Good Fiction Is All About What You Leave In...

I watched American Reunion yesterday. Actually I watched the first, third, and fourth movies in the series in order: American Pie(1999), American Pie: The Wedding (2003) , and then the 2012 sequel written and directed by Jon Hurwitz and Hayden Schlossberg.

While not on the short list of movies I was anxious to see, it was hot outside and I am studying a stack of books on screen writing in an attempt to improve the structure and pacing of my own novel w.i.p..

Here's the premise:

  It's been 13 years since the group of guys and their girls graduated from high school in East Great Falls so it's about time for that overdue 10th High School Reunion. When Jim Levenstein and his wife Michelle arrive at Jim's old home, Jim's dad Noah (who has been a widower for three years) is obviously happy to see them and quickly escorts his daughter-in-law and grandson Evan into the house leaving a less than enthusiastic Jim to slep their luggage inside.

  Just then a car comes speeding up the street and with horn blowing pulls into the driveway next door.  Jim watches as a gorgeous young chickie hurries out of the house (if you've watched the first pie you'll remember Jim for his Internet video  and other title antics). Chickie notices slack-jawed Jim ... and comes bouncing over to greet him instead of hopping into the car.

  Turns out that she is Kara, the girl he used to babysit. Married Jim seems not to have outgrown his high school fear of women. She is about to turn 18 she explains and invites Jim to her birthday party. Adult Jim seems to be having a hard time catching up. There are a lot of raunchy innuendos bounced around. 

Here's the problem:

   How is it that Jim hasn't seen Kara one time in these last thirteen years? Jim's mom died three years ago, wouldn't they have crossed paths then? Maybe? Or during a previous vacation? While it is clear that I am not the intended audience for this juvenile outing I do understand the deal we viewers make about suspending disbelief, but the idea that Jim is so befuddled was a tad annoying to me at first. Me, being a member of the audience.

But it got me (the writer me) thinking about scenes, characterization, dialogue and what it takes to tell a good story that hangs together. Or to be more succinct what to leave in and which scenes to delete. And in what order to write it.

If good storytelling reflects truth, and author, writing coach, screenwriter and producer Blake Snyder assures us this is indeed true, I understand that Jim needed to reconnect with Kara in the opening. It is the "truth" that bothered me.

Understanding the four-part story structure is crucial for any novelist who wants to write and sell commercial fiction. Our job as storytellers is to understand what has to happen in each of these divisions (and why Jim needed to connect with Kara in the opening), and to deliver the material in the right order. Our goal is to keep the reader turning the pages.

Larry Brooks, the author of Story Engineering cautions that if we "intend to sell what we write" we need to understand "the art and craft of the story architecture. Mr. Brooks has a ten-part tutorial on the fundamentals of story structure here: http://storyfix.com/story-structure-series-1-introducing-the-four-parts-of-story

A final note, Jim's dad, played by actor Eugene Levy steals the      show over and over again with his patient fatherly advice. I am a fan.

Spring For Susannah - A Novel Review & Writers Workshop

"Marta says she is thinking of the book of Ruth," Ivar began, pausing for his wife's words. "Like Ruth, Susannah has traveled far to marry a man she did not know. Like Ruth, may you find great joy in your new family." (page 69)

Jesse Mason welcomes his mail-order bride Susannah to his home in the Dakota Territory. Married by proxy by his brother, The Reverend back in Michigan the couple meet for the first time when Susannah arrives by train. Jesse, a Christian man is immediately pleased by his bride. Her prayer request is answered when he smiles. Jesse has a full set of good teeth. While Susannah does carry on an inner dialogue with God, she also acknowledges that she feels He has let her down in the past and is to blame for her current predicament. She also arrives with a suitcase full of several secrets and huge inferior complex. While both have inner demons to content with Susannah is particularly fragile. But she is prepared to keep her part of the deal, be a good wife, and obey her husband. Jesse is patiently hoping for more....

First time author Catherine Richmond has crafted a enjoyable story for the Christian reader, I suspect however, this novel will also appeal to readers beyond this market, readers who enjoy historical "prairie" romances. The Christian themes that run through the story has been seamlessly integrated and are appropriate. A nice read by a promising new author.

Writers Workshop - The author has chosen to open the story of Jesse and his mail-order wife minutes before they meet for the first time. She is considered a spinster, and he is a farmer. As the story unfolds the author has a double burden, first to show the push and pull of the couple as they get to know one another, and second to reveal the backstory of these two very different people. Revealing this much backstory without slowing the pace of the novel can be tricky.

Catherine Richmond has done a good job of dropping past events of Susannah's life into the story to show (explain) who she is and why. Ms. Richmond has used backstory to her advantage. While both are mature, Jesse is portrayed as a more open character. He readily admits to a past that includes serving in a brutal war and using (abusing) alcohol . Because he is immediately pleased by his new wife, and because we, the reader know Jesse has conquered his past we trust that he will be able to help her. There are many reasons for Susannah's hesitancy and bit by bit they are revealed to Jesse and the reader.

Creating an in-depth biography for the lead characters is a good idea (especially for beginning writers). The trick is not to ramble on about this happened and that happened. Be careful to use this information to reveal character motivation. A light touch is the goal.

"The trick," according to Larry Brooks, "is to show just enough backstory that the reader can intuit where the character is coming from, rather than spelling it out." Story Engineering (pg. 89).

A copy of this book was provided by Thomas Nelson for review. My expressed opinions are my own.

Core Clarification On A Few Competencies

Story Engineering author Larry Brooks responds to reviewers on his website StoryFix.com http://storyfix.com/ .

Story Engineering Is A Must!

Author Larry Brook asks the question "does the world need another book about writing?" After reading this one my answer is definitely ... yes!

-Story Engineering "shows the storyteller what to write, where to put it, and why it works there without any of it being remotely formulaic." And any writer (beginner or seasoned) should know and practice the adage - show, do not tell.

-Using 6 core competencies (think concept, character, theme, structure, scene execution, writing voice) Mr Brooks takes the would-be novelist by the hand and guides them through the entire process ... "Step by excruciating step." Using well-known novels, popular TV shows and movies as examples the writer is taught what works and what doesn't. Working as a community writing instructor for fifteen years I know what writers need to write their first or next novel and this book delivers.

-"Nobody on the planet teaches story structure better than Larry Brooks. Nobody," says Randy Ingermanson, and he should know he wrote the book Writing Fiction For Dummies and is the creator of the snowflake method.

-The chapter on wrapping your head around theme is a must read (I judge all writing how-to books on whether they have an index - a necessity in my opinion and how the author handles the subject of theme.)

- Story Engineering will help the future novelist reach their goal and help save time doing it.

-This one goes on the keeper shelf.
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