The Drama Triangle, by Betsy Dickinson

THE DRAMA TRIANGLE PRESENTED BY: BETSY DICKINSON The Drama Triangle is a social model developed by Stephen Karman, MD. It defines the roles of persecutor, victim and rescuer in drama-intense relationship transactions. It models the connection between personal responsibility and power in conflicts and the destructive and shifting roles people play. The Persecutor and Rescuer is the “one-up” position. The Victim is the “one-down” position. Victim’s seek out persecutors and rescuers. Rescuers feel guilty… Read More

Insights Into Advanced Fiction Structure, by Donald Maass

From PNWA Master Class, Writing the Breakout Novel by Donald Maass, via DeeAnna Galbraith All about building layers and surprising the reader with something they didn’t expect Character Work/Openings Is your protagonist: An everyman? What quality in the life of the author can be shown in this type of character almost immediately? Are they in control, too busy, boring job? Already a hero or heroine? What is this character’s everyday human quality? Put this… Read More

Perfect Counterparts, by Erik Bork

From: http://blog.artella.com/post/141211270456/on-developing-story-ideas-by-pete-docter What makes an audience root for two people to be together? The Save the Cat books have a name for the type of story where the primary external conflict is that two people who are “perfect counterparts” have something big in the way of “living happily ever after.” It’s called “Buddy Love.” And it includes most types of love stories, including the classic “Forbidden Love” (Brokeback Mountain, Twilight, Moulin Rouge) or… Read More

Four Things House of Cards Can Teach Us About Writing, by Cris Freese

From http://www.writersdigest.com/editor-blogs/there-are-no-rules/4-things-house-of-cards-can-teach-us-about-writing I think the general consensus among those writers who teach the craft is that you must read—and read widely—about the craft of writing, particularly those authors who write in your genre. But I think there’s a lot you can learn about writing from other mediums, too. Specifically television. Every other Monday, I’ll be bringing you takeaways from some of the best television shows out there. These are meant to be specific… Read More

The Redemptive Arc, by David Corbett

From:  http://writerunboxed.com/2015/12/08/the-redemptive-arc December 8, 2015 It’s the holiday season, which means it’s time to talk about my three favorite elves: Shame, Guilt, and Ho-Ho-Hope. Those of you who follow this blog daily probably have gathered already that I’m going to follow up on two recent thought-provoking posts, one by Tom Bentley (“Shatter Your Characters”) on using shame and guilt to deepen characterization, the other by Donald Maass (“The Current”) on the implicit… Read More

Killing Your Character(s)

We’ve all heard the advice as authors to “kill your darlings” but in her article, “How to Successfully Kill a Character: The Checklist,” K.M. Weiland shares her thoughts on when it’s a good idea to kill them, and when not. Check it out!

The Internal Conflict Formula That Generates Plot Points and Strengthens Theme, by Lynn Johnston

From:  http://savvyauthors.com/blog/index.php/the-internal-conflict-formula-that-generates-plot-points-and-strengthens-theme-by-lynn-johnston; March 10, 2015. Internal conflict is what happens when a character wants two things that are mutually exclusive.  Sometimes the conflict will be something big:  perhaps your heroine is in love with George but also lusts after Fred, and she’s unable to choose which man she wants to be with. Or maybe she’s a homicide detective, and she wants to build a case on the evidence, but she also wants to… Read More

12 Fundamentals Of Writing “The Other” (And The Self), by D. J. Older

This is an excellent article to review when writing characters outside of ourselves. “12 Fundamentals Of Writing ‘The Other’ (And The Self)” by D. J. Older, author of the YA novel, Shadowshaper, among others.

How Outlining Can Bring Out Voice, by Gabriela Lessa

From:  https://janefriedman.com/2015/08/24/how-outlining-can-bring-out-voice “I got some rejections where the agents said they liked the premise but it lacked voice. How do I fix voice?” As a freelance editor, I hear this question a lot from my clients. It’s something that seems to baffle authors. What exactly is voice? How do you see if your character has a voice? How do you fix it? The whole “it’s a subjective business” thing can be frustrating… Read More

Story Glue, by Anna Elliott via WriterUnboxed

I found this article interesting, and thought the rest of the Wordherders might too. In Story Glue, Anna Elliott discusses what makes her pick up a book in her limited reading time.