Melody Plotting Along with Disney - The Song of Hope

Welcome to the second part of my series, Melody Plotting along with Disney, where I’m taking the general ‘songs’ in Disney movies and applying them to novel writing.

As I said before, Disney is brilliant at using songs to portray the emotions and forward motion of its stories. The first post discussed the Song of Longing. You can read about it here:

The three song-types I'm discussing are:

Song of Longing

Song of Hope

Song of the Antagonist/Villain

And I might end the series with a Happily-ever-after post, but for now, we’re going to talk about the second ‘song’ we can learn from as authors. 

The Song of Hope.

In almost every Disney movie (especially the ‘princess’ ones) there is a Song of Hope. This song is the moment when the ‘longing’ (from the first post) seems like a real possibility for the protagonist or it shows a ‘change’ in the protagonists previously ‘hopeless’ circumstances. Lots of times, it involves a love song of some sort. It’s the ALMOST-but-not-yet.

http://www.zastavki.com/eng/Cartoons/wallpaper-27238.htm 

A few examples?

A Whole New World from Aladdin – Aladdin’s song of longing to be seen as more than a street rat is realized in the carpet ride with Jasmine. (the fun doesn't last long as Jafar has him kidnapped right after he lands Jasmine on the balcony)

At Last I See the Light from Tangled  displays Rapunzel’s deepest dream of her heart, she finds hope in being with Flynn. (Yet again, it doesn't last long before Mother Gothel and the gruesome dudes mess things up.)

Belle and the Beast have a clear ‘change’ in their relationship when they sing Something There that Wasn't There Before, followed pretty quickly by the title song, Beauty and the Beast. The adventure and romance Belle had been searching for became a possibility. (But when she leaves to rescue her father, the tables turn and the beast’s life is in danger)

Kiss the Girl clearly displays the hope Ariel has to be ‘kissed’ by Eric and gain her voice back, as well as her future. Her dream is literally a pucker away, but due to the magnificently maniacal Ursula, a hurricane of trouble is soon to follow.

Frozen succeeds in flipping this idea on its head by giving Ana false-hope through the song, Love is an Open Door, while Elsa’s song of hope is the extremely popular, Let it Go. Ana believes her longing from For the First Time in Forever has been revealed in Hans (boy, is she wrong) and Elsa’s biggest fears represented in the same song are replaced by her new-found freedom from her ‘concealment’ of her magic.

If we want to switch gears and look at popular movies?

The Song of Hope in a movie like Titanic is the night Rose and Jack spend together dancing, painting…and other things. There is hope that Rose will no longer be confined by the expectations

placed upon her – it’s a taste of her dream-come-true. But only a taste. We’ll discover near the end of the movie, she has to make that final choice to bring her dream to reality.

The Song of Hope in The Princess’ Bride is when Wesley and Buttercup are reunited before going into the Fire Swamp. Sure they’re almost killed by lightning sand and R.O.U.Ses, but they’re together. (but the sweet happily-ever-after moment ends as soon as they get through the swamp and come face-to-face with Humperdink)

In my historical romance, it happens after a horse-riding incident that ends in a kiss. In one of my contemporary romances, it happens in a tower that ends in a kiss.

Do you know what the Song of Hope is for your story? Is there a part of your novel where the protagonist realizes his/her dream is possible, almost palpable? The Almost-but-not-yet part of your book?

Would you like to share?

Hello Characters, Please Be Charming

Have you ever looked at your main characters and thought, "If only I could make you more interesting"? I know I have, especially when I'm writing the first draft and still trying to figure out all the quirks of my main characters.

Pepper wrote an amazing post last week on a similar topic after attending Susan May Warren's course at the Blue Ridge Mountains Writers Conference. I loved her idea of interviewing your characters to get to know their deepest thoughts. What a great method to use to discover the lie your characters believe about themselves and how you can use that lie to shape the plot.

So let's say you've taken Pepper and Susie's advice, and you've peeled back those layers your main characters have. What is the next step? How do you convey those deeper levels in the story itself?

This is something I've struggled with in my own writing. My voice tends to be more humorous and lighthearted, so at times I have to really make a conscious effort to step back and add in those deeper elements to really hook the reader's emotions. So, I thought I'd make a list of strategies we can all take to really pull out those layers and convey them in our writing.

1) External structure should mirror your internal character arc. A great DVD set I recently ordered on this topic is The Hero's 2 Journeys by Chris Vogler and Michael Hauge. Try to make sure all your turning points allow us to see a change in your character's internal arc. Really use those turning points to ramp up the characters' emotion as well as the reader's empathy. On the same token, strategically choose turning points that will allow you to do this well. If your character is afraid of heights, put her engagement ring on the top of the Empire State Building. If she wants to be on Dancing with the Stars... well, you get the idea.

2) Be sure your characters' reactions are appropriate. Give your characters something to react to. Think of it this way: would you find a ten foot hole in the middle of the street? Probably not, unless the Creature from the Black Lagoon showed up. You might, however, find a small pothole. Your narrative is the same way. You can give readers little glimpses of that lie your characters believe, but be sure you give them a major moment in the plot before letting them fall into a giant emotional hole.

3) Use secondary characters (in addition to plot points) to generate emotion. Secondary characters are great because they give us a lot more leeway in what we can get away with, both with their personalities and subplots. They can make terrible choices or be hilarious, and these characteristics give us a lot to go off when adding dynamics to our main characters' story lines. So when it comes to secondary characters, be creative in how you develop their interactions with the leading ones. And also be creative in how you allow your main characters to react. Think of the friend who's in a bad relationship, the one who's too obsessed with her job, the one who's flying to Africa to chase a guy.

4) Above all use, follow your heart. Allen Arnold, previous VP of Thomas Nelson and now with Ransomed Heart, always emphasizes this point, and I love the blog he wrote on this topic recently. Though he, of course, uses much less frilly language than "following your heart" because, let's face it, that's kind of a southern belle thing to say. The point is, God has written certain ideas and themes on your heart and into your story. You might not even realize that yet, but they are there-- I promise-- just waiting to get out. These inspirational messages are unique to you, to your calling, and it's very important that you trust God to let that out. Your story matters. Your. Story. Matters. So let your characters show that truth.

On that same note, sometimes it's really easy to hide the deeper layers of our story because we are afraid of rejection. Rejection stings, doesn't it? And after a while, it can be really easy to hide behind all the critiques we've gotten over time. (Side note: surround yourself with people who encourage rather than discourage you when they challenge your writing.) But if we aren't willing to be vulnerable first to our characters and then to our audience, what kind of story do we really have? So be brave and believe in your calling. Some people might not like it or get it. That's okay. It's not their calling. And the only life you're accountable for living, the only story you're responsible for telling, is your own.

I want to hear from you! What are your thoughts? How do you deepen the characters in your writing? Do you have any questions or advice to share?

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Ashley Clark writes romantic comedy with southern grace. She's dreamed of being a writer ever since the thumbprint-cookie-days of library story hour. Ashley has an M.A. in English and enjoys teaching literature courses at her local university. She's an active member of ACFW and runs their newcomer's loop. When she's not writing, Ashley's usually busy rescuing stray animals and finding charming new towns. You can find Ashley on her personal blog, Facebook, and Twitter. She is represented by Karen Solem.

Meet Me at the Movies: Plotting with Indiana Jones

Welcome to the Movies!!!!

Put on your brown Fedora, pick up your whip, don your best sarcasm, and watch out for snakes, because we’re going to look at Plotting Tips from Indiana Jones.

Not your typical movie for plot points, but I like being unique - and I'm a big Indie-fan. I particularly want to focus on movies 1 and 3 (the other two weren’t all that great IMO) – but Indie’s premiere movie and especially The Last Crusade have some great plotpoints to teach.

So why do we like Indiana Jones? (besides the obvious ;-) or at least, why do we find Indiana memorable?

I think there are lots of reasons: Indy is a strong character. He has a sense of humor, is confident, an expert in something, and he’s quick to risk himself to save others – he’s also vulnerable and flawed. Which make this ‘larger than life’ character more believable. But another reason why I LOVE the Indiana Jones movies is because of the plot - (the action, adventure, suspense, and world travel ;-)

Let's start from the beginning - How do we meet him? In the opening scenes of Raiders of the Lost Ark, our whip wielding hero is walking through a jungle in search of a cave with a golden idol, a historical artifact. There is a feeling of danger. Uncertainty. Forboding.

 Within the first 10 minutes of the movie, Indy is nearly shot with a pistol, jabbed with a poisonous dart, dropped into a deep cavern, flattened by a rock wall, and squashed by a giant boulder. He’s had to use his expertise in archeology to get through booby traps, save treacherous guide’s life twice, outwit his nemesis, while sporting his sense of humor. Whew...what a beginning!

Most stories don’t start off with this much action – except maybe Mary Connealy, Brandilyn Collins or Steven James’ stories. Many novels begin with proposing a sense of uncertainty to the reader - whether it is by peril, attraction, or change.

But action alone doesn’t make a great story. Or perhaps I should rephrase this statement-
meaningful action makes a great story (and action can take both external and internal forms)

Most people will say that fabulous characters drive a plot line. Yes – that’s true. Fabulous characters are the heartbeat to a good story, but plot is the pathways by which the characters give life to the story.

In fact, I like to refer to plot as the character of the story.

Is your plot an aggressive character? Furious? Serious? Funny? Suspenseful?

Does it grow and expand like any good character should?

So how do we string meaningful action together to make a lingering plot?

1.       Begin with a BANG. HOOK the reader.

Indie movies have no trouble offering a beginning ‘hook’. All stories need to be 'caught' by the story from the very beginning. Sherrinda had a great post on this recently that you can read here. I also wrote one a while back that you can read here.

2.       Don’t just keep the reader on his/her toes, but give the characters a purpose that drives the story.

A plot is usually built around a bigger story. In Indiana Jones, the overarching problem is that Adolph Hitler wants to rule the world and one of the ways in which he’s seeking world domination is through the collection of religious artifacts. His hunt is the catalyst that initiates Raiders of the Lost Ark.

It's true for most stories. There is an overarching event driving the plotline.
In Ruth Logan Herne's newest novel, Small Town Hearts, the overarching external goal was establish a candy store - but this goal drove the plotline throughout the story.

The reason I like Indiana Jones and The Last Crusade more than any other Indie movie is because (along with the hooks, cliffhangers, plot turns and such) there is a deeper character development. A deeper story of healing between Indie and his father, as well as a deeper growth inside Indiana. It's almost like a discovery of what true 'worth' really is.

3.       Enhance your characters through a perfectly placed plot

Plots usually bring out a characters past wounds for them to battle or reconcile. For Indie, it’s either his past with Marion or his hurt with his father.

Plots initially ask questions that we answer throughout the story. First questions: Who is this guy?

 What’s he doing? Why is he doing it?

Then the questions become more complex – how will he solve this external goal? The internal one?

A good plot keeps the viewer/reader constantly asking new questions.

How will he get out of this? Will Marion and Indie survive, let alone be together? How will he save his father’s life? Who is the traitor? What will Indy choose, the grail or his life?

As long as the questions keep popping in the reader/viewer’s brain – they’ll stay engaged in the story.

Plots stretch our characters into someone new and better.

Good plots put your characters in places that challenge who they are, what they believe, and maybe even their physical stamina. There are lots of life-threatening situations that take place in Indiana Jones movies such as gunfights, fistfights, boat fights, car fights, burning Scottish castles…you know, the regular stuff ;-) But even if you don’t use such action-packed situations in your novel, you can still place your characters in plot situations that stretch them.

When our characters are challenged, we watch them grow.

Plotpoints to remember:

1.       Frame your scenes (or chapters) with hooks. Catch your reader with a hook at the beginning and then leave them wanting more at the end. (I love trying to do this for EVERY chapter. So much fun)

2.       Shove your characters out of their nice, predictable lives into a new adventure, discovery, opportunity, or trial. (in the Last Crusade it’s when Indie finds out his father has ‘disappeared’ and he’s forced to make a decision to rescue him)

3.       Build the conflict as the story grows. The best stories have both internal and external conflict building at the same time and meet at the climax of the novel. In the Last Crusade, it’s when Indy’s father is shot and Indie must test himself and his faith to save him.

4.       Embrace the unexpected – unexpected turns in the story increase interest and tension. Most authors will tell you to send your characters in places they would never choose to go – or to make choices they would never make on their own.

5.      Character is built through trial - Your plotline has to place your characters in situations where their personalities go deeper than the superficial. Remember, most times we’re only shooting for a happy ENDING – the rest of the story needs to stretch those characters to their limits and beyond. The most memorable characters were forced into change and self-reflection due to circumstances.

And for fun - I found a great blog post called The Indiana Jones Guild to Achieving Your Goals.

And you can purchase your very own Indiana Jones hat at www.shoebuy.com or

Share a part of your plots in your WIP to let us know how you’re doing one of the above things in your story

I just finished reading Mary Connealy’s newest book, Out of Control, and it sets the stage for some wild action (both internally and externally). What is one of your favorite page turners?

Popcorn, a soda of your choice, plus a fruit salad are out. Enjoy the show! J

pictures courtesy of http://movie-wallpapers.org

Setting Manuscript Goals

With each new manuscript I write, I learn more about myself as a writer. I learn my strengths and weaknesses, and basically what makes me the most productive as a writer. And we all know as writers, being productive in every sense is a good thing.

So what are good goals to set before beginning each manuscript in order to be the most productive we can be?

Word Count

Before I begin writing, I estimate approximately how long I want my novel to be. It doesn't have to be exact, though a general range is a great idea. I also estimate the approximate day I want my novel to be finished, and from that I establish a word count goal I need to meet each week in order to finish that novel on time.

For my current WIP, I made a spreadsheet for the first time with Xcel. With it, I am able to simply and quickly input my progress each day and let it tally (weekly and overall) my progress. It's been a great tool to keep me on track.

Know the Story

Whether a beginner or a long-time writer, being more productive with your writing time means knowing your story. For some of us, extensive plotting is involved and for others, it's a lot more basic.

Regardless of how extensive our approach, there are a few elements of a story it truly helps to make a goal to know before beginning.

Goal and motivation for main characters - it doesn't have to be a major outline or character sketch, but at least a general sense of what our characters want and why they want it.

A general feel for the direction of the novel - major plot points and even a vague idea of the ending.

Your purpose in writing the story - to reveal a theme, to entertain, to touch readers, etc.

Small Goals

I've learned some of my weaknesses as I move from one manuscript to the next and one of my big issues is repetitive words. I've begun keeping a sheet of words I use too often so that I can either try to avoid them or be able to look for them when I'm doing the edit.

We all have our weaknesses, so being aware of them is so valuable. And...that brings me to the next goal.

Improving From the Past

Again, we learn from each manuscript we write. Becoming aware of these mistakes, whether through our own realization or through advice from critique partners or editors, is so beneficial as we continue our writing journey. We can make general or specific goals to grow from what we've learned and make every additional piece of writing better than the last.

These are just a few tools I use as I begin each new story. I'd love to hear goals you set as you begin each new manuscript, and what helps you to be as productive as you can be.