Constructing a powerful premise line as a framework for story structure

October 1, 2013 by 3 Comments

Lyons Fin 018In the second class of my interview series with Enneagram and story development expert Jeff Lyons (recordings no longer available), we talked about “The Critical Importance of Premise Line Development.” Today’s post is a recap of what we learned.

Jeff started off by talking about the importance of being clear about what you’re writing is about a situation or a story:

  • A story is about a person on a journey of change, where they are trying to achieve a goal or attain a desire and have a revelation about themselves at the end. Stories include relationships, because, as Jeff says, “Stories are conversations, not monologues.”
  • A situation, on the other hand, is usually some kind of problem or predicament with a solution that tests a protagonist’s problem-solving skills but doesn’t reveal character. Few, if any, subplots, twists, or complications are required to solve the problem, and it ends in the same emotional emotional space it began in. Standard genre beats may still evident but not the deeper underpinnings of story structure.

While Jeff doesn’t suggest that story is better than situation or vice versa, he says that they require different building blocks to successfully deliver them. A story will rely on deeper story structure components, while a situation will rely on entertainment value, great set pieces, and good dialogue, but won’t reveal character or be driven by a moral problem or theme.

And what is story structure?

Jeff defines story structure differently than the way most of us have learned to think of it. Most of us think of things like inciting incidents, turning points, mid-points, climaxes, and resolutions as story structure. Jeff describes these as “story beats” and says that most writing systems that purport to be about structure are actually focused on these typical beats and are missing the deeper, natural structure implied by both premise development and character motivation.

Getting from idea to premise line

When a story idea first arrives, it often comes as an “undifferentiated mass”. It’s a collection of swirling notions and intuitive instincts that don’t translate yet into a clear organized story structure.

Jeff uses premise line development as a tool to begin to decipher the fuzzy, abstract ideas into a more concrete, contained story — the nascent beginnings of story structure. He compares it to stepping down electricity from the power plant into a useable form in a residential setting. It has to go through transformers to make it available at a functional level. The premise line is the first step in translating from that vague mass of ideas into something resembling a story.

The way that he does this is by using seven core elements to begin to tease out the components of the story and shape them, including:

  • Character — do you have a sense of a character who will be central to the story?
  • Constriction — what happens that pushes the character off the line they’re on at the beginning of the story?
  • Desire — what does this character want? At this point, we’re not talking about something specific or tangible, that comes later, but rather a sense of a core desire or motivating force.
  • Relationship — who is this character in relationship with? (Again, stories are conversations.)
  • Resistance — what is the push back or opposition that stops the main character from getting what they want?
  • Adventure and/or Chaos — what is the adventure or chaotic experience the character has that leads them to the epiphany at the end?
  • Change — this is the dramatic epiphany the end — how the character changes as a result of their experiences.

Moving from premise line to visible structure

Once you’ve identified your premise line, you can then move to a more “visible structure” for the story. This is a process of taking what you’ve started with and beginning to develop and flesh out the pieces of the story more deliberately. At this stage of the process, you’ll make the following shifts:

  • The character becomes the protagonist.
  • The constriction becomes the moral problem of the protagonist. (This informs the inciting incident.)
  • The character’s desire becomes a chain of desire (a sequence of goals or desires all related back to the character’s core desire).
  • The relationship becomes the focal relationship for the story, the person the protagonist experiences the journey with.
  • The resistance becomes the central opposition. At the outset and premise level, you may just have a sense of an opposing force. At this stage it would become personal, dramatic, and/or personified.
  • The adventure/chaos becomes the plot and momentum of the story through the second act. (This is the part of the story that includes the typical story beats, like midpoint, low point, and climax).
  • The change is the evolution or de-evolution of the protagonist.

Bridging the gap using the Enneagram

In order to make the transition from that undifferentiated mass of the original idea to the more visible structure of the premise line all the way into a visible, clear structure, Jeff uses the Enneagram to help identify the specifics for each one of these elements, such as:

  • The best protagonist for the story, based on the personal change the story is designed to illustrate.
  • The best opposition or antagonist for the story, designed to help provoke the protagonist into that change.
  • Brainstorming and understanding the protagonist’s core desire based on their Enneagram type, to design a chain of desires that the character seeks that drives the story forward.
  • The best allies or focal relationships for the protagonist.
  • The best likely inciting incidents, turning points, midpoints, low points, and battles/climaxes that will stimulate your specific character and/or be driven by him/her to the final outcome of the story.

The Enneagram doesn’t tell us the ONLY options for each of these, but rather suggests the best form for each of these elements. Then as the writer, it’s up to you to begin to craft the specific story details to deliver that. (Form follow function, after all.)

For instance, at the broadest level, an Enneagram Three seeks approval from the outside as a way of validating themselves, but what they really need is to have their own sense of value and sense of self. So a story about a Three would be designed to play out that journey in a visual, visible metaphor organized around the ideas of approval-seeking as the constriction, taking an action that would cause a loss or challenge based on that approval-seeking as an inciting incident, to a low point where the Three finally realizes they are sacrificing themselves on the altar of approval and giving up everything to do so, all the way to a climactic moment where the Three stops looking outside themselves for approval and decides to find it within.

At a more specific level of story detail, those ideas could play out with a businessman who will never say no to a contract, trying to please everyone and perform by juggling and obfuscation, but he finally says yes to too many projects and the house of cards he’s built around himself comes crashing down. He would then realize he needs to choose projects and work that HE values, and by so doing, recognize his OWN inherent value. It’s HIM that makes the projects successful, not the game he’s playing.

And of course, we can get even more specific from there, as well as fleshing out the details of his supporting relationships and opposition.

Your turn

Do you develop a premise line for your work? Tell us about it! We’d love to hear your thoughts in the comments.

Warmly,

 Jenna

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Graphic courtesy of http://www.fitzel.ca/enneagram/graphics.html
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Using the Enneagram for Story Development

September 18, 2013 by 11 Comments

Lyons Fin 018In the first class of my interview series with Enneagram and story development expert Jeff Lyons (recordings no longer available), we talked about “The Secrets of the Enneagram Most Writers Are Overlooking.” We had a mix of participants on the line, it seemed to be about 50-50 on who had prior experience or knowledge of the Enneagram and who did not, and Jeff did a great job of making the material accessible to everyone. Today’s post is a recap of what we learned.

Jeff talked about how powerful the Enneagram can be for writers because of its archetypal patterning of human drives and behaviors that transcend cultural boundaries.

He walked us through a quick overview of each of the nine Enneagram types, or styles, as he calls them. He describes the styles as being nine basic strategies for living, including showing us how we behave when we feel successful, weak, vulnerable, and strong. His descriptions of the types quickly demonstrated how powerfully the Enneagram types can be used for character development and why so many writers have used the Enneagram that way for so long. He also described several ways writers can use the Enneagram beyond simple character development, which I’ll give you the highlights of in a moment.

The Nine Core Enneagram Styles

To start, though, let’s take a look at the nine core Enneagram styles:

  • The One is the “do the right thing” person who derives their sense of safety, security, and love in the world by following the rules and doing things perfectly.
  • The Two is the “to be loved” style, sometimes called “the caretaker”. Twos look for the person with the most power in their environment and make themselves indispensable to that person in order to feel loved. They manipulate in order to get the love they want. Glenn Close’s character in Fatal Attraction is an example of an extremely unhealthy or “disintegrated” Two.
  • The Three is the “performer or achiever” and focuses on getting EVERYONE’s approval (not just one person in power, like the Two). Jeff described the Three as a “therapist’s nightmare”, because they tend to perform emotion rather than feel it (though they do have and feel emotions deeper down).
  • The Four is the “to be special” style. This type has a negative side, feeling that something is missing. They can be melancholy, depressed, and always looking for someone to help them solve the problem of “what’s missing”. They “long to long” and are often overly self-oriented.
  • The Five is the “thinker” type who controls their environment by controlling information. They don’t like intense emotions and control the people around them by controlling (sometimes withholding) information. Keanu Reeve’s character “Neo” in The Matrix is a great example of a Five who controls his world through data, at the beginning of the story in particular.
  • The Six is the “safety-security” style. Sixes always have a plan, they know where the pot holes and the landmines are. They tend to have a problem with trust, but if you win their loyalty, they’ll be a friend forever. If their lives are working, they tend to be happy, but they will also dismantle their entire lives in order to have a problem to solve. There are also “counter-phobic” sixes who tend to strike first if they think you might be a threat to them.
  • The Seven is the “to have fun” style. “Why have one friend when you can have 100 friends?”, as Jeff said. Sevens are great at having fun and enjoying life, but they also have a tendency to be addictive types and their fast-paced, highly-active lifestyles are designed to help them avoid their inner pain.
  • The Eight is the “self-reliant / leader” style. They control people by making the rules. They are the most projected on than any other Enneagram type, because they have such a strong presence that can feel confronting. They can be very protective of the downtrodden and provide leadership or can become dictators at an extreme. They avoid relying on other people.
  • The Nine is the “peacemaker”, the one who finds safety by finding common ground. Nines make sure that everyone is heard except themselves — they are self-abandoning. They don’t get in trouble, but they are also not seen.

Character Development & Beyond

Here are some story development applications Jeff described for the Enneagram:

  • Determining your characters’ core personality types — this has been done by writers for years.
  • Determining your protagonist’s growth arc — Each of the nine types has a specific drive toward “disintegration” and a higher place within them for “integration”. Studying those paths of disintegration and integration can help writers get clearer about their characters’ growth arcs in their stories. This has also been done for years by writers.
  • Choosing the best protagonist for your story, depending on the moral problem you want your character to solve in the story and the type of story you are telling. For example, love stories are often Two-driven stories, and pure sci-fi stories are often Five-driven stories.
  • Selecting the best opponent for your protagonist, based on your protagonist’s Enneagram type and growth arc, so they are designed for maximum conflict that will provoke the protagonist’s growth.
  • Choosing the best allies for your protagonist, so your characters interplay with each other for best effect.
  • Designing and structuring your story to naturally take your protagonist through exactly the right crucible that forces them to move from their moral problem into their point of integration, or revelation, by the end of the story.
  • Understanding the types of stories we will be innately drawn to tell, based on our own Enneagram styles, which can make us more conscious writers.

All of these help us “pre-structure” our stories BEFORE we go into story beat development, which is what so many of us are familiar with already and tend to think of as story structure (like Blake Synder’s Save The Cat method, for instance).

Next week, in the second class of our series, Jeff will be talking to us about:

  1. Premise line development and its critical importance in story development.
  2. Story structure components.
  3. How to tell the difference between whether or not you have a story or a situation.

Your turn

Are you familiar with the Enneagram? What has it helped you shift or change in your own life? If you’re a writer, do you use it in your writing? I’d love to hear your thoughts in the comments.

Warmly,

 Jenna

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Graphic courtesy of http://www.fitzel.ca/enneagram/graphics.html
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Reward yourself for writing

August 28, 2013 by 2 Comments

In my Writer’s Circle, one of the things members commonly bring up as a question is how to reward themselves for meeting their writing goals.

We have a list of questions we answer on our site, once we’ve completed our writing for the day (or not, as the case may be). This is one of the stickiest questions for many of us:

  • How will you acknowledge or celebrate what you’ve accomplished today?

The question tends to trigger a lot of resistance and debate and discussion. Sometimes writers even avoid answering it or fulfilling it. I know it’s a hard one for me to remember too!

But here’s the thing, it’s incredibly important to both celebrate and acknowledge the work you do as a writer both on an ongoing daily basis and at the end of a significant project phase, like finishing a first draft or a rewrite. 

Here’s why:

  1. You’ve fought resistance to show up, put your butt in your seat, and do the writing. As small as that may seem from the outside, you know deep down that every day it is an accomplishment. We’re talking about a daily battle that you’re winning.
  2. By creating a positive association with your writing, you are more likely to show up and do it again the next day. Bottom line? It reinforces your writing habit.
  3. Writing is a long term endeavor. It’s all too easy to walk around feeling like you’ve never done enough when the draft isn’t finished. Stop that right now. Instead, celebrate what you have done. It’ll make it easier to keep going all the way through to the end.
  4. Too many writers significantly undervalue themselves and their writing, especially if the day’s writing session was particularly hard. Stop that too. Take the time to recognize the value and importance of what you’re doing. It’s important to you, right? For most of us, writing is a true calling. If that isn’t important to feed, honor, and sustain, I don’t know what is.

Ideas for rewards

Here are some super simple ideas to get you started with rewards, celebrations, and acknowledgments:

  • Do a happy dance.
  • Dance to music for a minute.
  • Shout, “I did it!”
  • Throw your fists up in the air and say, “YES!”
  • Say, “I declare myself satisfied!”
  • Hug yourself.
  • Pat yourself on the back.
  • Play an inspiring song.
  • Make yourself a cup of tea.
  • Take a moment to stretch.
  • Stand in the sunshine for a moment, look at the sky and appreciate the world and the gift of writing.
  • Do the things you’d normally be doing while procrastinating about your writing (like checking in on Facebook or Twitter, or playing games on your iPad).
  • Tell your writing community about your progress and be proud of yourself (the Writer’s Circle is a great place to do this).

You might also like this slideshow from B.J. Fogg on “Ways To Celebrate Tiny Successes”. (The slideshow has the line, “Hey now, you’re a rock star,” as one idea for a celebration. Love it! That’s from “All Star” by Smashmouth)

Two tips for getting the most out of rewards

  • Tip #1: Fogg recommends celebrating within a second of completing the task as being critical for reinforcing small successes. So even if you give yourself a bigger reward at the end of the day’s work, do mini-celebrations each time you hit a milestone (e.g. a page done, a hour of writing, 15 minutes of writing, whatever you’re aiming for). I have a sound effect for a cheering crowd set up on my iPhone that goes off whenever I finish an hour-long writing sprint. It always reminds me to notice and acknowledge what I’ve accomplished.
  • Tip #2: Gina Hiatt, the founder of the system my Writer’s Circle runs on, also points out the importance of not “pre-celebrating”. Pre-celebrating means doing something fun — celebrating or rewarding yourself — BEFORE you do the writing. That doesn’t work, because it only perpetuates procrastination AND triggers a guilty conscience. The whole idea here is to eliminate your guilt and anxiety around your writing.

But what about the major milestones?

What happens when you finish your draft, put the final polish on your rewrite, turn in your script to a contest, or your box of books arrives in the mail — in other words, hit a major writing milestone?

Please — and you may take this as a request from your writing coach if you like — REALLY celebrate!

Do something like this:

  • Take yourself out to a fantastic lunch or dinner.
  • Go to the spa for the day.
  • Take a day off and watch movies and eat your favorite foods.
  • Open a bottle of something yummy.
  • Tell your friends.
  • Have a party!

This is a MAJOR accomplishment and deserves to be celebrated.

Particularly if you’re someone who tends to undervalue and underrate and always have more to do and feel like you have to move on to the next thing, STOP, and congratulate yourself on finishing.

Then dive back in the next day. :)

Your turn

What do you do to reward yourself for writing? Tell us in the comments.

Warmly,

 Jenna

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Image by © Royalty-Free/Corbis
 

 

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This Writer’s Life: How 5 Minutes of Daily Writing Can Change Your Life

August 7, 2013 by 12 Comments

Writers who tend to join the Called to Write Coaching Circle — and get the most out of it — often have both a deep call to write (whether they’re doing it consistently or not) and a specific project they want to work on, perhaps one half-completed, languishing on a shelf for a couple of years. And when they find out about the Circle, they’re eager to move past the dreaming or stuck stage into action.

This is the story of a man who has done just that.

Rikard-BergquistWhen he joined the Circle all the way from Sweden, Rikard Bergquist had been working on his novel intermittently, struggling to find enough time to write and to move past the outlining and preparation stage into writing actual New Words. And he had a little two-year-old daughter at the time too! (She’s three now.)

After being in the Circle for a session or two, continuing to write intermittently, and listening to me (harp on about :) ) advocate for early morning writing and small writing sessions as a powerful way to jump-start a writing habit, one of our other members “threw down the gauntlet” and challenged him to try writing for 5 minutes every day and logging in every day on the site to report about how it went for him. He took her up on the challenge. It changed his life.

In less than four months, after building from 5 minutes a day to a solid writing habit of 60 minutes a day, he knocked out 75,000 words and completed his first draft. He’s still with us in the Circle now, working on revisions. He is one of our most dedicated and consistent members, showing up to write and log in on the site even while traveling — he even met me for coffee in Berkeley here the other day to talk shop while on a trip to the U.S. from Sweden. It was great fun. :)

I asked “Rick” (as we affectionately call him in the Circle) to talk to us today about his experience with finishing his novel, how he got there, and what’s he’s learned about his writing process along the way. You may be surprised to find some ideas and inspiration you can adopt for yourself.

1. Rick, first, welcome and thanks for being here. Let’s start off by having you tell about your recent major milestone — finishing the first draft of your first novel. What was that like for you?

It was one of the most empowering and surprising experiences I’ve had. Empowering because finally this dream of a novel I’ve had for a couple of years was becoming a reality. I escaped the terror of the first draft and actually produced 75,000 words. Instead of laboring and trying to make early parts of the story perfect, writing and rewriting, outlining and rearranging the order of scenes, as well as reading the latest book on craft and thinking I finally got it, I did the work and now have a substantial number of written pages to show for it.

It was surprising because I did it by writing for about an hour every morning during four months — I never thought an hour a day would amount to anything. I surprised myself weekly when I saw what I had accomplished with just an hour every morning. I surrendered to the process, allowing myself to write badly, knowing that it was only the first stage in a big adventure. Overcoming that editor inside of me, who kept telling me it was crap, was a big victory. And my first draft is the result. Now I know that first drafts aren’t supposed to be outstanding perfect novels, they’re just supposed to be written.

2. Can you give us a soundbite about what the story is about and about who you are?

The story is set in the 1570s of Stockholm, Sweden. In a power struggle for the crown our hero supports a new queen for the throne, who turns out to be a murderer, poisoning her competition. When his secret love interest is surprisingly accused and imprisoned for the murder, without any hope of pardon, our hero has to choose between his career or saving her. And what price will he pay for the choice he makes?

I work in the financial industry, for a private equity company, with business development. It’s hands-on management in selected individual companies in a wide range of industries. Writing is for me a creative outlet and a possibility to follow a totally different path.

3. What have you learned about your writing process from participating in the  Circle?

Consistent daily work is key to my process. Being consistent means that I stay in touch with my writing, even though I might be working and doing other things during the day. The story evolves and develops in my subconscious, waiting to be served up during the next writing session. Setting goals and being accountable within the Circle, giving and receiving feedback on each others’ processes — in short, knowing that my efforts are noticed by others is a big motivator for me.

Focusing on the process rather than the craft, is a very important difference from other writing groups I’ve participated in. For me, this group is about focusing on getting the writing done, every day. What you write, how you write, and when you write is up to you. But do it every day. The accountability and support of the Circle is key to making that happen.

4. What were the biggest challenges you faced before joining the Circle? Have they changed?

My biggest challenge was finding time to write. I kept telling myself I needed chunks of at least 3-4 hours of undisturbed concentrated time to get anything done. I used to laugh at friends telling me how someone they knew had finished a novel by coming in 15 minutes early to the office and using that time to write. “It just isn’t possible,” I used to say, but now I know better. I kept on trying to find my big chunks of time, getting them here and there. It was a constant struggle. Looking back, I feel like I wasted a lot of time thinking about how to find time to write, but never doing the actual writing, and instead ending up feeling frustrated and lost. I knew I wanted to write, but why didn’t I just do it? I wrestled a lot with that question. With the help of the Circle I established a habit of rising early and writing for an hour every morning. Consistently.

5. When you first joined the Circle in May 2012, what was your writing habit like and how did it evolve? Were there any key moments where you shifted your habit? Was there a particular trigger or did it build over time for you?

At first my writing consisted of sporadic big chunks of time, where I spent the first part of each writing session reconnecting with my story and the latter part coming up with some new tweaks to my outline, synopsis, and characters. I always felt happy and satisfied afterwards, but not continuing to work on it over time always made me question my earlier work when I got back to it. And I was never moving into writing actual words, paragraphs, and chapters of the book, just staying at the outline stage.

There were two key moments for me — One: I followed the advice from you, Jenna, and fellow members of the Circle to adjust my target amount of writing time downward until I found a suitable amount that I could do consistently every day. For me that was five minutes. How amazed and surprised I was of the power of those five minutes. It changed my world — I connected on a deep level with my story and gradually increased the five minutes to sixty minutes per day. At first outlining scenes and then actually writing the first draft.

And this is where my second key moment occurred — Two: I could not get myself writing. I stalled. I reworked. I was stuck. Again following advice from the Circle I gave myself permission to write badly. I told myself “I am writing crap,” and suddenly I was writing about 750 words during that hour every morning. And surprise, it wasn’t all crap.

6. What advice do you have for other writers?

The only way to do it, is to do it. Complete the journey from the first page to the last page. If you can’t do this, it’s game over. Because without the first draft, you have nothing. You need a lot of faith to do it, faith in your unproven ability to write a novel. But give yourself permission to fail, to write crap, to make mistakes, to forget your outline and synopsis and before you know it, you will have your first draft.

7. What’s next for the novel and for your writing?

Right now I am revising the draft. Aiming at having a first rewrite done in a couple of months. There are times when I feel like giving up, but I now know that that’s only part of the writing life. It’s a constant flow of ups and downs, you just have to trust the process and keep putting one foot in front of the other. Finishing this first draft, I will turn it into my second and then my third, or as many as I need to finally hold an amazing novel in my hands.

8. Is there anything else you’d like to tell us?

Have faith, never give up, and know that in the end you’ll succeed. Once you’re in the habit of writing, trust the process to bring you to the finish line. If you feel down and lost during the journey, just tread water and wait for the next creative wave to come. It always does, have faith.

Thanks, Rikard!

Your turn

Join me in congratulating Rick on his big accomplishment and help cheer him on for his revisions! Leave a note for him in the comments. Feel free to ask questions too. Tell us what you think about writing for 5 minutes a day.

Warmly,

 Jenna

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Sensitives, what’s most important to you?

June 28, 2012 by 2 Comments

I’d love to have your input on a survey that will help me develop articles, offerings, and services for sensitive souls. I’ve been receiving input from you about wanting “more for sensitives” so I’m checking to make sure I’m providing what you’re looking for.

Thanks for your interest!

You can take the survey here:

[polldaddy survey=”16DC16B517FAB63B” type=”button” title=”–>Click here to take the survey!<–” style=”inline” text_color=”006666″]

 

 

While you’re here, you might also be interested in the three for one Summer Sale I’m running right now — Thursday through Saturday, where you can get all three of my self-study energy skills classes for sensitive souls for the price of one. You can check out the sale here: https://calledtowrite.com/SummerSale

 

 

 

 

 

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