We tell stories for so many reasons; to entertain, to be understood, to explain, to engage, to re-visit the past, to imagine the future. Every child ever born anywhere in the world at any time loves to hear a story. It may be that storytelling is the best thing we can do for our mental health. ~ Jeanette Winterson

“We also recognize that imagination has to struggle with the dragon of time afresh each day. Poetry must be written, continued, risked, tried, revised, erased, and tried again as long as we breathe and love, doubt and believe.” ~ Adam Zagajewski

From Idea to Story

May 3, 9-4:30

The Center for Contemplative Arts, Manzanita, Oregon

Taught by Jessica Morrell

Writers have long grappled with the problem of taking a flash of inspiration through the marathon process of completing a finished work. That flash is your premise. But a premise on its own is flimsy, must be build it up and need the perfect story people to bring it to life until it becomes a compelling, awe-inspiring tale of… whatever it is you long to tell.

This workshop, for writers of all levels, will address key issues that must be confronted if you are going to assemble a myriad of pieces into a seamless whole. These issues include finding a shape for your story; how to treat plot and character as interdependent; how to avoid typical pitfalls when working. We’ll discuss forces and fears at play such as the fear or inability to finish, which is all too common. We’ll cover the basics of plotting, or if you’re writing a memoir, choosing the right elements and order for it. Participants can bring a brief outline of their plot and first three paragraphs.

   We’ll also cover:

•    Determining if your premise is a true compass that will keep the story on track.
•    The basic underpinnings of stories—the anatomy of scenes and the anchor scenes that hold it together.
•   How believable, important stakes power the story.
• Strategies for handling pacing anxiety and the urge to pad instead of plot.
•  Perfectionism, mistakes, and daring to make them.
•  Making tough choices about what to leave in and what to leave out.
•  How stories and endings are based on the protagonist’s deepest needs and fears.
•  How stories contain meaningful themes and are metaphors for life.

 Jessica Morrell knows writing from both sides of the desk as a developmental editor and author of Writing Out the Storm; Between the Lines, Master the Subtle Elements of Fiction Writing; Voices From the Street; The Writer’s I Ching ; Bullies, Bastards & Bitches, How to Write the Bad Guys of Fiction and Thanks, But This Isn’t For Us: A (Sort of) Compassionate Guide to Why Your Writing is Being Rejected and the upcoming No Ordinary Days: The Seasons, Cycles and Elements of Writing. She also contributes to anthologies and The Writer and Writer’s Digest magazines.  Jessica has taught writers since 1991 and coordinates three writing conferences. You’ll learn more than you thought possible in her workshop.

To register: The cost is $80. Payment is required to register. Mail a check to Jessica Morrell, P.O. Box 820141, Portland, OR 97282-1141. PayPal also accepted.

          I sometimes hear from writers who have written a manuscript, then immediately contacted an agent or editor with plans for  getting published.  They believe they’re (whoopee!) on their way to publication. Problem is, the manuscript is nowhere near ready for the bright lights of a publishing house. Too many writers fall into the common trap of writing fiction without an adequate understanding of its structure and underpinnings. Without this understanding you end up with a lot of words but not a rollicking story.

It pains me to say this, but if you’re seeking representation with hopes of a publishing contract, first complete the rewrites and make certain that every part of the story reveals a deep  level of craft. Make certain that the story first goes out to beta readers and that it has been copy edited.

I’m not trying to dissuade you, but to encourage you to create a polished product. And this goes double for people who are slapping together “stories” and self publishing them. You’re clogging up the marketplace where thousands of writers are toiling away trying to create their  best works.

Spend time analyzing how published authors create action scenes and emulate them. EVERY scene you should ask yourself:  1- Is the character doing something interesting? 2- Is the action moving the story forward? And 3- Does the change in the scene matter?

Here’s a quick structure cheat sheet:

 The dramatic question is:_________________________________

 Main story line is:_______________________________________

 Protagonist:

 Antagonist:

 Important Secondary Characters:

 Subplot A

 Subplot B

 Subplot C

 Subplot D

 Most crucial back story scenes/elements:

 1.

 2.

 3.

 4.

 5.