t’ mind him, Wes. He’s just territorial.” A petite woman, light hair curled up in a bun and pale blue eyes glowing, stepped forward and took his hand, her smile as welcoming as Nate Jenkins’ frown was discomforting. “We’re real pleased to have you here. I’m Kay Jenkins.”


“It’s a pleasure, and thank you for allowing me to stay with you.”


Nate’s grin lifted, viciously. “Best way to keep your eyes on your enemy, ya know.”


Wes met the challenge, their gazes locked for a few seconds. “Well, I don’t suppose you have any enemies within close proximity at present, Mr. Jenkins.” Wes felt his smile tilt and the corner of Nate’s moustache twitched.


“Mr. Jenkins? Oh naw, you can’t go ‘round callin’ me that. Only my wife can call me Mr. Jenkins.”


Kay rolled her eyes and produced an apologetic grin.


“Hey, daddy, did you see how the dogs took to him.” Emma knelt down and ran her fingers through the retriever’s golden fur, her smile still in place. “You always say dogs know a good person when they see one.”


Nate jolted Wes entire body with a firm pat to his shoulder. “Even dog’s can have an off day, huh Wes?” Nate shook from laughter and pointed to the three younger men scattered nearby. “We was just fixin’ to start up a game of football, now that everyone’s here ‘cept Eisley. We didn’t tell her to come ‘til 12:30 to make sure you’d get here first, so you got…hmm…’bout an hour.” Nate’s expression turned lethal. “Lots can happen in an hour, can’t it, boy?”


Wes hoped Nate didn’t notice the tension in his smile. He’d never appreciated his acting lessons so much.


“Don’t you worry, Wes.” Kay patted his arm and whispered. “He’s not as mean as he looks.”

*** (here is a quick discussion about football later in the scene)***

“It seems in soccer one mostly uses ones…feet, thus the reason why the British refer to it as football. From my limited experience, in American football one tends to use one’s hands for the most part.”


“Naw, naw.” Nate shook his head and steadied his hand on Wes’ shoulder. “Football’s all about strategy.” He pointed to his forehead and then chopped the air with his hand. “You use your brain to really get the job done right.”


“And a few three hundred pound linebackers help too.” Greg started off at a run to catch the football from Brice.


“Similar to rugby, but I notice you throw the ball forward, not back? In rugby, a forward throw is illegal.”


“Boy, this ain’t rugby…this is football.” Nate spoke with the conviction of a preacher.


“Be nice, Daddy.” Emma called from the veranda with Kay sitting beside her on the steps. “He’s not used to your way of playing.”


Nate’s head jerked up and he patted his chest. “Nice? I’m always nice.” He looked at Wes. “You just ask my little wifey over there. I gotta heart of gold, right honey?”


Kay looked up. “Did you say as hard as gold?”


“Humpf!”

YOUR TURN – how are your characters eccentric? Maybe everyone else in your novel is eccentric except your hero or heroine (which would make them the ‘different’ one). Got any examples? Quirks are good too. Eisley talks with her hands when she’s nervous – to the point of knocking stuff over.