When we arrived in San Miguel de Allende (Mexico) over five months ago, I went on a blogging spree. I was inspired, in part, by the refreshing wonder of fast internet. A month later, I stopped writing blog posts, getting down to the business of writing the keynote speech I was to give at the San Miguel Writers’ Conference mid-February.
As well, The Shadow Queen had been chosen as the Conference’s “Big Read” and an event was organized presenting it to book clubs. The event ended up including a video interview of me on writing The Shadow Queen, two lively short lectures by experts on the historical period, and a dramatic performance from the novel—plus champagne and authentic French beignets.
Being an all-or-nothing sort of person, I got very involved in scripting the film, which you can see here. Denis Lanson, the film-maker, did a wonderful job.
The short dramatic performance was my suggestion (in lieu of a reading). I discovered that it was quite a challenge to write. Wonderful actor friends Marilyn Bullivant and Rick Davey performed it. We went through several rehearsals (necessitating rewrites) together with Karen Kinney, head of the committee (a creative committee from heaven, IMO).
In short, a good part of December, January and early February was entirely taken up with writing the keynote, preparing readings for several Conference panels, and scripting the film interview and dramatic presentation of The Shadow Queen. All very exciting!
On stage before my keynote.
The Conference went wonderfully well. I still glow thinking of the reception to my keynote—a standing ovation from an audience of about five hundred—this in addition to the thrill of so many people reading The Shadow Queen. It was a highlight of my life as a writer.
In the weeks that followed, I struggled to get back to work on the WIP, an increasingly curious little novel about a young falconer in Elizabethan England. I went through all the stages of the writing process, including the requisite, “This is garbage, I should just retire” phase. (“What! You’re on Chapter Four already?” one writer’s husband would say whenever she voiced that thought.)
I made a self-appointed deadline mid-April to deliver an outline and character “bible” to Allison McCabe, the wonderful editor of historical fiction who worked with me on The Game of Hope. I delivered it Saturday morning, then celebrated with a lunch margarita at Casa Blanca, one of our favourite restaurants in San Miguel this year.
The working title of the WIP is now Raptor Wild, which I rather like. The “outline” is a mix of bare-bone scenes (mostly dialogue) and narrative plot points, weighing in at a hefty 14,392 words. The character “bible” is simply a page or two on each of the thirteen main characters, including a gyrfalcon and an elderly English Water Spaniel. A significant number of the characters die or are killed off rather early on in the story—somewhat too grim for a YA, I suspect.
“Beauty,” one of the WIP characters.
Although this was only an outline, I developed all the usual symptoms of being in final draft mode. Invariably, at that stage, I become obsessed. I get little sleep, cancel all activities that are not work-related, and become convinced I have a fatal illness. That’s when I think: Ah, almost there. How wonderful to send files off and experience a miraculous cure!
Now that Raptor Wild has been wrapped up (for now), it’s time to prepare to leave San Miguel—never easy. I love getting back home to Canada, but I hate leaving Mexico, too. We’ve had a wonderful winter here this year.
Next up, the paperback release of The Game of Hope, all gussied up in a beautiful new cover!
I decided to try to write a logline for my next novel because I had wandered into mucky territory in working on my plot. I’ve attempted this for several of my earlier novels, but never successfully. I can write a 500-page novel, but a one-sentence summary? This turns my brain into a pretzel.
What is a logline?
The term logline originated in Hollywood. According to some, film producers would get so many scripts to consider that they took to summarizing the story in one sentence and putting it on the spine of the manuscript so that they could easily find what they were looking for.
A more likely explanation, IMO, is this one, thanks to Ms. Google:
The term “logline” was first used in old Hollywood. The big studios would own hundreds of scripts, and the studio head would keep a log book that recorded concise summaries (or “loglines“) that described each script in the studio’s possession.
A logline (sometimes called the “elevator pitch”) summarizes the essence of a story in one sentence (sometimes two) between 20 – 30 words long.
How hard can that be?
Hard!
Why write a logline?
Writing a logline is a good way of discovering the core of your story.
A logline will help you keep focussed on that core while writing the novel.
A logline will be useful if pitching your book to an agent or publisher, should you need to do so.
A logline will be useful in marketing the novel once it’s published.
I’ve read that it’s best to use an (interesting) adjective + noun structure for any character mentioned in your logline, and to not use their names. (An exception to this last is to name characters of historical significance.)
Here’s Molly, the main character of The Next Novel (working title Raptor Girl):
A feral teen falconer with mysterious powers
Yes, I know: it doesn’t quite fit the two-word rule, but I’m going with it.
Her antagonist, young Master Pete, might be described as:
a predator
(or, simply) the Master
And the interesting adjective? Here are some I’m considering:
vindictive
vengeful
desperate
Although “desperate predator” is interesting, “vindictive Master” is clearer.
Next step: What does my protagonist want?
That’s the million-dollar-question, because my Molly (or any character, for that matter) wants many things:
She wants her father’s respect.
She wants him to come out of his depression, get over his grief.
She wants to save his life.
She wants to solve the mystery of her brothers’ death.
She wants to help her father fulfill her dead brothers’ last wish to compete in Queen Elizabeth’s White Falcon Gala.
She wants to escape Pete’s murderous vengeance.
She wants to save the lives of her raptors.
She wants not to be sent to the gallows for having saved them.
She wants to be a falconer, to live a life with raptors.
She wants to kiss the funny horse whisperer.
She wants to prove to the world that her white falcon is exceptional.
So: how to choose just one?
I began by looking for the one thing that might tie into several others.
This one might be key:
She wants to help her father fulfill her dead brothers’ last wish to compete in Queen Elizabeth’s White Falcon Gala.
Let’s give it the “why” test: Why does she want to do this?
Because:
It would help restore her father’s spirits.
It would honour her dead brothers.
It would prove how amazing her falcon is. (And what an amazing falconer she is, in turn, earning her father’s respect.)
So it’s a fairly central goal, except for one thing. Competing in Queen Elizabeth’s Gala could mean discovery by the Master, from whom she is fleeing.
Last step: the obstacle
So maybe this is the obstacle:
A feral teen falconer with unusual powers is intent on helping her father honour her dead brothers’ last wish by competing in Queen Elizabeth’s White Falcon Gala, although doing so could mean being sent to the gallows by the vindictive Master.
OK. Not bad, although at 41 words it’s far too long. Trimming it back will have to come. Loglines will change over time; they do not have to be written in stone.
After the suspicious deaths of her two brothers, a feral teen falconer with unusual powers must help her broken-hearted father honour her dead brothers’ last wish by competing in Queen Elizabeth’s White Falcon Gala, although doing so could mean being sent to the gallows by their vindictive Master.
Now to test it, to see if it follows the formula
Main character:
After the suspicious deaths of her two brothers, a feral teen falconer with unusual powers must help her broken-hearted father honour her dead brothers’ last wish by competing in Queen Elisabeth’s White Falcon Gala, although doing will likely mean being sent to the gallows by their vindictive Master.
Goal:
After the suspicious deaths of her two brothers, a feral teen falconer with unusual powers must help her broken-hearted father honour her dead brothers’ last wish by competing in Queen Elizabeth’s White Falcon Gala, although doing so will likely mean being sent to the gallows by their vindictive Master.
Obstacle:
After the suspicious deaths of her two brothers, a feral teen falconer with unusual powers must help her broken-hearted father honour her dead brothers’ last wish by competing in Queen Elizabeth’s White Falcon Gala, although doing so will likely mean being sent to the gallows by their vindictive Master.
The interesting thing about this exercise is that it solved a few plot problems. Before, competing in the Gala was something that happened almost by chance, which didn’t feel logical, much less dramatic. Also, the danger of discovery by Master Pete was never even considered. Now that possibility adds tension.
Plot problems outstanding
There are many outstanding plot problems to be solved, including solving the mystery of her brothers’ death and how to dispense with the vengeful Master.
Also, perhaps the one hook that’s most of interest to potential readers is that Molly will become Queen Elizabeth’s Master Falconer.
You can see how challenging it is to write a logline!
I’m a big fan of Save the Cat by Blake Snyder, and I’m looking forward to reading Save the Cat Strikes Back, which I understand has a chapter on loglines.
Speaking of Save the Cat, this post on logline templates for specific genres as defined by Snyder looks interesting. I’ll be exploring it soon.
Today, November 16, is World Falconry Day. This year the theme is specifically on female falconers, historically and currently. This is significant because traditionally falconry has been a male realm.
I’m in the research stage of writing a Young Adult novel about a young woman falconer in Elizabethan England, so naturally this caught my eye.
If you haven’t watched the award-winning documentary The Eagle Huntress, do! It’s amazing.
This video, too, is also about women practicing falconry with eagles:
The women talk about how hard it was at first. I’d like to know: Hard in what ways?
I promised in my last post on beginning a novel that I would write about creating characters.
Of course, to begin with, I have characters swarming, ideas both historical and fictional. I’ve already searched photo databanks for images that might fit. (Currently, I like using Unsplash for contemporary photos, largely because they tend to be more natural and have personality.)
These incendiary sparks are key, but at a certain point, I have to become analytical.
I list the archetypes that traditionally most good stories need:
Mentor
Hero/Heroine
Threshold Guardian(s)
Herald
Shapeshifter
Ally (or Allies)
Trickster
Shadow(s)
And then I begin mulling over the characters in My Next Novel (working title, “Raptor Girl”). The roles can be combined into one character (i.e. Shadow and Shapeshifter). I know who my Heroine is, as well as my evil Shadow, and I’m fairly certain that the Mentor is my Heroine’s father. But looking at this list, I realized, Damn, I don’t have a Trickster! And I need one. I need someone to bring humor to this story.
So right now, at this point, I’m still mulling. But that doesn’t stop me from moving onto the next step.
I love these thesauruses. There are more, and I’ve used them all at various stages of writing a novel. At this mulling-about-characters stage, they are a great way to brainstorm. It’s also a good way to identify where the confusions lie.
I immediately identified my heroine Molly as alert (she’s a falconer, after all), and I have a fairly good feel for her brothers and her mother, but her father and the villain remain just a little mysterious to me yet. And who the heck is the Trickster?
Is it the “Wild Woman”?
I’ve long been drawn to having a character I think of as “Wild Woman,” inspired by this amazing portrait:
This is “Lucrezia as Poetry” by Salvator Rosa. (An amazing portrait, don’t you think?) But where would she fit in? (Speak to me, Lucrezia!) Might she be a Trickster? Quite possibly. She might well also be a Shapeshifter or even a Mentor.
I’m still in the mulling stage, but it’s time to put together files for all of these characters, including their images, their roles in the story, their positive and negative traits, and (most important) emotional wounds.
And then, step three: the fun part
Once all this begins to congeal somewhat, I will assign sun signs (unless, of course, they are already historically known), and give some thought to where they all fall on an Enneagram chart: Perfectionist? Nurturer? Achiever? Romantic? Observer? Skeptic? Adventurer? Leader? Peacemaker?
I used Enneagram for my most recent novel (The Game of Hope) and Caroline Bonaparte, the Villain, was clearly a #8 (the Boss, Leader or Challenger, depending).
The final challenge will be to pull all this information together and begin to form an integrated concept of each character, filling out the details of their lives, their health, their appearance, their eccentricities.
And then, of course, let them loose in your story!
