Conflicting Story Goals

Have you ever read a great book and wished you could go all sci-fi and do a brain transfer with that brilliant author? I totally feel that way when I read any of Jodi Picoult's books. Seriously.

I read a lot for pleasure, but I also love to learn how to become a better writer by focusing on what amazing authors do right. Like, when I recently re-read NINETEEN MINUTES by Jodi Picoult, I asked myself Why does this work so well? 

(For more writing lessons learned from NINETEEN MINUTES, click here)

Why did this book work so well? It's tough to sum it all up, but I'd say it was conflicting story goals. In Plot & Structure, James Scott Bell reminds us to not only create conflict, but to create character goals that conflict with each other. Picoult does this brilliantly. How? She embeds conflict into who the characters are.

Hang with me a bit while I mind-map these conflicting character goals from NINETEEN MINUTES:

Character: Peter Houghton
Teen boy/outcast/bullying victim/school shooter
Story goal: stop the torment

Character: Lacy Houghton
Midwife/prenatal counselor/mother of shooter
Story goal: protect her son

Character: Josie Cormier
Teen girl/former outcast turned popular/former best friend to shooter
Story goal: to fit in

Character: Alex Cormier
Small town judge/single mother to teen daughter, Josie
Story goals: protect her daughter; be a good judge

Character: Patrick DuCharme
Single man/small town detective
Story goals: protect his small town, solve the case, bring healing through justice

• The shooter experienced torment every day at school. He just wanted it to stop. Speaking up to authorities only made the bullying worse.
• The mother of the shooter and the mother of the victim, both trying to protect their children. One's a judge who must follow the law. The shooter's mother counsels other parents on how to raise their children.
• The former outcast and friend of the shooter became popular. She used to protect him from bullies, but now she's a silent bystander. Associating with him would damage her need to fit in, but the nuggets of early friendship remain.
• The small town detective often feels like he's too late to save anyone. Justice isn't always within his control. He must discover and unveil the truth, no matter how ugly it is.

I'm not sure I interpreted these descriptions and goals the way the author intended, but jotting them down helped me understand why this story worked so well. Who the characters were and what they were trying to accomplish created natural conflict. 

What do you think of these character notes? Do you ever pick apart a story and characters to figure out why they work so well? Do you struggle to add organic conflict? If you're good at it, please share your own tips!


photo credit

Writing lessons learned from NINETEEN MINUTES

Hey, friends! I hope you're all enjoying your summer. While on vacation, I re-read NINETEEN MINUTES, which was written by one of my favorite authors, Jodi Picoult.

From Amazon:

Sterling is a small, ordinary New Hampshire town where nothing ever happens--until the day its complacency is shattered by a shocking act of violence. In the aftermath, the town's residents must not only seek justice in order to begin healing, but also come to terms with the role they played in the tragedy. For them, the lines between truth and fiction, right and wrong, insider and outsider have been obscured forever. Josie Cormier, the teenage daughter of the judge sitting on the case, could be the state's best witness, but she can't remember what happened in front of her own eyes. And as the trial progresses, fault lines between the high school and the adult community begin to show, destroying the closest of friendships and families.

In my opinion, Picoult is a brilliant storyteller. I learned many writing lessons from this book, but here are some of my favorites (Warning! Avert your eyes if you haven't read this book yet and don't want to know any plot points):

• Open with the theme & reference to the title: depending on your perspective, nineteen minutes can zoom by or be agonizingly slow. Picoult opened her book like this...In nineteen minutes, you can mow the front lawn, color your hair, watch a third of a hockey game. In nineteen minutes, you can bake scones or get a tooth filled by a dentist; you can fold laundry for a family of five...In nineteen minutes, you can stop the world, or you can just jump off it. In nineteen minutes, you can get revenge. Already we had mood, title, and theme. 
• Chaos breeds confusion: the scene was a high school shooting, and the level of confusion made it seem real. We got the cop's point of view, which showed us the "fog of war." Who's a victim? Who's running to safety? Is one of them the shooter? That scared boy crouched by the lockers, is he a victim? The shooter? The pov character's inner thought here was crucial, coupled with bursts of dialog.
• Journal entries in pieces: throughout this book, snippets of journal entries were introduced. At first I assumed they were written by the shooter, but later I wondered if they were written by another troubled character. Just like in 13 REASONS WHY, we got brief glimpses into the mind of a character who had reached the end of the line. The regular story thread kept the plot moving, but these glimpses were good reminders of how much pain the character was in.
• Consider attaching only one character name per letter: with such a brilliant book, this small complaint is petty but worth mentioning. One main character's name was Patrick, another was Peter. When a paragraph opened with the name, it took me a couple of sentences to realize which "P" person it was.
• Assign each character a unique backstory: there were many characters and moving parts to this book. Each character had their own easily recognizable backstory. I wouldn't say each of these characters had super-sized unique voices--the author's voice is very distinct--but they each had a unique story that was obvious from the first words of the scene.
• Add one detail that doesn't fit in: one bullet hadn't been found during the investigation. It came from a gun that had been fired but then jammed. I knew this was significant. In fact, it led to a big twist at the end. The missing bullet was mentioned maybe three times before the twist was revealed. It was there, lurking in the background, which kept me curious.
• Tackle tough subjects: one thing I love about this author is that she boldly plunges into difficult subjects. In an interview on her web site, she explains how sometimes we can process these touchy subjects easier through fiction. She shows the story from all angles in such a way that we understand why her characters do what they do. Why they chose what they chose. And why life can be so darn complicated.

Despite the gut-wrenching subject, this book kept me just as riveted the second time around. 

Have you read any of Picoult's books? What did you think of these writing lessons?

photo credit

When readers trust an author

I'm halfway through reading HOUSE RULES by Jodi Picoult. She's one of my favorite authors--one I can trust. Here's why I have faith in her work, and what writers can learn from her books:

Open with a scene that instantly connects readers to the main character

Open with a scene that is active and shows a quick, sympathetic glimpse into the MC's regular life "before."

Breadcrumbs should be dropped in small bits at a time

The author drops in subtle hints that will come to fruition later. We don't know where the story will lead, but we're confident the author will tell us what we need to know when we need to know it.

Distinctive character voices

The book I'm reading has many points of view...five so far. But each one has a clear voice and their own, sometimes conflicting, objectives. The story's taking shape, and I'm confident the author will bring these characters together when the time is right.

Each character, scene, and bit of backstory should matter

I don't know exactly how and why all these details are important, but I know they are. This author does not waste the reader's time.

Be fair to both sides of a controversial subject

Picoult is fearless with subject matter, but is always fair to both sides. After each of her stories, I'm reminded to search deep within issues, understanding why both sides are passionate about their positions.

Each of Picoult's books not only entertains, but holds a special place in my heart. Great authors give their readers precious gifts: a unique reading experience, and something to strive for.

Do you have a favorite author whom you trust? Who is it, and what keeps you coming back for more?

photo credit

"We're not worthy!"

Are you part of a critique group? I am, and sometimes I feel I need to pull a Wayne and Garth - you know, bow down and exclaim, "I'm not worthy!"

My group is loaded with talented writers, including Lisa Green. They're so great that I read their pages and think, no way is this their first draft (between you and me, I think Lisa submits her 10th draft...just sayin'). Meanwhile, I'm submitting my clunky first draft (shudder) and gobbling up their feedback.

I love learning from other writers. If part of my job includes dissecting the words of Suzanne Collins or Jodi Picoult, then I'm a lucky girl. If you missed it, there was a great post on Query Tracker about learning from the masters.

I'm thankful I'm surrounded by amazing critique partners, and that they're willing to improve my work. We each bring something unique to the table, and are worthy of some writerly give and take.

How about you? When you read someone else's awesome words, do you feel like jumping off a bridge, or are you inspired to sharpen your skills? And in your opinion, who is a master storyteller?

Just for smiles, check out this video by author Jen Hayley. It'll make your day!

photo credit: cinegeek.com

Rejoice in your voice!

When I hear a recorded version of my voice, I hate it. It sounds weird, and I immediately clear my throat trying to make it better. But my voice is my voice, and there’s not much I can do about it. I’m sure my husband would love to hear less of it, but that’s another story.

I attended an SCBWI writer’s day this past Saturday. Libba Bray was one of the amazing speakers. One thing she said stuck with me, and I’ll paraphrase: “Your voice is unique. No one else can write the way YOU write.”

I’m always admiring other writers. When I read a novel by Jodi Picoult, I marvel at her ability. Her voice draws me in. Her books make me think long and hard about previously held opinions. I wish I had her voice, but I don’t.

Instead, I have my own voice. When I speak, I might sound like one of the annoying crows that lands on my grass. But when I write, my voice is truly my own. Although I’m amazed by other writer's voices, I realize I can’t try to be like them. I've learned to rejoice in my own voice!