Category Archives: Storytelling

Tell Your Emotional Truth Story – Why and How

Storytelling, ,

Tell Your Emotional Truth Story. Why is it so important to do that? Because, if you don’t tell your emotional truth, your story will have no beating heart. Your story will not come alive on the page. Why not? Because your story has not first come alive in your own writer’s soul.

What is Emotional Truth? Emotional truth is what is really going on in your story, the real truth of what is happening to your characters. The surface of things, what your characters allow to be seen and heard, can be manipulated to conceal what they are truly feeling, but great stories are not about feelings being concealed. Great stories are about feelings being revealed.

How Do You Find Emotional Truth? Real life is the mother lode from which you mine your own emotional truth and then refine it into storytelling treasure. The deeply felt emotions that are the beating heart of your story come from your own personal experience of emotions you have felt yourself in your own life. They have the power to make your reader feel deeply too.

How I Found My Emotional Truth Story. I write romantic suspense novels. Scary things happen in my stories. Hailey Lambert, the main character of my book A Year of Summer Shadows, is assaulted and strangled. That happened to me once. My character and I both survived. Now we both benefit from my emotional truth of that awful experience.

The Details of That Emotional Truth Story. The powerlessness while it was happening. The shock and numbness after it was over. The way others might have seen me at that moment had there been anyone present to see. I didn’t need to take notes. All of that was branded on my psyche in indelible emotional ink. Deeply felt experiences do that to us.

Dig for Those Details and You Will discover Storytelling Gold. Unfortunately, we have all had similarly indelible experiences. We have been changed by them, traumatized by them, sometimes stopped in our tracks by them. Now we get to convert them into the very raw material of intense, dramatic, powerful storytelling.

Stephen King Agrees with Me. He has said, “For me, there have been times when the act of writing has been an act of faith, a spit in the eye of despair. Writing is not life, but I think that sometimes it can be a way back to life.”

I Agree with Stephen King. Despair, and the trauma that can cause it, are a way back to an act of writing from the most vivid and vital center of your bloody, beating heart. I don’t mean memoir writing, though digging for emotional truth is crucial there too. I’m talking about reimagining real-life experience into the “spit in the eye” that is a riveting piece of fiction.

Mining for Gold Requires Excavation. Our emotional truth is not usually what we show on the surface of ourselves. It is more deeply true than what we show on the surface. Your stories can be the expression of that subterranean truth brought to the light and recreated in words. The result can be the best writing you have ever done.

Find Your Gold Mine Stories. Whether you realize it or not, you know what these stories are for you. Check your heart, your stories are there. Write them, whether as fiction or non, the way your heart feels them to be true, which may differ from factual truth. Facts are verifiable. Feelings are not. Someone else’s emotional truth may vary from yours. BUT that does not make your truth any less valid, or hers either.

Emotional Truth Stories are Individual. Your emotional truth is what you honestly feel. Your character’s emotional truth is what she honestly feels. That honesty gives your story its authenticity, its bleeding, beating heart. That inner authentic truth is what really matters and makes your story really matter, to you as you write it, and to your readers as they read it.

So, dig down and dig deep. You will know when you hit the mother lode because it will zing straight to your heart, just before you zing it to the page and Tell Your Emotional Truth Story.  Alice Orr – www.aliceorrbooks.com

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A Wrong Way Home – Alice’s Riverton Road Romantic Suspense Book 1 – is a FREE Kindle eBook HERE. Enjoy!

Alice’s latest novel is A Time of Fear & Loving – Riverton Road Romantic Suspense Book 5. Available HERE. 

Praise for A Time of Fear & Loving. “Alice Orr is the queen of ramped-up stakes and page-turning suspense.” “Warning. Don’t read before bed. You won’t want to sleep.” “The tension in this novel is through the roof.” “I never want an Alice Orr book to end.” “The best one yet!” “Budding romance sizzles in the background until it ignites with passion.”

Look for all of Alice’s books HERE.

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http://twitter.com/AliceOrrBooks/
http://goodreads.com/aliceorr/
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The Ideal Story Idea Equation

Storytelling, ,

The Ideal Story Idea Equation. Every writer I know, and probably every writer I don’t know, is praying for the Idea from Heaven. The perfect combination of elements that will create the best story you’ve ever written and take you where you want to be in your writer’s adventure. What we sometimes forget to emphasize is the Combination of Elements part. The Equation.

The Technicolor Idea Strike. Most of us have, on very happy occasion, experienced the exhilaration of a technicolor idea strike. A story concept, maybe a scene, appears suddenly, unexpectedly, like lightning in the mind, revealing something entirely new, previously unimagined. “This is it,” we cry out in creative ecstasy. “This is the story I must write.”

An Idea Is Not a Plot. The problem is that we don’t really have a story. We have an idea for a story, and an idea is only a beginning. A story, particularly in the commercial fiction arena, requires a plot with a beginning, middle and end. At best, our flashes of inspiration will get us through the opening scene, maybe the first chapter. Without lots more work and a much bigger brainstorm, the story tumbles downhill from there.

The Cocktail Party Scenario. Permit me to illustrate with a cocktail party scenario that goes something like this. Author stands at the edge of the party crowd to maximize observation potential. Fellow partier sidles over, discovers that Author is, in fact, an author and suggests some variation on the following. “I’ve got a terrific idea for a novel. Bestseller for sure. How’s about I tell you my idea, you write the story, we split the take fifty-fifty?”

The Peril of Underestimating The Storytelling Process. A giant misconception is in play here. This non-writer underestimates the writing process. Somebody once famously said, “There’s nothing to writing. All you do is sit down at the typewriter and open a vein.” The partier with the great story idea knows nothing about the bloodletting aspect of the writer’s craft. He doesn’t understand that an idea is not a story.

An Idea Is Only A Kernel. That kernel may possess the potential to grow into the next Nora King Mary Higgins Grisham opus or it may not. Either way, tons of nurturing, strain, frustration, doubt and even bloodletting must be applied between planting and harvest. A clever idea is a jumping off place but without the sweat equity required the storyteller is in for a hard fall.

The Equation Begins With Character. An idea flash may reveal intriguing, even startling circumstances, but those circumstances must happen to equally intriguing characters or the agent/editor/reader will soon cease to care.  An intriguing character comes to life on the page, has a history fraught with complex experience, and a personality riddled with contradictions, like Holly Golightly in Breakfast at Tiffany’s by Truman Capote. Such characters are complicated, often confused, and always in conflict with each other.

The Equation Continues With Conflict. Great storytelling is all about story conflict, and that conflict must have enough power to reach beyond the initial story idea. Enough power to propel the agent/editor/reader, nonstop and without much respite, from first scene to last with a riveting rollercoaster ride between, like in The Color Purple by Alice Walker.

A Powerful Story Idea Plants The Conflict Kernel Deep. A powerful storyteller cultivates that kernel through obstacles, frustrations, near misses and reversals as layered and complex as the characters themselves. Conjuring all of that requires opening the previously mentioned vein. A lightning flash story idea makes the first cut, then the real surgery begins.

The Ideal Story Idea Equation Is Simply This. Great Idea plus Characters We Care About plus An Excruciating Conflict Situation equals First Class Storytelling. Which is, of course, not simple to accomplish, but that’s the challenge which creates the conflict at the heart of your great writer’s adventure. Welcome to the rollercoaster.

Alice Orr – www.aliceorrbooks.com

A Wrong Way Home – Alice’s Riverton Road Romantic Suspense Book 1 – is a FREE Kindle eBook HERE. Enjoy!

Alice’s latest novel is A Time of Fear & Loving – Riverton Road Romantic Suspense Book 5. Available HERE.

Praise for A Time of Fear & Loving. “Alice Orr is the queen of ramped-up stakes and page-turning suspense.” “Warning. Don’t read before bed. You won’t want to sleep.” “The tension in this novel is through the roof.” “I never want an Alice Orr book to end.” “The best one yet!” “Budding romance sizzles in the background until it ignites with passion.”

Look for all of Alice’s books HERE.

http://facebook.com/aliceorrwriter/
http://twitter.com/AliceOrrBooks/
http://goodreads.com/aliceorr/
http://pinterest.com/aliceorrwriter/

 

Character Triage – Who’s In? Who’s Out?

Storytelling, ,

Character Triage – Who’s In? Who’s Out? Every character you start out with in your story may not carry enough storytelling weight to be allowed to stick around. Some will most likely have to go. Which characters do and do not belong in your story? How do you decide? First, let’s make a couple of general lists. Then we’ll move on to specifics.

Character Triage – Who’s In? Characters Who Should Stay in Your Story. They sparkle with contradiction and controversy (like Holly Golightly). They enhance the main characters in the story, making them more intriguing. They aggravate the main characters in the story, making them more conflicted. They have secrets, often dark ones, the main characters would like to know, or should know, but don’t. They have hidden dreams the main characters would like to know, or should know, but don’t. In other words, they generate plot by adding more complications to the story.

Character Triage – Who’s Out? Characters Who Should Leave Your Story. They don’t make anything happen (which is never the case with Harry Potter). They get along with everyone, neither creating nor enhancing conflict. We aren’t interested in knowing more about them. They are not connected with either the main characters or their stories. In other words, they don’t generate plot by adding more complications to the story.  Here are some specific character types that should be shown the door.

Character Triage – The Lackluster Character. Especially when creating the main characters of a series who must be extra unique and compelling. In fact, any continuing character must stand out in order to hold a reader’s interest through several stories. Be careful not to focus on thrilling plot at the expense of thrilling characters. This can be fatal to storytelling success.

Character Triage – The Character Who Cloys. Especially as a romance heroine. She’s cute/adorable/precious, and the alleged hero scampers along in her wake for far too long. At first, she may be lovable for the reader as well. Then, we become exasperated with her and, eventually, out-and-out irritated. She’s a distraction from the story and undermines your hero’s portrayal too.

Character Triage – The Character Who Fails at His Story Mission. Especially as a mystery-suspense hero. He’s the detective who doesn’t detect. A murder is committed, and he should be intent on finding the murderer but does too little to further that quest. He avoids real investigative questioning. He lets others do the legwork. He slows the pace instead of enlivening it. He must thrust himself into danger and battle his way out (like Benedict Cumberbatch’s Sherlock Holmes).

Character Triage – The Interchangeables. Especially as secondary characters. Three sisters or friends or whoever that would be better as two. The extra sidekick clutters the story. She isn’t distinctive enough and her lack of substance drains story vitality. She should be folded into one of the other characters to streamline plot and pacing or rewritten to reveal her individuality.

Character Triage – This is Only the Beginning. A sampling of characters that need to go if you want to write a strong story, and of course you do. Make your own list, maybe even from your own work, but don’t be discouraged when you do. There are ways to save these characters from the no-hope heap.

Character Triage – Every character, like every human being, has a story. Your job as storyteller is to discover that story and give your creations life on the page. When you do, they will not just belong in your story, they will be embedded in your reader’s heart.  Alice Orr – https://www.aliceorrbooks.com

–R|R–

A Time of Fear & LovingFor a great read where every character definitely belongs – Don’t miss Alice Orr’s latest novel. A Time of Fear & Loving – Riverton Road Romantic Suspense Book 5. Available HERE. Look for all of Alice’s books HERE.

 What readers say about A Time of Fear & Loving. “I never want an Alice Orr book to end.” “Alice Orr is the queen of ramped-up stakes and page-turning suspense.” “Warning. Don’t read before bed. You won’t want to sleep.” “The tension in this novel is through the roof.”
“A budding romance that sizzles in the background until it ignites with passion.” “The best one yet, Alice!”

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http://twitter.com/AliceOrrBooks/
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