Imagine If Yoda Were Your Writing Coach

Imagine If Yoda Were Your Writing Coach…

by: Suzanne Harrison

Writers live a solitary life. That’s a fact. You spend hours planning, writing, rewriting and editing your masterpieces, only to have them rejected by every agent or publisher you have the courage to show them to.

So wouldn’t it be fabulous to have an on-call writing mentor, a wise and experienced coach to guide you through your writer’s journey?

Well, you have! Here, captured in the timeless wisdom of one of the greatest mentors in storytelling history, the great Jedi Master, Yoda, are 10 simple tips guaranteed to transform you into a Jedi Knight of the Write!

“You must unlearn what you have learned.”

When commencing anything new, you need to arrive at the front door with an open mind and your judgment suspended. Most importantly, leave any old training and ingrained ideas about the topic you are learning, well and truly outside that door. Writing is absolutely no exception to this rule. I have found it much easier to teach complete novices, and those with open minds, than trained journalists or graduates of writing courses, especially when it comes to the basics of freeing the imagination for fiction. For those of you who think you need to write it perfectly the first time – unlearn that! For those of you who think you write with the logical, left side of your brain – unlearn that! For those of you who think that only a gifted few can write well – unlearn that! And for those of you who think you can only write when touched by the muses – unlearn that! If you can think and speak, then you can write. Period. No other prerequisites required.

“(What’s in there?) Only what you take with you.”

The world of fiction is the world of your experiences mixed with your imagination. As you venture into this world to retrieve the images, feelings, impressions and ideas in the way that is truly unique to you, you do indeed learn that the only things you can encounter there are the things that you take in with you. No one else on the planet, or in history for that matter, is where you are now, has been through what you’ve been through or has your own unique view of the world. Honour these views and experiences. Allow them to flow freely through your pen or fingers. It is only when you write truly that others will relate to your words. Readers can spot a fake a mile away.

“Try not, do or do not, there is no try.”

This may come as a surprise but you must never try to write well, or you will never write well. Don’t try, just do. In other words, capture first thoughts, keep the pen moving, let yourself write complete garbage. Just do it. Just write. It is only by sitting down every day and writing that one becomes a writer.

“A Jedi’s strength flows from the Force.”

Substitute the “Force” with the “Unconscious” or the “Imagination”, and you’ll have a better idea of what this Yoda-ism means. As a writer, your strength flows from your own unconscious, as this is where all your collective experiences, impressions and memories are buried, just waiting to be exhumed as challenges for your characters. The ability to exercise these creative muscles, keeping them strong and toned, is the fuel that will power your stories.

“There is no why.”

One of the greatest leaps you can make in your writing, and indeed in your life, is the ability to stop asking why! Do not seek the reason for anything you write. Do not seek the reason behind the images you see, the voices you hear, the impressions you get, the dialogue you write. It just is. And it is, because it’s you, and only you, who can write that at this time. As soon as you stop to ask why, you drop into an analytical frame of mind, and genius is lost. Creativity is stifled. Imagination cannot function. Let the critics ask why. That’s their job. Your only answer to the question of why? need be “because it was there.”

“You must complete the training.”

When it comes to writing, or any other art form, talent or genius actually count for very little. Writing is a craft, and like any other craft, the writer needs to work at it constantly, honing his skills and refining his technique. Study your craft, learn from many teachers, add to your skill set, it will make you a much better writer. And it was Michael Jordan who said, “the harder I trained, the luckier I became”. Keep studying. Always be in training. As a writer you are like an athlete. Footballer players don’t hang out at home all week, or spend their days surfing or playing golf. They train, they practice, they work out at the gym, and it is this that gives them the strength, skill and finesse to win games on the field. You are no different.

“Only different in your mind.”

Life is lived in the human mind. The advances in quantum physics have proven that the universe arose from thought, and that we can influence anything in our lives simply by the thought we put to it. The same goes for your writing. If you think you can, or you think you can’t, you’re right. If you think you can sell more books that JK Rowling, then you’ve got a much greater chance than someone who thinks they can’t. Anything is achievable for you as a writer, as long as you put the thought to it that you can and will succeed.

“Control. You must learn control.”

One of the most frustrating elements of being a writer is finding the time to write. If you hold down a full time job, run a business, or have a family to care for and an active social life, it can be tempting to say “I’ll write that novel next year/when the kids are grown/when I retire” etc. This is where self control is imperative to the success of your creative endeavours. You only need to write one scene a day, which can take as little as 20 minutes, and in a year you will have 365 scenes, which will be the best part of the first draft of a novel. Don’t wait. Learn to control your inner voice that says, “You can’t do it”, or “Don’t be so selfish”, or “The bathroom is dirty, go clean it”. Sit down and write every day. It’s the greatest gift you can give yourself.

“Nothing more will I teach you today.”

Take your writing lessons, and your writing sessions, in bite-sized pieces. When you are learning new writing techniques, take the lessons at a pace that keeps you stimulated, but not overwhelmed. Taking on too many new ideas or concepts at once can tend to muddy the creative and productive waters. It is best to learn a new technique, then practice it and integrate it before moving onto the next one.

“Pass on what you have learned.”

As you travel the writing path, take the time to teach others that which you have learned. Even if it’s only a simple word of encouragement or a tip that helped you when you were just starting out, keeping the flow of information alive is the greatest gift you can give to others. Pass on what you have learned.

So, as you can see, anytime you need him, Yoda will be there to help you through. And remember, the only failure is stopping, so keep on writing!

About The Author

Suzanne Harrison is the Director of Writers Central, which offers online creative writing, short story, novel and screenplay courses, plus a vibrant forum where members share tips, news and ideas, enter competitions and recieve 24/7 feedback on their writing. http://ift.tt/1elYX1k

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The post Imagine If Yoda Were Your Writing Coach appeared first on Robert JR Graham.

The Art of The Trilogy

Tackle A Trilogy And Triple Your Profits

by: Suzanne Harrison

Are you a writer with big ideas? Are you always imagining epics, sweeping stories, great tales of human struggle and sacrifice, interlaced with personal stories of love, sadness and triumph? If so, you ought to consider turning your book or story idea into a trilogy.

Why a trilogy? Believe it or not, there are deep psychological reasons that we do things in threes. The holy trinity is the Father, the Son and the Holy Spirit, and the Triple Goddess is Maiden, Mother, Crone, detailing the feminine journey through life. How many times have you heard the phrase “third time lucky”, or given someone “three guesses” or “three chances”? And of course in baseball it’s “three strikes and you’re out!”

You will have no doubt heard of the traditional “three act play”. Almost all big Hollywood screenplays are based on this structure and it’s certainly a tried and true form of storytelling that captures viewers and keeps them going back to the cinema in droves. And the world of fantasy writing is packed with trilogies: The Lord of the Rings, The Chronicles of Thomas Covenant (that’s two trilogies in fact), and any story by Sara Douglass, Robin Hobb, Trudi Canavan or pretty much any fantasy writer in the world today is told across at least one, if not more, trilogies.

Add to that the success of such popular movie franchises as Star Wars, Pirates Of The Carribean and the Bourne movies, and you will see that a well planned and executed trilogy is a one way ticket to success.

So how do you do it? Do you just take an idea and spin it out over three stories? Or do you just come up with a great character and three great premises and you’re home and hosed?

Neither actually!

The success of the trilogy is based on the traditional three act play, where book or movie one is act one, book or movie two is act two, and book or movie three is act three. The only ingredients you need are one great big story running behind three stories compelling enough to carry a movie or book on their own, and you’ve got the basic ingredients you need to succeed.

So if you are the type of writer who thinks big, if your scope is broad and your plots complex and intertwined, and your characters are people on a life’s journey, then trying to squash that all into one book may be too many chocolate chips in the cookie. Giving yourself the room to think, plan and write a larger journey over three books will make each one a better book in its own right, and if you do get it right, you’ve got a guaranteed audience for books two and three. And publishers love that!

The most important element to grasp as you embark on the trilogy adventure is that you are dealing with a multilayered project. Unlike the acts of a play, the individual stories in a trilogy need to stand up on their own, in addition to playing a part in a larger drama.

So let’s take a look at how you can go about turning your dreams of epic tales into the reality of a trilogy.

How To Build Your Trilogy

1. Decide on your over-arcing or larger story.

This is definitely the most important first step by far. Without it you don’t have any story, let alone a trilogy.

Some examples of great larger stories are:

a) a leper passes out on the floor of his lounge room and wakes to find himself in a strange land. There, instead of being treated as an outcast, he is considered a savior and the question is asked, will Thomas Covenant accept his destiny and save The Land? The larger story: will Lord Foul prevail or will Covenant save The Land?

b) a farm boy dreams of becoming a fighter pilot. He meets a Jedi Knight and trains in the ancient art. The question is asked, will Luke Skywalker become a Jedi, save the Rebels and bring freedom to the Galaxy, or will he turn to the Dark Side like his father? The larger story: who will prevail, light or dark, good or evil, The Rebels or The Empire?

c) a man is found floating off the coast of Marseilles. He has no idea who he is. As he attempts to find out, will he learn his true identity, or will Jason Bourne wish he’d never asked? The larger story: it is one man against the world, as Jason Bourne challenges the might of the CIA, and who will prevail?

These are just a few examples of the initial questions asked, the initial journeys laid out before the heroes and the ultimate possibilities open to the creator of a great trilogy. Nail your larger story, and backdrop it against anything from war to a love story and you’ll have a great basis to work from.

2. Each book in the trilogy is roughly the equivalent to an act in a screenplay.

In the three act play, Act One is “The Set Up” or “Decision To Act”, Act Two is “The Confrontation” or “The Action” and Act Three is “The Resolution” or “The Result Of The Action”.

When you are planning out your larger story (which you will do first) this breakdown will help you form the basis of each of the books in your trilogy. In Book One, you will cover the elements of the larger story that take that story through the set up phase and onto the threshold of another world, or some different action. Book Two will follow with the result of what was decided in Book One, as the story moves forward through the crisis/ordeal/midpoint and traditionally ends on a dark note. This leaves Book Three open to rescue the heroes from the jaws of defeat as the larger story reaches its climax and all the initial questions are answered. Planning this out in the earliest stages will give you very strong guidelines as to where to go with each individual book’s plot, structure and characters.

3. Each book must stand alone as a complete story in itself.

This is where you need to be very aware of the layered aspect of this process. You have a larger story you are telling in the style of the three act play. Now you need to plan, structure and write three stores within that structure that fulfill all the criteria of successful books in their own right. So take “The Set Up” phase and construct a story showing how you would set up your larger story. It’s very common here to have a reluctant hero, who hears the call to adventure and refuses. Thomas Covenant is a good example of this. Thus the entire first book can be the process of the hero trying to escape the call. In a different scenario, you may have a willing hero, like Luke Skywalker or Frodo for instance and the first book may be a complete hero’s journey in itself, showing how the hero is embracing the quest or task, but still leaves the greater part of the task to be completed.

Possibly the most important thing to remember is to hold information or events back as long as you can. It’s tempting when you’re writing a trilogy to put too much in up front, but doing that is a mistake. Give your readers some credit for intelligence and imagination, and don’t tell them everything up front. Trilogies are a great tool for holding back secrets and springing surprises on your readers to keep them guessing. Good examples of this are Darth Vader revealing he is Luke’s father at the end of the second episode in that trilogy, the interesting faux “love story” between Elizabeth and Captain Jack Sparrow in the Pirates of the Carribean and the scene at the end of the second Bourne film which is repeated right near the climax of the third film. You are in a great position to lead your readers wherever you want them to go so use it!

4. Your characters must have “legs”.

There is nothing worse than flat, lifeless characters and there is definitely nothing worse than trying to hold our attention with these flat and lifeless characters for three whole books. Make sure you do your homework on your characters just as you would with any other book you write. Put their flaws and universal needs right there up front for us to see, you still need to grab your reader’s attention from page 1. Don’t fall into the trap of thinking that because you have three books you have more time and space to develop your story and characters. Wrong! If anything you are under more pressure to hook us straight away, because we’re not going to keep reading if we’re not interested, as we know that the story doesn’t actually finish until the end of the third book.

5. Your “golden thread” must run throughout all the three books.

This is where the intricate weaving of story on story and the skill of balancing the separate elements becomes critical. Your golden thread could be a war, a family saga over generations, a love story or a ring quest, but regardless of what it is, remember that THIS IS THE STORY YOU ARE ULTIMATELY TELLING. Star Wars is ultimately about the battle between the Rebels and the Empire, the Bourne movies are the story of one man against the CIA, the Chronicles of Thomas Covenant are about a leper who becomes a savior in a different world, and The Lord Of The Rings is the war of Middle-Earth. While there are countless subplots, character journeys, love stories and red herrings in all these tales, they all still have their own individual “golden threads” and ultimately the telling of the story is to serve this golden thread.

If you are prone to larger ideas, give this system a go. It may be just the breakthrough you need to get yourself on the publisher’s lists.

Source

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The JK Rowlings’ Method

Are You The Next JK Rowling?

by: Suzanne Harrison

Harry Potter. The name brings instant recognition from people all over the world. The books have sold over 350 million copies worldwide. Only the bible has more translations. The movies have gone on to grace the lists of the Top 10 grossing films of all time.

When Harry Potter and the Philosopher’s Stone was published in 1997, Joanne Kathleen Rowling was a previously unpublished author. She had no publishing credits, no insider knowledge, no friends in the industry.

So how did she do it? How did she go on, in the space of ten short years, to become the first billionaire author on the planet?

The answer to that question lies not in what she did in those ten years between the publication of the first book and the publication of the seventh, Harry Potter and the Deathly Hallows.

The answer actually lies in what she did in the seven years prior to the first book’s publication.

So if you’re an author who is yet to be published, you’re actually in the best possible position. Because it’s in this time, before your book hits the shelves, that you can have the greatest influence on its success.

Quite simply, JK Rowling followed a four-step writing process that you too can adopt to write your very own list of bestsellers. The question is: do you have what it takes to be the next JK Rowling?

Planning

This is by far the most underrated of the steps in the writing process. And in the final wash up it is absolutely the most important.

It was 1990 and Jo Rowling was on a train between Manchester and London. Harry literally strolled fully formed into her mind while she was gazing out the train window at a field full of cows. She spent the next four hours (the train was delayed) imagining Harry, the world he inhabited, the friends and enemies he had there and the dangers and joys he may encounter there. She had nothing to write on so had to be content to play this all out in her imagination. By the time she got off the train in London, the central cast of characters were already cemented in her mind.

But did she go home and immediately begin scribbling a story with these characters? No, she didn’t. She spent five years, yes that’s right FIVE YEARS creating and developing every last detail of the wizarding world, including government and education systems, how the wizarding world stood shoulder to shoulder with the muggle world, and she devised a highly sophisticated system of magic that would eventually form the backbone of her own special brand of writing magic. On top of this she sculpted out the entire story, planning the details and events of all the seven books, before she put pen to paper to begin writing the first.

Would you attempt to build a house without plans? Would you attempt to drive across the country without a map? Or would you set sail on the seas without a compass? Writing a book without a detailed planning stage is like attempting to build a house without plans. Miss this step and you are almost certainly destined to become lost in a forest of your own words.

Writing

When you are writing, you are just writing. You are not planning, you are not editing. You are writing. Once you have planned your story, it is time to sit down and write it.

JK Rowling planned the Harry Potter series for five years before she put pen to paper on the first book She wrote the entire first book, and felt as though she were “carving it out of this mass of notes”. All the planning was worth it. She was able to devote herself to the actual task of writing, knowing that all the story and character elements she needed were covered.

This is the best possible place for you to be in when you are writing a novel. Novels are long. Usually over 100,000 words and sometimes as many as 200,000 words and more. That is a lot of words! So if you have planned and structured your story effectively, done your research (either real or in your imagination) and collated your notes, then the writing process is an absolute joy, where you can be very certain of your ability to produce the best possible novel.

Jo Rowling said she felt she “had to do right by the book”. She really believed in the story and so when it came to writing it, she made sure she had taken care of all the necessary preparation. Once that’s done, writing is almost easy!

Rewriting

Harry Potter and the Deathly Hallows (Photo credit: Wikipedia)

Jo Rowling rewrote the opening chapter of Harry Potter and the Philosopher’s Stone a total of 15 times. Her own mother died just 6 months after her first attempt at Chapter One of that book, and that sent her into a frenzy of rewriting, essentially changing everything. The Potter books are about death, there is no doubt about that, and they are driven particularly by the death of Harry’s parents and his miraculous survival. When Jo Rowling experienced such a major turning point in her own life, she rewrote the story to reflect and process her own pain.

Writing and rewriting are separate processes. Writing is scribing or sculpting out the drafts of the story. Rewriting is re-looking and re-seeing. Often the rewrite will show up where the story has gone off track and where questions asked at the start haven’t been answered by the end. In JK Rowling’s case, she realised after writing the entire first book that she had given away the entire plot of the seven books. She rewrote it in this light, and held many things back.

Many successful authors say that you only write to rewrite. DH Lawrence even said that he wrote his entire first draft, threw it away and then started again from scratch.

Editing

Editing is the process of refining and polishing your manuscript. This part of the process may be done by you, or by an external editor. It is often wise to have an editor look over your work before submitting it for publication as it is extremely difficult to get the distance you need from your own work to see where it can be improved.

Not that you have to listen to what the editor says. In the end it is your name on the spine of that novel and you are entirely answerable for its contents. Having said that, a good and subtle editor can lift your novel to heights that you may not be able to achieve on your own.

It is clear from the Harry Potter series that JK Rowling was more tightly edited at the beginning (the first two novels are barely more than 200 pages and by the time we get to number five, Harry Potter and the Order of the Phoenix, we are faced with a weighty tome of over 700 pages) so it is generally advisable at the beginning of your career to bear the advice of your editor heavily in mind, especially if you are new to publishing. In every event, less is more, and a distilled and focussed book is more likely to captivate and intrigue a new audience than a meandering epic that constantly loses its way.

Writing a book is a process, never forget that. Each step in the process is unique but necessary. Don’t mix them, and certainly don’t attempt to skip any steps. Do that at your own peril.

JK Rowling has shown the world what is possible if you adhere to the basic processes of the art and craft of writing a good story. So before you attempt your next novel, address the four steps in the writing process: planning, writing, rewriting and editing, and be sure you give each step its due.

And who knows? You could be the next JK Rowling.

Source

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The Art of The Trilogy

Tackle A Trilogy And Triple Your Profits

by: Suzanne Harrison

Are you a writer with big ideas? Are you always imagining epics, sweeping stories, great tales of human struggle and sacrifice, interlaced with personal stories of love, sadness and triumph? If so, you ought to consider turning your book or story idea into a trilogy.

Why a trilogy? Believe it or not, there are deep psychological reasons that we do things in threes. The holy trinity is the Father, the Son and the Holy Spirit, and the Triple Goddess is Maiden, Mother, Crone, detailing the feminine journey through life. How many times have you heard the phrase “third time lucky”, or given someone “three guesses” or “three chances”? And of course in baseball it’s “three strikes and you’re out!”

You will have no doubt heard of the traditional “three act play”. Almost all big Hollywood screenplays are based on this structure and it’s certainly a tried and true form of storytelling that captures viewers and keeps them going back to the cinema in droves. And the world of fantasy writing is packed with trilogies: The Lord of the Rings, The Chronicles of Thomas Covenant (that’s two trilogies in fact), and any story by Sara Douglass, Robin Hobb, Trudi Canavan or pretty much any fantasy writer in the world today is told across at least one, if not more, trilogies.

Add to that the success of such popular movie franchises as Star Wars, Pirates Of The Carribean and the Bourne movies, and you will see that a well planned and executed trilogy is a one way ticket to success.

So how do you do it? Do you just take an idea and spin it out over three stories? Or do you just come up with a great character and three great premises and you’re home and hosed?

Neither actually!

The success of the trilogy is based on the traditional three act play, where book or movie one is act one, book or movie two is act two, and book or movie three is act three. The only ingredients you need are one great big story running behind three stories compelling enough to carry a movie or book on their own, and you’ve got the basic ingredients you need to succeed.

So if you are the type of writer who thinks big, if your scope is broad and your plots complex and intertwined, and your characters are people on a life’s journey, then trying to squash that all into one book may be too many chocolate chips in the cookie. Giving yourself the room to think, plan and write a larger journey over three books will make each one a better book in its own right, and if you do get it right, you’ve got a guaranteed audience for books two and three. And publishers love that!

The most important element to grasp as you embark on the trilogy adventure is that you are dealing with a multilayered project. Unlike the acts of a play, the individual stories in a trilogy need to stand up on their own, in addition to playing a part in a larger drama.

So let’s take a look at how you can go about turning your dreams of epic tales into the reality of a trilogy.

How To Build Your Trilogy

1. Decide on your over-arcing or larger story.

This is definitely the most important first step by far. Without it you don’t have any story, let alone a trilogy.

Some examples of great larger stories are:

a) a leper passes out on the floor of his lounge room and wakes to find himself in a strange land. There, instead of being treated as an outcast, he is considered a savior and the question is asked, will Thomas Covenant accept his destiny and save The Land? The larger story: will Lord Foul prevail or will Covenant save The Land?

b) a farm boy dreams of becoming a fighter pilot. He meets a Jedi Knight and trains in the ancient art. The question is asked, will Luke Skywalker become a Jedi, save the Rebels and bring freedom to the Galaxy, or will he turn to the Dark Side like his father? The larger story: who will prevail, light or dark, good or evil, The Rebels or The Empire?

c) a man is found floating off the coast of Marseilles. He has no idea who he is. As he attempts to find out, will he learn his true identity, or will Jason Bourne wish he’d never asked? The larger story: it is one man against the world, as Jason Bourne challenges the might of the CIA, and who will prevail?

These are just a few examples of the initial questions asked, the initial journeys laid out before the heroes and the ultimate possibilities open to the creator of a great trilogy. Nail your larger story, and backdrop it against anything from war to a love story and you’ll have a great basis to work from.

2. Each book in the trilogy is roughly the equivalent to an act in a screenplay.

In the three act play, Act One is “The Set Up” or “Decision To Act”, Act Two is “The Confrontation” or “The Action” and Act Three is “The Resolution” or “The Result Of The Action”.

When you are planning out your larger story (which you will do first) this breakdown will help you form the basis of each of the books in your trilogy. In Book One, you will cover the elements of the larger story that take that story through the set up phase and onto the threshold of another world, or some different action. Book Two will follow with the result of what was decided in Book One, as the story moves forward through the crisis/ordeal/midpoint and traditionally ends on a dark note. This leaves Book Three open to rescue the heroes from the jaws of defeat as the larger story reaches its climax and all the initial questions are answered. Planning this out in the earliest stages will give you very strong guidelines as to where to go with each individual book’s plot, structure and characters.

3. Each book must stand alone as a complete story in itself.

This is where you need to be very aware of the layered aspect of this process. You have a larger story you are telling in the style of the three act play. Now you need to plan, structure and write three stores within that structure that fulfill all the criteria of successful books in their own right. So take “The Set Up” phase and construct a story showing how you would set up your larger story. It’s very common here to have a reluctant hero, who hears the call to adventure and refuses. Thomas Covenant is a good example of this. Thus the entire first book can be the process of the hero trying to escape the call. In a different scenario, you may have a willing hero, like Luke Skywalker or Frodo for instance and the first book may be a complete hero’s journey in itself, showing how the hero is embracing the quest or task, but still leaves the greater part of the task to be completed.

Possibly the most important thing to remember is to hold information or events back as long as you can. It’s tempting when you’re writing a trilogy to put too much in up front, but doing that is a mistake. Give your readers some credit for intelligence and imagination, and don’t tell them everything up front. Trilogies are a great tool for holding back secrets and springing surprises on your readers to keep them guessing. Good examples of this are Darth Vader revealing he is Luke’s father at the end of the second episode in that trilogy, the interesting faux “love story” between Elizabeth and Captain Jack Sparrow in the Pirates of the Carribean and the scene at the end of the second Bourne film which is repeated right near the climax of the third film. You are in a great position to lead your readers wherever you want them to go so use it!

4. Your characters must have “legs”.

There is nothing worse than flat, lifeless characters and there is definitely nothing worse than trying to hold our attention with these flat and lifeless characters for three whole books. Make sure you do your homework on your characters just as you would with any other book you write. Put their flaws and universal needs right there up front for us to see, you still need to grab your reader’s attention from page 1. Don’t fall into the trap of thinking that because you have three books you have more time and space to develop your story and characters. Wrong! If anything you are under more pressure to hook us straight away, because we’re not going to keep reading if we’re not interested, as we know that the story doesn’t actually finish until the end of the third book.

5. Your “golden thread” must run throughout all the three books.

This is where the intricate weaving of story on story and the skill of balancing the separate elements becomes critical. Your golden thread could be a war, a family saga over generations, a love story or a ring quest, but regardless of what it is, remember that THIS IS THE STORY YOU ARE ULTIMATELY TELLING. Star Wars is ultimately about the battle between the Rebels and the Empire, the Bourne movies are the story of one man against the CIA, the Chronicles of Thomas Covenant are about a leper who becomes a savior in a different world, and The Lord Of The Rings is the war of Middle-Earth. While there are countless subplots, character journeys, love stories and red herrings in all these tales, they all still have their own individual “golden threads” and ultimately the telling of the story is to serve this golden thread.

If you are prone to larger ideas, give this system a go. It may be just the breakthrough you need to get yourself on the publisher’s lists.

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