What I Learned About Writing from Star Wars: The Force Awakens

I had a nice, outlined blog post for you about 2016 goals. But then I saw Star Wars: The Force Awakens for the second time today, and my post has officially been hijacked by my nerddom.

There are major, major spoilers ahead, so if you haven't seen it yet, 1) bookmark this post for a later time and 2) get thee to your nearest movie theater!

This was my first Star Wars movie to view with fresh eyes since I began my journey to publication, so naturally in was the first in which I paid attention to the writing. Here are the writing tips this movie affirmed...

And, I repeat, there are major, major spoilers ahead! 

1) First, it's okay to include popular story elements as long as you do you and as long as you do it well. I read somewhere that there are really only a handful of plot lines in existence when you whittle them down to their bones. The Force Awakens "borrowed" a lot of similar themes and events from its predecessors in the series -- maybe not exactly, but close -- which I loved. In particular, the father vs. son theme stood out to me. Han Solo and Kilo Ren have the whole good vs. evil dynamic working for them just like Luke Skywalker and Darth Vader did. Han's death also mirrored the statement Darth Vader made in the murder of his mentor Obi Wan Kenobi in A New Hope. Another example? The Death Star vs. the Super Star Destroyer. Same spherical weapon station, different day.

I'm going to go out on a limb and assume you haven't been commissioned to pen the next installment in a beloved series, so I'm strictly speaking of story elements and structure and tropes. They can be similar in format to others you've read as long as you put your own original, compelling spin on it and spin it well. You have a great opportunity to draw readers in through your characters and what's led them to this point. Many who are familiar with certain patterns and rhythms in fiction love the predictable nature -- or at least seeing where the writers take it. But this also gives you the opportunity to tastefully weave the unexpected into your story to give it punch. The wow factor. Like a female-for-once protagonist with a lightsaber who kicks some serious booty.

2) I also realized that you have to put as much thought into your villain as your protagonists. I don't write suspense or mystery, but I think this applies to any kind of antagonist. The best kind of villains in my book (the figurative one) are the ones who garner my sympathy even though, on paper, they might not deserve it. I loved the dimension they gave Kilo Ren and can't wait to see what they do with him. His parentage, his betrayal, the devotion to Darth Vader, the fear that he doesn't have what it takes to complete his training.

Since we don't have the three-dimensional benefit of phenomenal acting, we have to convey our antagonists' motivations, goals, and layers in dialogue and our heroes' observations during their interactions. Doing this effectively creates a higher contrast between antagonist and protagonist, raises the stakes, and makes the plot all the more riveting, in my opinion.

3) It's important to be willing, as writer, to obliterate the path to happily-ever-after in order to maintain authenticity. 

Were you surprised that, despite their happy ending at the conclusion of Return of the Jedi, Han and Leia were separated decades later? I'm not, to be honest. Unfortunately, the real-life statistics are staggering for marriages after the loss of a child. In grief, the amplified self-preservation instinct can be devastating for a relationship as people deal with a loss in their own way. I'm glad the writers chose to mirror reality for many, because even though it was shell-shocking and sad, it felt real and authentic.

At the end, we want our characters to find peaceful resolution. But it doesn't always have to look like a fairy tale to be a happy ending.

4) Readers can fall in love with your characters from the start, and you don't even have to completely destroy their mystery in the process.

Let's begin with Rey. The story introduced her by showing her daily life with purpose. Though wordless, it spoke of hard work with little return on investment. Hunger. The desperation in scratching the day's tally mark into the wall of her abandoned AT-AT walker dwelling. We later learn, through her conversations, that she's waiting for her family to return after a long absence. We learn through her actions that she's loyal and determined to get the droid BB-8 back where he belongs.

Similarly, Finn's first sequence reveals his internal conflict with the life of a Stormtrooper, unwilling to kill and distraught over the death that's happening all around him. Through his actions, we learn that he has a strong moral compass And even though he doesn't have a plan most of the time, he will do whatever it takes to do what's right.

See the commonalities there? Without giving away the crucial mysteries of these characters that keep the audience thirsty for more, strategic portraits of characters' lives and actions are effective ways to reveal their goals, give a glimpse into why they tick, and help readers fall in love. 

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The writers had a huge challenge ahead of them with this film, the successor to one of the most beloved franchises in history. But I think they did a great job of maintaining their brand and showing that with a lot of bravery, extraordinary things can happen to broken people.

Have you seen The Force Awakens? (I sure hope so if you've read this far.) What did you like and dislike about the movie?

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Laurie Tomlinson is a wife and mom from Tulsa, Oklahoma, who is passionate about intentional living, all things color-coded, and stories of grace in the beautiful mess. Previously a full-time book publicist, she owns a freelance copywriting, editing, and PR consulting business called 1624 Communications. 

She's a member of the American Christian Fiction Writers, a two-time Genesis Award winner, and the runner-up in the 2015 Lone Star Contest's Inspirational category. Her work is represented by Rachel Kent of Books & Such Literary.

You can connect with Laurie here:

Facebook - AuthorLaurieTomlinson

Twitter - @LaurieTomlinson

Web - www.LaurieTomlinson.com

Get on with your BAD self!

Amy here, working under my first editing deadline for my publisher! I needed to add a few scenes with my killer and so I looked back over this post I wrote almost EXACTLY one year ago today and WHAM! Inspiration struck! Apparently sometimes I just need to go back and relearn my own advice. ;)

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Ahh, villians! Such royal pains in the keester and yet so vital to the story. Even our own.

I’m mean, one can’t easily develop muscle without resistance. So most often character is honed and forged through trials. You can hardly have conflict in the plot if there isn’t an antagonist of some kind throwing a wrench in the plan here and there. 

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And yet, villians come in all shapes and forms. Sometimes your villain is as dark and creepy as your worst nightmares. A murderer, a stalker, someone with a dangerous edge or volatile temperament. Some have warts and slime and are easy to recognize for the toads they are.

Other times it’s the devil in disguise. (Ever thought about the term Handsome Devil?---deception and second guessing are keys.) A meddling mother or a jealous best friend secretly unraveling things behind the scenes. A boss, an ex, a bully. Ever been bullied? Boy, I have! And I’ve got to say those people aren't generally inclined to leave you alone. They insinuate themselves into your story. They pick at your insecurities, they taunt, cheat, lie, manipulate, slander mercilessly. Sometimes we can see the devil in that villain without question. Other times they are right under your nose and you don’t even know it! There isn’t exactly a mold for what a villain should look like so how can you be sure your pest pulls the right strings?

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Here a three things to think about for creating an adequately BAD bad guy…

Impact… 

Your villain must (MUST) impact the plot in some way.  I’ve seen it happen… some flimsy little antagonist is lurking in the shadows with a threat or some kind, making the hero or heroine shake in their boots but ultimately, the villain doesn’t move the story one iota. They are hardly a character. Evil is relentless. Bullys bully. Make your words count. Sure, throw in a red herring here and there, use subtly, be clever and intentional, but make an impact with each character that has significance. Do it by tossing some surprise twists on the page. And be sure your put your villain there as well. Trust me, those pages will be a turnin’! It’s not enough to have your villain tucked away, bring him out to play and let the games begin.

The willies…

Whether your reader knows who the villain is or not, there should be a check (however small) in their gut when the villain waltzes onto the page to dismantle a scene. How do you respond as a reader? It’s that little curl of dread.

 Oh, that pesky ex is annoying, sure, but what if they ruin it all? That stab of fear plunges deep, what if it all falls apart with that one vindictive strike? Or, what if that girl in the alley turns her back at just the wrong moment and you know he’s waiting there…

The reader empathizes right there at that anticipated encounter. The TENSION says it all. When that antagonist walks in, you FEEL it on the fine hairs at your nape, the shiver trips over your nerve endings, dread balls up in your stomach. You become the hero or heroine right then. And all of your long buried bullys and demons resurrect in your mind. You shield yourself against the hurt that comes barreling out of nowhere. You prepare to fight for the happy ending. Just like you had to do in real life. (How awesome are stories, right?) The willies evoked in sympathy put you in your characters shoes and you walk through the battle because of what the enemy makes you feel. 

The imagination is a powerful thing. Be sure you utilize your senses on the pages so it can take you places. And so your villain can adequately give your reader the willies.

The fall…

Whether there is vindication or forgiveness, a battle to the death or turning the other cheek, the conflict has to peak and your villain should be present in most cases. The climax has to pack a punch and what better way to do that than to draw out your hero’s greatest fears or doubts. Shake them up! Step into the villian’s shoes for a moment as a writer and do a little tormenting yourself. Sadistic? Perhaps. But stories without the right tension fall flat and lay limp on the shelf. And your villain is the puppeteer pulling all the right strings.

So go on… get on with your bad self. Your story will be better for it because let’s face it… villians are real and we face them every day. Suit up and battle through your own story. The battle isn’t easily won but it’s absolutely worth it. 

Lets dish and do a bit of brainstorming: Tell me about your current villain? What makes them effective in creating conflict in your story?

And if you need some mood music... 

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Amy Leigh Simpson is the completely exhausted stay-at-home mama to the two wild-child, tow-headed boys, one pretty little princess baby, and the incredibly blessed wife of her hunky hubby.

She writes Romantic Suspense chalked full of grace that is equally inspiring, nail-biting, and hilarious. And a little saucy! Okay fine, a lot saucy. :) She is a member of ACFW, and now uses her Sports Medicine degree to patch up daily boo-boos. Her greatest ambitions are to create stories that inspire hope, raise up her children to be mighty warriors for Christ, invent an all-dessert diet that works, and make up for years of sleep deprivation. 

 

Look for her debut novel due out this fall with WildBlue Press!

 

Who’s Afraid of the Big Bad Wolf?

How bad are your bad guys? Are they believable?

It’s important to know as much about our antagonists as our protagonists—to flesh out their roles and use them to captivate the reader’s interest.

Before I go on, I’ll share a real life example of a bad guy.

Halloween night. My kids are dressed up and chomping at the bit to collect massive amounts of candy to keep them on a sugar high for weeks on end. We traipse from house to house as a family. It’s cold. It’s dark. They walk by skeletons sprawled on the ground. They bypass witches and ghouls trick-or-treating in the same neighborhood.

“I’m brave. Nothing scares me,” I hear again and again.

Then we approach the blue house.

A creature flings the door open. A mask with the gruesomeness of an Orc from The Lord of the Rings, greets my three girls at the door. I hustle to catch my girls charging away from the door.

“They’re scared,” I explain to the man.

“Of course.” The man slides the mask off his face and transforms his monster noises into a gentle speech. “It’s just me. I’m a man. See.” His grandpa form emerges and the kids take small steps back up to his door. His wife laughs at his side. They drop candy into my children’s hands.

Then for some freakish reason the big bully decides to slip the mask back over his head while my kids are but a step from his door. They run squealing.

This masked man was a perfect bad guy. He gave a trick and a treat. He dished out a head trick.

“I’m a monster.”

“I’m a man. I’m normal. I’m nice.”

“But really, I’m a monster.”

This is what we need to do with our bad guys. Humanize them. Help the reader to see there’s a man beneath the mask. And we’ll leave them screaming, scratching their heads. Leave them wanting to know more!

In On Writing, Stephen King offers advice while referring to Annie from Misery:

“If I can make you understand her madness—then perhaps I can make her someone you sympathize with or even identify with. The result? She’s more frightening than ever, because she’s close to real. If, on the other hand, I turn her into a cackling old crone, she’s just another pop-up bogeylady. In that case I lose bigtime, and so does the reader.”

And take James Scott Bell’s words from The Art of War for Writers:

“We are drawn to powerful negative Leads, especially if they have a little charm. We have a part inside us that wonders what it would be like to have such power.”

Donald Maass touches upon this in The Fire in Fiction:

“Cardboard villains don’t scare us. Stereotypical antagonists lack teeth. By contrast, an antagonist who is human, understandable, justified, and even right will stir in your readers the maximum unease.”

Maass expounds on this more in Writing the Breakout Novel Workbook:

“We are not accustomed to thinking of villains as being on an inner journey, but what human being is not? Humanize your villain. Motivate his actions with kindness. Let her be heroic, helpful, and principled.”

How intentional are you when you create your bad guys? Do you remember to humanize them?

*photos from flickr

Creating Compelling Villian and Hero Final Moments

One of my favorite movies of all time is First Knight starring Richard Gere, Sean Connery and Julie Ormond. And as I was watching this movie a couple of weeks ago, I got to thinking about creating villains, and creating villains that perfectly compliment the hero. You might be scratching your head over that one, but read on and I will explain.

First let's look at the hero. We want a hero that is strong, moral, has his weaknesses, but in those weaknesses, he can find his strength.  He isn't perfect by any means, but usually has a bravado to cover for what he can't do. And he must be handsome (okay, maybe I just threw that in because I wanted to ; )

Now the villain, must posses the exact same qualities, but with exact opposite reason and intent. He needs to be everything the hero is, but with the obvious evil that sets him apart.

 In First Knight, Richard Gere plays Lancelot, a gypsy sword fighter that fights for money. He loves no one and is the best sword fighter within miles of his sword tip. In some ways he is reckless, merely living life with no apparent reason to live, one of his first lines in teaching a rookie about sword fighting is: "You have to not care whether you live or die." And that is Lancelot.

Malagant  is his arch enemy, though Lancelot has yet to know that. Malagant  wants Camelot, wants to defeat King Arthur and at first the viewer thinks that the movie will be about King Arthur defeating Malagant, but when Lancelot sets his sights on Lady Geneviere (Julia Ormond),  he suddenly has something to live for. Something to fight for. And Malagant, who wants Lady Geneviere's country, becomes the arch enemy of Lancelot

Malagant, to make him the perfect enemy to Lancelot, is his perfect match, if not better than Lancelot. He has the speed and ability of superb sword fighting. The determination and the reason to fight. He wants Camelot, that is his motivation. And every villain, like the hero needs a motivation and a reason to fight.

Lancelot has a motivation, to protect Lady Geneviere. And he does time and time again, putting his own life on the line to rescue her, going up against Malagant for her safety.

Now I could go on and on about the other reason that play into this movie, but for right now I want to just focus on the hero and villain's final fight.

This fight needs to be the strongest battle of the novel or movie. But before you can get to the final fight, you must see the villain and hero's tendencies. All throughout the movie we see Malagant and his vicious tactics at fighting. It is brutal and bloody, he cares not what harm he leaves in the swath of his path.

But we also see Lancelot and his fighting abilities. He fights with honor and purpose. He fights with the ability to beat everyone he comes into contact with strength and determination. No fight is left untouched by his abilities. But the one fight that is conspicuously absent is the clash between villain and hero and the viewer waits for it with baited breath. They have been set up through the entire movie and know that the fight between Lancelot and Malagant is inevitable.

And that is very important for the author to remember. To create a compelling villain/hero fight, you must show their tendencies, both weak and strong so the reader will be fulling prepared for that final moment.

Creating that final moment must be breathtaking. It must never slow on pace. It must never let the viewer or reader take a full breath until the villain has been vanquished.

So how do you create it? Here is what I observed from the First Knight.

A stunning beginning. Malagant rides in and threatens to kill Arther and burn down the city of Camelot. The fight ensues with Arther commanding his people to never surrender.

Lancelot grabs up a sword, but he does not rush at Malagant. That would be too soon. The final battle must be drawn out just a bit longer, or it will feel too rushed. He fights those around him, first with a flag pole and then a sword. Leaving a swath of destruction behind him. We see he is strong and in his prime.

But one glance to the right and so is Malagant. And then. Then they see each other and both instantly know that the moment has come. Their swords clang, but something comes between them, driving them apart.

Again prolong the fight a bit longer for dramatic effect, but too long and your reader will start to skim to reach the next turn. Malagant shoves someone aside and the two rush at each other again. They are even, exchanging blow for blow. Both dancing away from danger, only to lunge forward again.

Now here is another great moment in the hero/villain fight. The hero must be hurt. He must be rendered in pain is some way, but not life threatening. The reader can't breathe at this point, all is surely lost. The villain leaps forward to take the final plunge on the fallen victim. And then. Then this is the moment when the hero must dig deep and become stronger than the villain.

In First Knight, it is when Lancelot sees and grabs the King Arther sword, in Christian fiction, it is when the hero or heroine calls out to God and begs for help. The hero needs a salvation, the hero needs something stronger that the villain cannot beat, but it must be realistic to the reader or they will become frustrated. In First Knight the viewer cheers when Lancelot grabs up the sword and becomes invincible, we have seen the strength and power of Arther and Lancelots' respect for each other and their swords fighting.

In Christian fiction, the heroine or hero needs to have been led down the inevitable path that calling out to God is the only option, the most viable option.

This moment is the turning point. No matter what injury, the hero can prevail. Take the upper hand and defeat evil.

This moment is the moment the reader has been longing for, cheering for and it must be perfectly matched, so let's go back and do a quick revision.

~The hero and villain must share the same abilities and to a certain extent the same values, but don't take this too far. One for good, the other for evil.
~They both must have a compelling reason to fight later on, prolong that fight for as long as possible
~When that final moment reaches a head, don't jump right in. Throw in drama wherever you can during the fight, prolonging that clash, but don't take too long. Run on instinct here.
~The hero needs to be wounded by the villain, the moment where everything seems lost
~But the hero cries out, digs deep and comes out stronger, defeating the villain

This moment does not have to be just in action books or movies. It can be in the character driven novels, the battle between good and evil for a person's soul. That is the greatest fight of all.

But no matter the fight, these steps will need to be implemented to create that perfect clash that will leave your reader breathless. And by the way, it doesn't hurt to have two handsome heroes battling for the same heroine's affection, drives up the action and stakes even higher. : )

Okay, maybe I said that so I could include this picture, I just love it. : )

So, do you have a strong hero and villain conclusion? I would love to hear about it. : )

What's Up the Street For Next Week?

Well, it's another week here at The Writers Alley and for most of us, school is finally OUT!! Yes, the crowds are going wild. Especially those crowds under the age of 18.
Though I've heard a few victory shouts from employees too (isn't that right, Sherrinda).

June is HERE, so let's see what's going on at The Writers Alley this week.

Monday - Need tips on creating websites and blogs? What else do you have to do over your summer break, right? Pepper takes the information she learned from author, Jim Rubart, and shares it with you.

Tuesday - Want to learn about the Anti-Hero? Sherrinda  will walk you through a crowd of anti-heroes from film and literature and hopefully we will find out why we love them so much!

Wednesday - What to do? What to do? You have loads of things planned for the summer, but you need to fit writing in there too! Mary posts about Juggling Writing and Summer for the perfect blend of real-life mixed with imaginary. Stop by and find out about it.

Thursday - So, what's one of the best parts of a story? The stand off, the climax, good versus evil in a battle to save all. Join Casey today as she discusses Creating Compelling Villain and Hero Final Moments.

Friday - Does 'place' really matter? Join Krista today as she discusses Spectacular Settings: Avoiding bare walls and three-sided houses.

Saturday - Edgy Christian fiction author, Michelle Sutton, stops in to define 'edgy' and explain why she loves writing books 'on the edge'.

SIDEWALK TALK

June 19th – Things get a little suspenseful around here as Margaret Daley discusses the key elements of a gripping suspense novel.


June 26th – Welcome author Lena Nelson Dooley takes us on a journey through her publishing experience, up to her newest release JUST LAST MONTH – Love Finds You in Golden, New Mexico

AND HOLD ON TO YOUR STETSON – Mary Connealy starts off July with a visit to The Writers Alley on July 3rd.

THE NEWSTAND

Starting this Monday on Mary's blog, God Loves Kids, the post will provide ideas for you and your family.
Monday: End of the School Year Tips.

Wednesday and Saturday: Who was this governor of Egypt, and how did he know the correct birth order of the Hebrew men? Why did he treat Benjamin special? Come read these exciting Bible stories.

Casey will be featuring author, Cathy Liggett, on her blog Operation Encourage an Author. Stop by for a chance to win Cathy's latest book, Beaded Hope.
 
For the month of June, Pepper will have a Blog Series called “Sizzling First Encounters” on her personal blog at http://www.pepperbasham.wordpress.com/

Some of your favorite authors will answer the question, “What do you think makes a great cute-meet between hero/heroine?”, then provide a scene from one of their books to prove it. Stop by – June 7th starts the series with Linda Windsor, Myra Johnson, and Deeanne Gist.