Writer Unboxed

Layers of Antagonism, and Why You Should Embrace Them

March 18, 2019 By Vaughn Roycroft 31 Comments

Does your WIP have an antagonist? Just one? Are you sure?

My question is asked only partly in jest. Not to be antagonistic, but I’m guessing that many if not most of you have several layers of antagonism in your work, whether you’ve created them consciously or not.

I’ve had antagonism on my mind lately. And not just because it’s tax season. Or because of the latest Game of Thrones trailer. (Well, maybe the Thrones trailer is a small part of it.) What initially prompted it was this thought-provoking essay by WU’s own Jo Eberhardt. Which spurred me to sort out my own antagonists, and how they fit into what I’m trying to build. Granted, my WIP is an epic fantasy trilogy, but I still feel like I have quite a few. And for a moment there, I questioned if I had too many. It certainly got me thinking. The more I thought about it, the more I recognized that most of my favorite stories have multiple layers of antagonism.

Why would I want to offer anything less? So maybe this is a good thing…?

In the interest of exploring the idea, I thought I’d attempt a list of the various types of antagonism, from the specific to the obscure. This might get tricky, so we’d better start with a definition, to make sure we’re all on the same page. Merriam-Webster’s is:

Antagonism – noun

the opposition of a conflicting force, tendency, or principle
actively expressed opposition or hostility

[Note: I apologize in advance for using fantasy/sci-fi examples, but that’s my wheelhouse. Besides, as WU’s resident geek it almost feels like a contractual obligation.]

The Antagonism of Setting: Okay, yes, I said I’d go from specific to obscure. And, yes, the concept of the setting itself being antagonistic is sort of obscure. But in many cases, a story’s setting reveals some of the earliest forms of opposition—often before we’ve encountered an active villain. Think about it. Harry Potter (eventually) gets his letter and ventures out for Hogwarts, Ned Stark feels honor-bound to go to King’s Landing, and Frodo and his companions must leave the comfort of the Shire.

Often our heroes are pushed from their comfort zone, or even compelled into danger. The outside world looms as their first obstacle. Using setting as a force of antagonism is an excellent way to grab and hold a reader’s attention.

An Active Villain: Ah, back to the specific. And obvious! Not every story has one, but when we think of antagonism, the first thing that springs to mind is an individual who’s aims and/or desires are directly counter to those of our protagonist(s). It springs to mind because having an embodied central antagonist is tried and true storytelling. What would Harry Potter be without Voldemort; Star Wars without Darth Vader; Lord of the Rings without Sauron? [Read more…]

16+

Author Up Close: Linda Seed’s Self-Publishing Success

March 17, 2019 By Grace Wynter 23 Comments

Welcome to the second installment of Author Up Close, the series that explores several authors’ paths to publishing. If you missed the first in the series, a Q&A with author Fiona Zedde, you can read it here.

There are probably as many articles about the perils of self-publishing as there are about the “fall” of traditional publishing. Most of these articles lack nuance and are more concerned with promoting a perceived “right” way to publish while disparaging the “wrong” way. In reality, choosing a publishing path is a very personal decision, and what’s right for one might not be right for others.

Today’s featured author, Linda Seed, obviously made the right choice for herself and her career when she decided to self-publish. Linda is a contemporary romance writer, a Writer Unboxed Conference alum, and a friend. We’re in a few online communities together, and over the years I’ve watched her career grow from an author who, in her words, “made enough to buy a coffee” to one who now makes a living from her books.

In a sea of self-published authors, Linda stands out because of her excellent writing, commitment to quality, and strong work ethic. And as you’ll see from our Q&A, those things probably had a hand in getting Barnes & Noble’s attention at just the right time in her career.

GW: What do you write and how many books have you published?

LS: I write small-town contemporary romance, with all of my books set on California’s Central Coast. I’ve published nine books so far.

GW: You’re doing what a lot of other authors wish they could be doing right now: making a full-time income from your writing. When you started writing, had this been your goal? If not, when and what changed that?

LS: Honestly, when I started, I didn’t expect to make any money at all. It was more of a bucket list thing—I wanted to have a published book out there. For me, the day I uploaded my first book onto Amazon, my goal was met. Anything else was just a bonus.

Things changed eleven months later, in September 2016. I had two more books out by then, and I had just made my first book free. I went onto Facebook one morning to find a bunch of notifications from friends congratulating me. I learned that Barnes & Noble had featured my first book as their Free Fridays pick. My book was all over their social media, on their website—it was crazy. That drove the sales of my other books, and overnight I was making ten times more money than I had been. That was when I thought, okay, I might be able to make this into a viable business. I still have no idea why they chose my book, but that was really a turning point for me. [Read more…]

12+

12 Things You Have to Give Up to Be a Successful Writer

March 16, 2019 By Bill Ferris 9 Comments

I get letters from aspiring writers from time to time. Here’s one of them now:

Dear Famous Author Bill Ferris:

I want to be a successful writer, but it takes time and hard work, both of which suck. How do I become a success without having to work for it, and when do I get my participation trophy?

Thanks for being so handsome.

Sincerely,
Writer Person

This real letter, which I absolutely did not make up as a straw-man argument, perfectly illustrates that the only thing keeping you from writing success is you. It’s not that you don’t want to succeed, it’s that you’ve prioritized other things ahead of your writing—cable television, video games, your job, a meaningful social life, your family. None of these things are going to help you achieve the success you crave. What’s really important to you? You’re going to have to make some difficult choices about your life. Here’s what you’ll have to give up to become a successful writer.

Your sense of entitlement: Nobody promised you success, other than all those writing-advice columns about how to achieve success. You have to earn it in this business, baby!
Excuses: Only when you admit that your success or failure is completely within your control can you truly succeed as a writer. Remember: whether you believe you can, or you believe you can’t, you’re writing, which is exactly how that saying goes.
Friends: This one will be easy. In the unlikely event that a misanthropic writer such as yourself could ever develop friendships, your work habits, distracted demeanor, mercenary willingness to harvest every conversation for written content, and disproportionate burden on your comrades’ bar tabs will drive them off naturally.
A vial of your own blood: When the time comes, you’ll understand why—and you’ll be eager to wield the knife yourself.
Extra words: You must eliminate all unnecessary words from your writing. For instance, in my first draft, that last sentence took an entire page.
Time: I know it seems like you’d be on top of the best seller list if only you had more time to write, but the fact is, nobody is going to magically give you the time you need. The wizards in charge of such things have already given that time to me, and I’ve already squandered it, so you’ll have to carve out those precious writing minutes for yourself.
Your hobbies: Everything you do that does not involve pecking away at your laptop (which cost more than your first car) or scribbling into a notebook (which is nicer than your first laptop) will seem like freeloading—ironic, considering how many of your hours at the office have been secretly spent working on your book.

[Read more…]

10+

Writer Unboxed UnConference, 2019: Announcing Open Registration

March 15, 2019 By Writer Unboxed 9 Comments

It’s been three years, and finally the Writer Unboxed UnConference is back!

Part symposium. Part networking affair. Part workshop. Part retreat.

Unlike other conferences, our hybrid event will not focus on the business of writing; there will be no sessions on finding agents or writing query letters or building platforms. Instead, our focus will be on the things WU’ers crave most:

Drilled-down, interactive conversations and 90-minute workshops on relevant topics led by *13* trusted WU contributors, craft gurus and bestselling authors, including Brunonia Barry, Anne Greenwood Brown, David Corbett, Kathryn Craft, Keith Cronin, Barbara O’Neal, Margaret Dilloway, Donald Maass, Greer Macallister, Ray Rhamey, Therese Walsh, Heather Webb, and Cathy Yardley
A 4-hour capstone workshop with Donald Maass
Mind-stretching sessions to help you understand yourself better as a writer
Time to interact with peers and group leaders in and outside of sessions, because everyone knows that the best part of a conference happens when the conversation begins
A dedicated, quiet space for writing

In other words, we’re going to lean on our strengths, the qualities that have made Writer Unboxed a strong site and community. We’re going to empower you, but this time we’re going to empower you in person.

The 2019 UnConference, unboxed

This year’s UnConference, Escape to WUnderland, is an exploration of deep craft.

You will fill your schedule’s 16+ programming slots with sessions on the following topics:

The Heart of Your Voice: Understanding the Central Story that Underpins Your Work (workshop)
Building Literary Muscle: How Word Choices and Language Tricks Add Power to Prose (workshop)
Organic Plotting: Using Non-Standard Methods to Find Your Story’s Hidden Depths (workshop)
Raise Your Voice, and Raise Your Game: Experiment with Voice to Unlock New Potentials
The Jenga of Story: Structure for Plotters, Pantsers, and Planners
Beyond Historicals: The Power and Play of Rich Detail to Bring Your Story to Life
Tunnel Down: An Examination of Point of View, Character-Revealing Metaphors, and more
A Deep Sense of Place: Creating Emotional Connection Through Setting (workshop)
Writing for Social Change: Being Authentic Without Being Preachy
Building Bridges: Guiding Reader-Relatability in an Increasingly Divided World (workshop)
Beyond World Building: Your Story World, From Black-and-White to Technicolor (workshop)
Emotional Tipping Points: Moments That Forever Change Your Characters (workshop)
Raiders of the Lost Arcs: Secondary Arcs to Enrich Your Story (workshop)
Reassessing Dialogue Beyond the First Draft: What’s Said and Left UNsaid (workshop)
The Creative Groove: Emotional Strategies for the Long Haul
Yearning vs. Resistance: Creating Internal Conflict
Backstory is Behavior: Turning Internal Conflict Outward
The Character of Plot: Moving Conflict Forward
The Power of Evil: Motivating Villainous Characters
Flog a Pro: A Study of First Pages (workshop)
Beyond Process: How Your Writing Process Intersects with Your Story, and Your Life
The Art of Pacing: How Scene, Character, and Structure Accelerate–and Decelerate–Pacing
Writing What Scares You–and Talking to Your Monsters: Calm Anxieties & Deepen Your Writing
Pushing Harder: Increasing Conflict the Right Way
Psychology of the “Meet Cute”: The Truth About Chemistry, and Avoiding ClichédLove Stories
A Visceral Thesaurus: Creating a New Resource Through Group Memory-Mining
The Territory of Character: A Dynamic Way to Understand and Test Your Characters (workshop)
Unboxed Critique: Creating Conversations with Your First Readers to Dramatically Improve Story
4-HOUR CAPSTONE WORKSHOP w/ Donald Maass
The Architecture of WUnder: Build a Transporting Story Your Readers Won’t Want to Leave

Extras: [Read more…]

When to Let Go of Your Original Inspiration

March 14, 2019 By Kathryn Craft 31 Comments

Each time Ann Patchett writes a novel, she sets a fresh challenge that will ensure her growth as a writer. At the time she said this—2002—she was explaining her decision to assemble a group of characters that must overcome a peril, even though none of them can speak the same language. That novel became the stirring New York Times bestseller Bel Canto, in which a group of ambassadors gathered in the home of a South American dignitary are held captive during a coup.

The notion of setting a fresh challenge stuck with me, since one of the reasons I find novel writing so appealing is the way it encourages me to engage in lifelong learning and growth. When starting on my current work-in-progress, I challenged myself to write a story in which a secondary character’s presence is felt on every page, even though she doesn’t arrive on scene until the very end.

It worked until it didn’t. After several “so close” passes from publishers, last month I pulled the project to revise. My upcoming one-week residency would provide the perfect opportunity to enact my revision plan, I thought.

Three days in, it was clear I had lost my way.

Thank goodness my friend Tori was on hand to reflect upon my tale of literary woe. She said she thought the only solution was to bring the character on scene so she could drive the conflict. I reminded her that originally, the character’s absence was the conflict. Tori replied, “And thinking that way prompted this whole beautiful novel. But maybe it’s time to let that notion go.”

I saw the truth in this because I’d heard this advice before.

When I was an undergraduate at Miami University (OH), the distinguished choreographer Phyllis Lamhut came to work with our dance company. A lit cigarette dangled from her lips—in the dance studio!— while she watched our work. After barking out a harsh critique of my graduate assistant’s piece, whose work I adored, it was time to show her mine.

I immediately regretted performing in my own piece, which gave her two ways to find me incompetent. My knees shook as the music began. The concept I was playing with was about space as a lone dancer’s partner (a concept I would revisit in my debut novel, The Art of Falling). As I moved, I could feel the heat of Lamhut’s glare on my skin. [Read more…]