STREET TEAM: A street team is a term used in marketing to describe a group of people who ‘hit the streets’ promoting an event or a product.
Some of you know I am starting to self-publish a series of thriller novels for various reasons. The first in those, SIMON SAYS, Book 1 in my John Simon series, will release in mid-October. SIMON SAYS is about John Simon, a tough Luddite detective in 2029 Kansas City who’s forced to team with a humanoid android to find his partner’s killers. A mix of Isaac Asimov’s CITY OF STEEL with Michael Connelly’s BOSCH and LETHAL WEAPON, the book is a fast-paced, action packed, gritty story with a bit of humor mixed in.
As part of launching this new enterprise, I am looking for fans who will read the books early and post reviews upon release (preferably to multiple sites) as well as spread word of mouth. These fans will comprise my Street Team. In exchange, you get the book and other opportunities for MeetNGreets and special bonus content and giveaways as opportunities arise.
If you are interested in joining, please contact me here. I look forward to hearing from you. With gratitude.
NOTE: This is a reprint of an old post which wasn’t a WriteTip but should be. Still relevant. Hope it’s useful.
In the current climate of instant everything, protecting your work is important. Anything you post online or email to a friend could potentially be stolen. So how do you protect yourself? One important method for serious creatives is by copyright. Now copyrighting is handled by the Library of Congress a Federal agency. It’s not the best approach in all cases, because it’s not inexpensive. At a cost of $35-65 per written work, that can really add up. But it does provide security. By law, copyrights last the author’s lifetime plus 50 years and can be renewed indefinitely by legal heirs. You’re also listed and a copy kept on file in the archives at the Library of Congress in Washington, D.C. which can be used as evidence in legal proceedings should you face the misfortune of having to sue to protect your intellectual property. So there are advantages to this but it may not be right for you in every case. Much information can be found on the Library of Congress sites at www.loc.gov and www.copyright.gov.
By law, Copyright exists from the moment of creation. So protections are already in place under the law. However, registration of copyright can be important in providing stronger proof and enabling you to sue for more damages in the case of infringement. This post examines how to go about officially registering a copyright claim and when it might be a good idea to do so.
How To Determine If Copyright Registration Is Necessary:
1) Is your creative work at risk? If you post it online, the answer is yes. If you turn it in as a class assignment, the answer may be no. Most professors would never violate your copyright. And in most cases, when you are first learning, school work isn’t going to have serious potential for marketing. So the likelihood of your work being stolen and distributed is pretty minor. What is the intended audience and how is the work being distributed? If your work is really at risk, then copyright may be a good idea.
2) What is the type of prose? If it’s fiction, poetry, or nonfiction on a significant topic, copyright is wise. But how do you know it’s significant? What’s the subject? If it’s scientific with unique contributions to the study of the topic, involves a subject of great interest (celebrities, political issues, religion, etc.), then perhaps it’s worth copyrighting. Some raw scribbles, probably not. It’s up to you to determine and in this day and age, caution should be the watch word, but do use wisdom.
3) Do you own it? If your work is a work for hire, you have no right to claim it. A work for hire is a creative work instigated by someone else but created by you on their behalf. In most cases, your contract stipulates that they own all rights. If not, that should be worked out. If you are writing technical manuals for a product owned by a company, the copyright will belong to them. If you are creating something original from your own mind for them, that’s another question. But you must own a work to claim the copyright. If your work is derivative of another property, such as a Star Trek tie-on novel, you likely cannot copyright it. If you can, you can only copyright the original portions which were not previously created by the originator.
4) Is Your Work Valuable? If you are just an unknown person posting on a blog, putting copyright notice (c) on the blog itself should protect you. The law states that your copyright is owned by you the moment you publish the work and suggests putting appropriate notice. Registration through the Library of Congress is merely a formality for extra protection in court or legal matters. It’s a way to prove definitively that your claim is valid. If you are a celebrity or you work will be significantly distributed, then the chances are it will come to be of such value as needing extra protection.
Once you’ve determined that it’s appropriate to register a copyright, then you need to get the materials necessary together.
What You’ll Need:
1) A clean copy of your manuscript--Typed for clarity is best. And make sure it’s the version you want to protect. Do all editing and other adjustments. Formatting itself is not copyrighted, only content, so layout is not the concern, just the content itself. Also be sure and put your name, address, phone number and other relevant information, including a copyright notice on the work. Don’t put a date as that won’t be official until you actually file.
3) A check or credit card–to pay the filing fee which is currently $35 online and $65 by mail.
4) A stamped envelope–if you intend to mail your submission.
Once the materials are ready, then you can file as follows:
1) Fill out the appropriate form in detail. List all pertinent information as concisely and clearly as possible. Be sure and save a copy of the form for yourself in case it 1) gets lost in the mail; b) you need it for reference, etc.
2) Paperclip the form to your work and place in envelope. Mail it. No need for Priority, Registered or Express or tracking. All of these cost extra. You will get confirmation that it’s been received by mail when your copyright certificate arrives. However, if you have the money and want reassurance, you can pay for these as you wish.
2) Once the form is filled, attach your document. You will be prompted. Again, view the list of acceptable file types above to verify yours will be accepted in its present format.
3) Make electronic payment. This can be done online with credit or debit card or electronic check and you will be prompted.
4) Submit. Click the button to submit when you are finished.
Processing time can vary, and the Copyright Office site issues the following warning:
The time the Copyright Office requires to process an application varies, depending on the number of applications the Office is receiving and clearing at the time of submission and the extent of questions associated with the application.
Like everything else in life and especially when dealing with government, you will have to wait, but you will receive a copy back of your registered form signifying recognition and acceptance of your claim with the official date of copyright. This can be kept in a safe deposit box or file.
That’s it. Allow a few weeks for a record of your copyright to be searchable in the Library Of Congress database. But you can rest assured you will soon have a legally registered copyright protection for your work.
An example of a listing can be found here. I own several copyrights to musical works as listed. Not everything under “Bryan Thomas Schmidt” is mine, however.
I hope his helps you better understand the copyright process.
Recently, with the release of the Novel Writing Bootcamp videos from Inkitt and my book How To Write A Novel: The Fundamentals of Fiction, I am finally getting the opportunity to do more writing workshops. I did one at San Diego Comic Con this year on story and scene structure (video coming soon) and I am starting to get invites from schools as well. Nothing is definite yet but I wanted to at least mention it’s available.
Workshops can be structured to suit your needs from the timeframe of the workshop to the content as well as the age of participants. Generally, I would like sample writing from participants in advance so that I can offer some practical feedback that will be directly useful and make the workshop more immediately effective in producing results, and when possible I try and get participants an ebook or print copy of How To Write A Novel as well.
Pricing will vary. At the very least I would want travel and expenses covered, including a reasonable per diem for meals, but whether I charge an appearance fee and how much depend upon circumstances and length of engagement. Obviously the time needed to prepare materials and lessons as well as travel and teach the workshop itself take me away from other income producing opportunities and while I wish I could just do them free, I’m not so successful that I am financially independent, so that is not an option at the moment. At the same time, I am not looking to get rich on these either. My primary goal is help people realize the possibilities for real success in their creative endeavors and help them further along the ladder to achieve it.
So if you or anyone you know of might be interested, please reach out to me via my Facebook page or the Contact link here at the website and let’s talk.
To check out a teaser video of my teaching or see examples of my panels, you can go here or search the blog or YouTube and easily find several. I look forward to hearing from you!
Many of us are guilty of falling into the habit of using one or two senses and ignoring the rest. For most of us, sight is the dominant sense—the sense through which we first encounter and examine the world. So how things appear will dominate most narratives naturally, closely followed by sound. But we have five senses, and all have the power to bring useful imagery into your storytelling.
Good description employs all five senses—sight, touch, taste, smell, and hearing—and employs at least one every two pages, sometimes more. A few well-placed details can totally embody a character or place and make them come alive for the reader. And nothing takes us deep inside the character’s mind and experience like sensory details. All good settings are rich with detail, so you should have plenty to choose from. From the appearance and smells of a restaurant or grocery store or market to the touch and sounds of the outdoors to the taste of food, there are numerous opportunities to add color and vividness to your prose using these kinds of details.
Here are some suggestions for aspects of each sense to consider:
Sight—Color is usually one of the first things that comes to mind, but studies actually show that spatial dimensions tend to be picked up first by the brain. How large is the area? How high is the ceiling? After dimension, the source of light tends to be noticed next. What is lighting the scene, and what is its source—artificial or natural? Is it bright or white or mixed hues? Then, color impressions form. The dominant color tends to take on significance. Next comes texture, like shadows or rough and smooth surfaces, etc. Finally, there’s contrast. Superimposition of colors and other aspects affects how much objects, people, and places draw our attention.
Sound—Sound can be described by the loudness or complexity—simple or multiple sources—tonality (soft or hard, harsh or gentle, etc.), and the location of its source and distance from the hearer. Also, is the sound unknown or familiar?
Smell—While smells can be often overlooked by both writers and in real life, smell can reveal a lot. Is the odor pleasant or unpleasant? What emotions does it evoke—fear like smoke from a fire, or is it the steady everyday scent of vehicles, animals, or insects in the environment that almost goes unnoticed because it is so common?
Touch—How do things feel—rough or smooth, hot or cold, sharp or dull, etc.?
Taste—Does the character notice sweet or bitter, salty or acidic, pleasant or unpleasant, etc.?
If you’re like me, these kinds of details may not come naturally. So, I recommend two key resources that have really helped me up my game on writing sensory content. The Emotion Thesaurus by Pugliosi and Ackerman and Setting by Jack W. Bingham. These two resources are so invaluable, I often keep them with me on trips and beside me as I write and refer to them often, because writing such visceral descriptions is not first nature to me, and it can be very easy to fall into personal clichés and patterns that repeat the same details and descriptions over and over, which quickly becomes repetitive and glaring to readers. The authors also discuss body language and internal sensations, which can be described to show, not tell, the emotions of characters, the atmosphere of rooms, etc. Additionally, author David Farland describes this as the Kentic, Audio, Visual Cycle and offers useful tips on his website at https://mystorydoctor.com/the-kav-cycle-part-1/.
Sensory experiences and emotions evidence themselves in three ways: internal sensations, external sensations, and body language, and all three are important ways to describe them and help readers experience them too. For example:
Butterflies danced in her stomach as she entered the audition, and she fought to control her face as she took in the other dancers. There were famous faces she’d seen in numerous Broadway shows and performances. What was she doing here? She swallowed and licked her lips, which had suddenly grown parched. Her arm was twitching. She had to make it stop, but it wasn’t listening to her internal commands, so she shoved it tight against her side in an attempt to control it.
I don’t have to tell you she is nervous and intimidated. The descriptions do the work. This is what you are aiming for. If you are unsure about a particular smell or taste or even sound, Googling can provide impressions others have had of familiar things that can be adapted for your prose. I also recommend practicing by going to a mall or price club or anywhere else and sitting down to take notes of all the things your senses notice as they occur to you. This will give you practice not only at writing visceral (i.e., instinctive and emotional) details but also in noting how they naturally affect you and might also affect your characters.
You’ve probably deduced by now that description is the art of picking the right details at the right time. Stories are about movement, so be wary of stories where your characters reflect and remember a lot. Instead, action and discovery go hand in hand. As your characters go and do things, they discover sensory cues that provoke memories, emotions, and reactions and inspire further action. People move through life on two levels simultaneously: physical and emotional. Physical movement follows plot and events that unfold A, B, and C, while emotional movement follows character. The physical tends to move with the emotional. So meshing plot and character is the key, and good description is key to your ability to do that well. As Monica Wood writes in Description: “A story’s pace is controlled by the physical and emotional goings-on in the story, and those goings-on are controlled by description.”
Another element where description is especially important is context. Establishing the scope of a story can be vital to making it work, giving characters a scope in which to love and hate each other, to conquer or fall to adversity, discover or lose themselves. Context uses metaphors and symbols to reinforce emerging themes and organize the movement of a story into beginning, middle, and end. Wood writes: “The breadth of the story should dictate the breadth of the context.” Contextual details, small or large, reveal character and can serve to contrast with the story itself, adding power. The order in which details are noted can tell us much about a character’s values and priorities as well as how they view themselves in relation to those around them. Are they rich or poor? Powerful or weak? Confident or insecure? These details can reveal so much about them.
So, how do you choose which details to use and when? Well, that depends upon what you need the readers to know to understand and connect with the story at any given moment. Let’s look at an example from John Connolly’s Charlie Parker book A Song of Shadows:
The woman stank of cats and cookies, of piss and mothballs, but Cambion, whose sensory abilities had long been ruined by his disease, and who had grown used to the reek of his own decay, barely noticed it.
How do you not remember that? Ask yourself what you most notice about particular people, places, and things. What do you remember? What stands out about them? What did you notice first? What sticks with you most when you have been away from them awhile and remember? These are the beginnings of finding the most definitive choices to use in describing them because they hint at what stands out when you encounter those people, places, and things. Let’s look at another example from Brazilian author Jorge Amado’s Dona Flor and Her Two Husbands:
Delicate, pale, with that pallor of romantic poets and gigolos, black hair slicked down with brilliantine and lots of perfume, a smile that was a combination of melancholy and allure, evoking a world of dreams, elegant in bearing and attire, with large, pleading eyes, the Prince would have to be described by very high-flown words: “marmoreal,” “wan,” “meditative,” “pulchritudinous,” “brow of alabaster and eyes of onyx.”
So much said with just a few words but very colorful, visceral, and intriguing because every word count. This is what good description is all about.
One of our most cherished values, codified in our U.S. Constitution under the Bill of Rights, is freedom of speech. It’s covered in the First Amendment, under the same clause that establishes Freedom of Religion, and reads as follows:
“Congress shall make no law respecting an establishment of religion, or prohibiting the free exercise thereof; or abridging the freedom of speech, or of the press; or the right of the people peaceably to assemble, and to petition the Government for a redress of grievances.”
Freedom of Speech is much bandied about and also established in other important rights documents, such as article 19 of the Universal Declaration of Human Rights (UDHR) and the International Covenant on Civil and Political Rights (ICCPR). For Americans, particularly creatives, it is our most sacred value, one evoked frequently—whenever one’s words might be criticized or objected to—and held close to the heart.
But one of the things people often forget about freedoms is that having a right doesn’t preclude one from the obligation to exercise said right responsibly. And more and more as we see politicians saying outrageous and untruthful things and mass shootings, hate group marches, etc. we are reminded that freedom of speech can have heavy consequences.
During the tragic shootings in El Paso last week, the Mayor of El Paso said something that really irritated me. In a press conference, and later interviews, he claimed that only an outsider could have done “something like this.” No El Paso native would do such a thing. Well, I lived in El Paso, and during that time I dealt with my ex-wife’s mental health crisis, so I was around the mental health and legal system a lot. I saw a lot. And I can tell you: that’s a dangerous promise. It’s creating false expectations that the Mayor may come to regret. I hope not. I hope El Paso and no other place has to face this again, but realistically, there will be other mass shootings. Even if laws are changed. And to claim that locals are not capable of violence or even mental illness on that scale (most mass murderers who have survived long enough to be examined thoroughly have been determined by experts to have antisocial personality disorder in various forms—a mental illness as defined by the American Psychiatric Association and other qualified bodies) is irresponsible and unwise. Sure, it makes him and his public feel better but it also promises something that may not turn out to be true and can certainly never be guaranteed. I certainly found El Paso to be a welcoming place. It s the only city I ever lived in where I, as a while male, was a minority. And I loved it for that. But racism existed there just like anywhere else. From the guy who once complained to me about “the browns taking all the jobs” seconds before I introduced him to my Latina wife (now ex) to people I heard complaining about illegals around me at restaurants, malls, etc., the reality is that not everyone embraces that diversity and this is Texas, a state with some of the most lenient of firearm laws in the U.S. So those people also celebrate their ability to conceal carry or own arsenals while at the same time objecting to browns. It is a recipe for problems, if not disaster, and with politicians using fiery rhetoric to rile up people with such worries, the Mayor would be wise not to appear to guarantee something he simply can’t.
I say all this not to pick on El Paso or its Mayor. I love that city despite the personal crisis I endured there. But I give it as an example of the importance of responsible use of freedom of speech. As with the flaming political rhetoric regularly employed by our current president (quite irresponsibly in many cases) and other politicians (in particular a young freshman senator from New York comes to mind), these kinds of exercise of free speech can have heavy consequences. They can incite people to action and not all of those actions in response will be positive or appropriate. Some may even be deadly. I think it is always important to weigh what we say, how we say it, when we say it, where, and about whom with thought to such consequences.
Even worse was Fox News commentator Tucker Carlson claiming white supremacy in America is a “hoax.” Ridiculous. And we’ve seen plenty of evidence of it from KKK and Neo-Nazi rallies in the past few years to the Michigan cop under investigation for materials found last week in his home. It is an utterly irresponsible thing to say, especially for a journalist with an audience of millions. It seems Fox has rightly sent Carlson on vacation. They oughta make it permanent, but I rather doubt they will.
Let me give you another example. The Twitter mobs. If anyone knows consequences it is the Twitter mob instigators. They employ tactics designed specifically to take advantage of consequences. Call someone a bigot or homophone or etc. and you will evoke a reaction: angry criticism of the target at the very least and sometimes even bigger consequences. People have been fired, had book publications cancelled, etc. It is one of the easiest things in the world to throw out these accusations and be confident they will undermine the credibility of your target. The problem is: they don’t even have to be true and often are not. More often they are exaggerated exploitations of someone’s unclear wording or statements taken out of context. The Twitter mob accusers know this and they don’t care. A friend of mine once asked one such person who had attacked me if they really believed I was all the things they accused me of being. The response was telling: “Who cares. He’s not one of us so anything goes.” For those of us watching the destructiveness that results, this should be unacceptable. Irresponsible exercise of Freedom of Speech at its core. Reprehensible even. An action solely designed to discredit and silence an opponent so the accuser can gain credibility at their expense. Ironically, the accuser can be lying and misrepresenting, but who cares about that?
I think all of us should. Don’t you? You certainly would if you were ever the target as some of these very online bullies have found out when they found their own mobs later turning on them.
When politicians go down to visit sites and report exaggerated claims about the awful conditions or situations they observed to manipulate public opinion and forward their agenda, how is that serving the public? How is that doing their jobs well any more than Twitter mobs slandering good people into silence and harm? Neither one serves to make society better if you ask me. Because the exercise of Freedom of Speech carries with it inherently a moral obligation to use it responsibly. And there’s the rub. All too many don’t fulfill this moral obligation. Argue what you will about different people having different moral standards, etc. The reality is that while we live in a world of grays—one all too many of us wish was more black and white, especially the morally outraged Twitter mobster—there remains a black and whiteness to basic rights and wrongs. Misrepresenting the truth to manipulate others is wrong. So is misrepresenting someone’s words to make them look bad or get them punished. If you poll people—and many have—the majority of the public agrees with this. But until the public starts fighting back against these kinds of abuses of Freedom of Speech, nothing will change. And that means the consequences for all of us will continue: divisiveness, anger, uncertainty about facts and what is fake or real, etc. Until we demand responsible Freedom of Speech from others and practice it ourselves religiously (so to speak), the gray haze of the world in which we live that so often makes people frustrated and unsettled will continue to hang over us.
And that’s why Freedom of Speech is so important. Not just because it gives us th right to say what we want but because it carries with it the consequences of doing so and those consequences should be considered before one opens one mouth. Until they are, Freedom of Speech may be our most cherished principle and right, but it will also be one of our most abused and dangerous ones. (Not that I’d give it up in a million years.)
At least that’s how I see it. For what it’s worth…
In his bestselling book How to Write a Damn Good Novel, James N. Frey describes a premise as “the E = mc2 of novel writing.” The premise, he contends, “is the reason you are writing what you are writing … the core, the heart, the center, the soul of your expression.” He defines it as “a statement of what happens to the characters as a result of the core conflict in a story.” Agent Donald Maass defines a premise as
any single image, moment, feeling or belief that has enough power and personal meaning for the author to set her story on fire, propel it like a rocket for hundreds of pages, or perhaps serve as a finish line: an ending so necessary that every step of the journey burns to be taken.
While you might say to yourself: What’s the big deal? A premise is an idea—a premise is so much more than that. Ideas are common. Original ideas are almost nonexistent these days. Everything’s been done. So, what makes your premise special is not the basic simple idea but the unique spin and angle you bring to it. A premise is as much in the execution and unique approach to a concept as it is the idea itself.
Again, in How to Write a Damn Good Novel, James N. Frey compares a novel to an argument and writes: “The premise of an argument is a statement of the conclusion that will be reached through the argument. Each part of the argument must contribute to the premise if the argument is a good one … the premise of a work of fiction is not provable or arguable in the real world … not a universal truth. In a novel, the premise is true only for the particular situation of that novel. But nonetheless it is proven by all that leads to it. Your novel’s premise is the conclusion everything in your story leads to.”
In his bestseller Writing the Breakout Novel, mega-agent Donald Maass writes of a premise: “Not just any idea, though, but one with soil rich enough to grow a highly memorable novel; one that will both feed the author’s imagination, and, finally, nourish millions of readers.” An idea is not enough. It must be backed up by all the details of character, setting, conflict, and theme. It’s an idea with something unique and special to say, something we haven’t seen, told in a way we haven’t encountered that pops off the page. Maass calls it “a breakout premise,” implying that truly hit, breakout novels start with something special at their core. I’m sure we’d all love to write a hit novel that breaks out. So, what is it that makes “something special”?
First, a premise should describe an experience that is unusual, one not encountered by everyone, at least not firsthand. The experience also takes place in a vivid, wholly realized world that is compelling in its details and stands apart as unique yet real and fascinating on multiple levels.
Second, a premise should involve a character or characters who are larger-than-life, who talk, think, and act in ways not everyone does or can. These types of characters have a boldness, drive, and determination to pursue journeys we only dream about and take risks and actions we only wish we had the courage to take ourselves. In the process they undergo growth and changes we admire greatly, that inspire us, embolden us, and leave us breathless with admiration.
To create such a premise takes effort. It may not arrive fully formed right off the bat. Some great premises are discovered in the course of writing and discovering a story, but all successful writers learn to identify them and cling to them with all their might when they do. The best premises have the power to illuminate and confront, challenging our most deeply held beliefs, our hopes, our fears, our faith, even our very wills and nature. They engage readers’ imaginations and emotions and raise questions, hopes, fears, and more that have them yearning to turn the pages, cheer for the heroes, boo the villains, and reach the inevitable climactic confrontation that sets everything right again and resolves the mystery and uncertainty it evoked when it began.
Such a premise is so much more than just boy meets girl and falls in love or boy sets out to save the world. There’s something unique and special about the boy and the girl, what draws them together, where and how they come together, and why they are willing to fight for their love. The boy is someone special who believes he might actually save the world, after all. No ordinary Joe would dare undertake such a noble quest. It takes a certain level of courage, even determination, a refusal to surrender to insecurity and incredible odds, and an undeterred drive to keep going no matter what. I don’t know about you, but while I have met such people, I have found them to be few and far between. And those few-and-far-between people are the heart of good, successful stories. So, your premise requires one. Character is story. Story is character. Story flows from character. There really is no chicken or the egg question here about who came first. Who always leads into What.
So, to write your novel, you first need a really good idea with premise potential. You may not devise all the pieces before you write, but you must write looking for them to fall into place, and you will certainly need a solid concept to get you started. How you come up with it is something I cannot teach. It really is between you and your muse. Singer-songwriter John Denver used to say the ideas for his songs came from the aether—just floating out there waiting to be discovered, and he was the lucky soul who connected at the right moment to find them and give them life. In some ways, this is the way stories tend to work as well. Your ideas will come from your life, people you know, places you’ve been or want to go, things you’ve done or want to do, etc., and then your imagination should take over and start working on the rest. There is a certain magic to storytelling that can be neither easily described nor taught. That’s where the talent comes in. But it will take more than talent to write your novel. It will also take determination and a drive to push through the struggles and keep going no matter what. And so, the more passionate you are about your premise, the more likely you are to succeed. If nothing else, pick a premise that fires you up, not just the first seemingly viable one that comes in your head. Find the one that hooks you and won’t let you go. That’s where your great novel will surely come from.
Let’s look at some examples Frey gives of premises from famous novels:
The Godfather by Mario Puzo (the story of the Corleone Mafia family over generations): family loyalty leads to a life of crime.
The Old Man and the Sea by Ernest Hemingway (the story of an old Cuban fisherman who struggles against a marlin far out in the Gulf Stream off the Cuban coast): courage leads to redemption.
A Christmas Carol by Charles Dickens (the story of a miserable, cheap, bitter man who is visited by ghosts of past, present, and future and learns the meaning of Christmas): forced self-examination leads to generosity.
One Flew Over the Cuckoo’s Nest by Ken Kesey (the story of patients oppressed at a mental hospital): even the most determined and ruthless psychiatric establishment can’t crush the human spirit.
In effect, a premise is like an argument. A story can have only one premise, because you cannot prove two arguments well at once. Your story’s conclusion will have a cause-and-effect relationship with what came before. In most cases, the argument within the premise is about a dilemma the characters confront. If you start first with characters and think about your premise, you may come up with it as you consider the characters’ flaws and the obstacles they face, as well as their goals and needs. Frey writes: “There is no formula for finding a premise. You simply start with a character or situation, give the character a dilemma, and then meditate on how it might go.” By opening your imagination and letting it run, usually the possibilities are endless, and your premise will come to light in the process. Frey quotes Egri as saying: “Every good premise should contain an element of character which through conflict leads to a conclusion.” So in essence, what are your three Cs (Character, Conflict, Conclusion)? Identify them and you have your premise.
Since the story of characters changing because of dramatic conflict makes good fiction, your premise will define such a situation. Old high school friends meet after 20 years and fall in love despite her terminal illness. The coach of a small-town basketball team with a history of losses recruits the first black player to help lead the team to a championship. A tough technophobic cop must team with an android partner to solve his partner’s murder. Can you see the three Cs at work in all these examples?
A good premise will give your novel focus and power that carries readers through to the end. It will hold their attention. Keep them turning pages. Make them long to know what happens next. And it may well do the same for you as you write. In fact, it should, even for the dedicated outliners. Everything in good fiction propels and leads you to the conclusion of the story, which is also a decisive conclusion or answer to the argument of the premise. Anything else should be cut and dropped. So a well-conceived premise is inherent to a well-written novel and key to your success. You must know where you are going to successfully complete any journey. The premise is the target on the map of your storytelling journey. Start without it at your own peril.
The concept, idea, or premise is a start. Craft and work will do the rest.
• A-Available/Single? Yes. • B-Best Friend? My dog, Amelie, and her brother Louie. I can’t imagine happiness without their unconditional love and enthusiasm. • C-Cake or Pie? I’ll have to go with Elvis and say cake. • D-Drink Of Choice? Sparkling Ice Black Cherry (after giving up Coke Zero Cherry) • E-Essential Item You Use Everyday? My iPad. • F-Favorite Color? Blue. • G-Gummy Bears Or Worms? Bears. I like to cuddle as I eat. • H-Hometown? Salina, KS • I-Indulgence? Candy Corn or Red Licorice. • J-January Or February? February. It’s my birthday month so no contest. • K-Kids & Their Names? Louie, Amelie, Lacy (pets) • L-Life Is Incomplete Without? Laughter. • M-Marriage Date? I don’t honestly remember. It only lasted four years and I’ve been out of 10. • N-Number Of Siblings? 3 • O-Oranges Or Apples? Apple, if we’re talking pies or juice. Orange if we’re talking fluorescents. • P-Phobias/Fears? Small space, heights. • Q-Favorite Quote? “Everything we hear is an opinion, not a fact. Everything we see is a perspective, not the truth.” ― Marcus Aurelius , Meditations • R-Reason to Smile? My babies • S-Season? Spring • T-Tag Three or Four People? I don’t know four people. • U-Unknown Fact About Me? • V-Vegetable you don’t like? Squash and several others • W-Worst Habit? Sweating the small stuff • X-X-rays You’ve Had? Too many and too personal. • Y-Your Favorite Food? Piranha (Brazilian steak cut) • Z-Zodiac Sign? Aquarius
I lived in El Paso for a while and part of it a mile from the site of the mass shooting yesterday. As of this moment, I still have not heard the status of a number of old friends, but seeing the area I frequented, even walked to from home and where I walked my dogs, on the news in these terrible circumstances was quite emotional for me today. I am deeply concerned and my heart and thoughts go out to all those affected—which is two entire cities of El Paso and Ciudad Juarez—at this terrible time. And I pray that you will somehow find peace and hope on the other side of this nightmare. I also continue to believe we need a change in this country to curb gun violence and I hope after El Paso, Dayton, the Wine Festival, even a shooting here in K.C.’s Crossroads the other day, that it can finally be approached with the seriousness it deserves.
This is the panel I moderated on Friday of Comic Con 50 in San Diego with authors discussing how they write and envision the future in their works.
Panelists: Gini Koch – National bestselling Author, Alien series Timothy Zahn – Number 1 New York Times bestselling Author, Star Wars Thrawn, Quadrail series, Cobra series Steven L. Sears – Screenwriter/Author, Xena, The A-Team, Riptide Jonathan Maberry – New York Times bestselling Author, Joe Ledger series, Rot and Ruin series, VWars Javier Grillo-Marxuach – Screenwriter/Author/Comic Writer, Middleman, Lost,Blood & Treasure Seanan McGuire-New York Times bestselling author/Comic Writer, Newsflesh, October Daye, Spidergirl, The X-Men
NOTE: This is a reprint of an old post which wasn’t a WriteTip but should be. Still relevant. Hope it’s useful.
1) Is your creative work at risk? If you post it online, the answer is yes. If you turn it in as a class assignment, the answer may be no. Most professors would never violate your copyright. And in most cases, when you are first learning, school work isn’t going to have serious potential for marketing. So the likelihood of your work being stolen and distributed is pretty minor. What is the intended audience and how is the work being distributed? If your work is really at risk, then copyright may be a good idea.
One of our most cherished values, codified in our U.S. Constitution under the Bill of Rights, is freedom of speech. It’s covered in the First Amendment, under the same clause that establishes Freedom of Religion, and reads as follows:
This is the panel I moderated on Friday of Comic Con 50 in San Diego with authors discussing how they write and envision the future in their works.