The Seven Basic Plots

by Gary Fearon, Creative Director, Southern Writers Magazine


If you're a writer who's been on Facebook or YouTube lately, you've probably been presented with a video ad for Ron Howard's Master Class on Directing. In the promo, he makes reference to a theory held by some that there are "seven stories".  I thought we might briefly explore those seven story lines from which most tales spring forth.

Christopher Booker is credited for writing the book on the subject, namely The Seven Basic Plots: Why we tell stories. At around 700 pages, it's a thorough analysis of each story line, breaking each down into their own set of stages. For the sake of this post, here is an oversimplification:

Overcoming the Monster
Not always a literal monster, but a major threat to our hero, who takes up the challenge to destroy it.

Rags to Riches
An underdog overcomes the odds to become top dog.

The Quest
Our hero must find a treasure of great value, and embarks on a journey to find it. 

Voyage and Return
Our hero lands in a place unlike home and must learn new rules to prevail. Eventually he/she returns home better than before.

Comedy
A goal is impeded by funny obstacles.  Often, if the main obstacle is a person, they get a come-uppance in the end.

Tragedy
Our hero is his own worst enemy, with qualities that lead to his downfall.

Rebirth
The ultimate character arc, in which the hero transforms into a new being, literally or figuratively.

In reading these, you may have already assessed that many stories contain more than one of these plots, and you'd be correct.  For example, isn't The Wizard of Oz a quest for a treasure as well as a voyage to a strange world?  Booker himself acknowledges the frequent overlap of two or more of these plots, and even mentions two more which he considers less common:

Rebellion
The hero rebels but ultimately surrenders to, and perhaps joins, the powers that be.

Mystery
The hero seeks to discover the truth of a murder or other unexplained event.

Some writers feel that lumping stories into categorized plots is disrespecting their originality. Others feel that there are as many as 25 plots, not merely seven. Ron Howard implies that there is just one, but we may have to buy his Master Class to learn what that is.

In his classic book Story, legendary screenwriting expert Robert McKee declares: "A rule says you must do it this way. A principle says this works, and has through all remembered time."  Why reinvent the wheel from scratch when someone has already rounded off the edges for you?

The fact that we can think of our favorite movies or books and see how they fit into one or more of these story lines is testament to their enduring effectiveness and popularity.  Could you possibly insert your hero's name into one of the seven plots and refine it into the logline for your next novel?  Your own creativity will make the time-tested tale uniquely yours.

Authors: which of these seven (or nine) would you say approximates the primary plot of your most recent novel?

A Trip through Titles

by Gary Fearon, Creative Director, Southern Writers Magazine

From time to time, I enjoy browsing through the latest book titles to observe current trends in titling. This time around, I thought it would be timely to focus on the 158 books that appear in the brand new 2017 Southern Writers Holiday Catalog.  

Often, I break titles down into about four categories. For this exercise I chose seven categories, to get even more specific but also because it makes for a colorful pie chart.

As is often the case, the titles chosen by most authors (54 in this case) come under a non-specific GENERAL category. These are books that give a sense of what's inside without giving too much away, yet still establish the right mood. Here are just a few examples.

A SITUATION is implied in the second most popular category. We learn just from the title such things as that a murder has taken place or that Cupid will be flinging some arrows.

Then you have titles that are poetic or ambiguous and evoke curiosity. They sound thoughtful and erudite, in the order of Gone with the Wind or Of Mice and Men.  Let's call these SYMBOLIC.

The MAIN CHARACTER can be identified by name or by their role in the story, sometimes suggesting the plot.

Or the title can get SPECIFIC about an important object or setting in the story.

There are, of course, NONFICTION titles that speak to the purpose of the book.

And a title can also be a STATEMENT unto itself.

Clearly, there are many roads that can be taken when coming up with a title for your book. The most important thing is to make sure your title is different from other books already out there and that it conveys something, preferably something that will grab attention and interest your potential reader enough to buy it.

If you enjoy browsing titles as much as I do, you'll enjoy thumbing through all 158 in the 2017 Holiday Catalog, which you can do right now by clicking on the cover to the right, or by visiting http://bit.ly/SWHC2017

Happy holidays and happy reading!

Plan an Ego Trip

by Gary Fearon, Creative Director, Southern Writers Magazine

It's ironic that authors who have no problem writing a 100,000-word manuscript on a deadline will freeze up when faced with writing their own author bio. Much like a resumé, the idea of encapsulating one's life and times into a few paragraphs is the stuff of anxiety and self-consciousness.

Whether it's for your Amazon author page or the "About Me" section of your website, here are some time-tested tips to help you craft a credible characterization.

You is kind, you is smart, you is important.
Taking a cue from 2012's The Help, come into the process with a positive self-image. This is the time to own what you've accomplished and to share it with pride. If you don't, who will?

Write in third person.
Unless you're going for a friendly, folksy platform, it's common practice to write your bio as an objective third party. Not only does it lend an air of endorsement, it gives you more liberty to tout your accomplishments without guilt.

Just like your novel, grab attention with the opening line.
Instead of "John Q. Author has been writing novels since 2011", how about "After breaking both legs falling off a ladder in 2011, John Q. Author spent his recuperation time writing the first draft of his first novel." You can come up a creative first line without hurting yourself.

Tell it like it is.
What are your interests and achievements that led you to writing what you write? Do you write science fiction because you once saw a UFO?  Do you have a degree in medicine that propels your medical mysteries? Even a stint as a Walmart greeter is prime fodder if customers inspire your characters.

Don't forget to include any awards your writing has received, as well as any writers organizations you're a member of.

Note to fiction writers: If you have an interesting background, include that, even if it isn't related to writing. The fact that you spent five years living among apes may have nothing to do with your cozy mystery series, but it would make me to want to see what you've written.

Note to nonfiction writers: No need to get that personal.  In this case, the reader mainly wants to know how they'll benefit from your work. Dwell on what they'll get out of it and why you're the best one to teach it to them.

In both cases, don't stray so far from your chosen genre that you confuse readers. If they seek you out as a historical romance writer, does it serve your purpose to say you collect DC action figures?

Project the platform personality that fits you.
Jeff Goins, author of The Art of Work, says there are five basic personality types for author platforms. While this breakdown is designed for bloggers, it can help you pin down your bio personality as well.

The Journalist: Someone who seeks answers and asks questions of experts. By sharing those answers they establish themselves as experts too.

The Prophet: A critic who feels things can be better, and promotes solutions. This controversial role is not without its dangers, as everyone has an opinion and those who disagree can be alienated.

The Artist: Someone who creates art, music, photography, short stories, etc and shares their work, perhaps even works-in-progress.

The Professor: Someone obsessed with details, data, and the way things work, taking complex things and breaking it down, usually with a takeaway.

The Star: Celebrities whose platforms are built on charisma or reputation. You may not think of yourself as a "star", but if people seek you out as the go-to person for your specialty, don't write yourself off too quickly.

One of these Jeff Goins categories may have spoken to you immediately; if not, you may be a combination, in which case you can morph them into an even more individualized persona.

When it comes to bios, Southern Writers has a particular fondness for the authors who appear in our own Gallery of Stars, where you'll see a bunch of bios and may find inspiration for your own.

Readers like to know who they're reading, so don't overlook this opportunity to let your little light shine. Take an ego trip, and pack your bags with confidence. You're not bragging if it's the truth.

Writing Like a View-Master

by Gary Fearon, Creative Director, Southern Writers Magazine

It's been a long time since I hung out in the toy department, but on a recent visit I was surprised to see that one of my childhood favorites was still around. Perhaps at some point you also owned a View-Master. I can still hear the voice of actor Henry Fonda hawking "the G.A.F. View-Master" on TV spots.

This plastic viewer, held up to the eyes like a pair of binoculars, let you experience genuine 3D images. Depending on which disc you inserted, you could see stereoscopic views of everything from the Grand Canyon to popular TV shows. Grimm's Fairy Tales and stories from the Disney archive were among the more popular titles.

As you manually advanced to each of the seven scenes on a disc, a tiny window displayed a few words describing what you were seeing.  Which meant that an entire story had to be told in seven scenes.

Does that tell you something?  What it suggests to me is that a good story can be broken down and told in as few as seven simple plot points.

Apparently the View-Master isn't alone in thinking this way.  Numerous writing resources spell out classic seven-point outlines.  There are variations, but here's a common breakdown:

1. The Beginning
A setup that establishes the character in his/her current circumstances.

2.  Plot Point 1
An inciting event, a catalyst that changes the status quo.

3.  Pinch Point 1
A personal challenge that requires the hero to take action.

4.  Mid-Point
At this point of no return, the hero is fully committed and proactively tries to fix things.

5.  Pinch Point 2
The hero fails. At this low point an additional crisis makes it appear that all is lost.

6.  Plot Point 2
The final confrontation with the antagonist.  Most of the time, the hero will prevail.

7. Ending
This satisfying epilogue reveals how things are in the new normal.

In an 80,000-word novel, that translates to roughly 11,400 words for each point.  But if you break your story down to its key elements, you could convey it in a one-minute summary suitable for an elevator pitch or a workable outline for whatever novel you're working on.

Granted, a picture is worth a thousand words — and the View-Master showed seven of them — but the brief text that accompanied each slide told the same story in the sparsest words possible.  When plotting your next story or pitching to an agent, think like a View-Master and you can stir your reader's imagination in vivid 3D.

What Sgt. Pepper Can Teach Writers

by Gary Fearon, Creative Director, Southern Writers Magazine

It was fifty years ago this week that The Beatles released the album that made the music world's head spin. Sgt. Pepper may have "taught the band to play", but he also provided some teachable moments for writers.

A little friendly competition can be a good thing
Wordsmiths readily draw inspiration from other wordsmiths. The Beatles' Rubber Soul album (1965) motivated The Beach Boy's Brian Wilson to create their most ambitious album, Pet Sounds (1966). Then, after hearing Pet Sounds, Paul McCartney set out to create an album capable of topping that. To this day, Sgt. Pepper's Lonely Hearts Club Band (1967) and Pet Sounds remain the #1 and #2 albums on Rolling Stone's 500 Greatest Albums of All Time list.

No filler
Albums traditionally contain only a couple of hit-worthy heavyweights, with less catchy songs comprising the rest of the collection. In order to produce an album that would surpass any before it, the fab four pledged to make every song a standout. During these sessions, it became typical for Paul to spend three hours of studio time capturing the perfect bass track, or for all four to run through a song till dawn trying different tempos and instruments till they found the exact sound they were looking for.

Putting that same painstaking care into every chapter of our book (including the middle that tends to sag) will ensure that the whole is greater than the sum of its parts.

Mixing Fact and Fantasy into Creative Nonfiction
Some of Sgt. Pepper's most acclaimed cuts came from real-life influences: an 1843 circus poster in John Lennon's house ("Being for the Benefit of Mr. Kite"); a classmate of his young son ("Lucy in the Sky with Diamonds"); a runaway in a news story ("She's Leaving Home"); a parking ticket left on Paul's car by a meter maid ("Lovely Rita"); the death of a rich acquaintance ("A Day in the Life").

Each time we write, it's a mix of reality and our imagination. If we have the eyes to see it, everything in life can be a trigger for creativity.

Variety is the spice of life
No other group in history experimented as much as The Beatles, who created many of the innovations that are now staples of the studio. From aural innovations to genre-hopping (pop, rock, psychedelic, vaudeville, classical, Indian music), they refused to settle into the comfort of familiarity. Recording engineer Geoff Emerick learned to never say no to their crazy requests, instead finding a way to make it happen.

Writers who challenge themselves to move forward into uncharted territory are the ones who break new ground.

Establish the mood with the right title
Although Sgt. Pepper's Lonely Hearts Club Band is widely considered to be the first "concept album", the only connective elements are the opening medley introducing the fictional singers and a wrap-up near the end as the "band" leaves the stage.  Otherwise it's a collection of unrelated songs, not unlike an anthology of short stories. But the distinctive title (inspired by salt and pepper packets on a plane) ties it all together as one cohesive unit. Strive to make your book title just as memorable.

A little help from a (talented) friend
Perfectionists though they were, the fab four benefited from fine tuning. Enter the objective, experienced ear of producer George Martin (regarded as the fifth Beatle). His background in classical music, jazz, comedy albums and children's records gave him the unique ability to take anything the lads could throw at him and refine it into a polished production.

Geniuses though we humbly be, we're also too close to our own writing to see what other people see. Seek the feedback of carefully-chosen first readers as well as an established editor before releasing your latest masterpiece.

First impressions are lasting
The famous cover of Sgt. Pepper was groundbreaking for several reasons. For the first time, lyrics were included. Never before had there been a pop album with a folding sleeve. The cover design was the most expensive in history, costing the equivalent of over $3000. It's the most imitated and parodied cover of all time, with the possible exception of Abbey Road.

Buyers will always judge a book (and an album) by its cover, so coming up with that key visual is not a time to skimp. The Beatles stuck to their specialty of music, and left the cover design up to the professionals. (Most of whom won't cost you $3000.)

Take it to the limit
The 50th anniversary of Sgt. Pepper sees the release of a remastered set that includes six discs of remixes, outtakes, rarities and videos. Modern digital wizardry has revived the original recordings to a brilliance and clarity they've never had before. Which makes it even more amazing that The Beatles accomplished what they did with the limited technology available in 1967.

Today's creative mind has never had it so good. With computers to easily capture and edit every word we write, the Internet to research any story detail, and specialized software to help us plan each aspect of our outline, what's our excuse for not creating something that people will still be celebrating fifty years from now?

The Great Escape

by Gary Fearon, Creative Director, Southern Writers Magazine

It's every writer's dream: Escaping to a private sanctuary where there are no distractions, perfect conditions, and all the time in the world to write the Great American Novel.  I'm often reminded of a classic Dick Van Dyke episode in which he attempted just that, retreating to a cabin in the woods with his typewriter, only to end up doing everything but write.

Most of us can identify with his failure to communicate.  Even if we create the most ideal of circumstances, it's not a guarantee that inspiration will magically follow. But take heart, because there are many ways to connect with your muse so that wherever you sit down to write you won't be at a loss for words.

RETREATS
Each year there are numerous retreats in idyllic locations designed specifically for writers. Looking at some that will be available this fall, for example, a farmhouse in Tuscany or a hamlet in Denmark could be just the getaway that gets your literary juices flowing. With a price tag of a couple of thousand dollars, however, these retreats are clearly not in everyone's budget.  But there's nothing to keep you from creating your own retreat in a favorite setting closer to home.  Maybe a three-day weekend at a B&B would be just the right change of venue.

For a longer escape, you might consider the recent travel trend known as a silent retreat.  Who wouldn't be able to write in a Waldenesque locale offering nothing but quietude?  Well, besides Dick Van Dyke.

CONFERENCES
There's one coming to a city near you soon, guaranteed.  Whether it's a day-long intensive or a multi-day event, leaving the world behind to focus on the voices of experience is a push toward productivity. Meeting other authors is a confidence-building bonus. Many conferences even include a writers bookstore with discounts for attendees. By the end of the conference you'll be dying to get back to your keyboard to write.

WRITERS GROUPS
Whether they meet once a month or more often, writers groups are an excellent way to stay committed to your craft as well as accountable.  By design, no two groups are the same.  Some focus on instruction and exercises, others resemble a support group or social club. Each has its own personality, which is a good thing, since you can try them all and find the one that makes you the most motivated to write.

STAYING IN TOUCH WITH OTHER WRITERS
The business side of publishing may be highly competitive, but it's always encouraging to see how non-competitive writers are with each other. We celebrate everyone's success and are inspired by each new book release instead of envious. Welcoming each other like family, we readily share tricks of the trade. So it's easy to make friends in the writing community.  Whether we foster those relationships through email, social media, or face to face, there are few things more stimulating than an inspired back-and-forth with another creative mind.

Some of my most invigorating conversations have been over lunch with writer companions.  This past Thursday, four of us enjoyed a spirited repast at McAlister's, and I came away with three really good new story ideas.  I'm pretty sure it wasn't just the Kale Parmesan soup that triggered them.

HANGING OUT IN AN INSPIRING PLACE
Where do you think best? What setting clears your head and opens your imagination? For some, it will be outdoors in a park. Others relax at a coffee shop.  The library is a favorite hangout of writers, surrounded by all the literary masters. A museum or art gallery offers a similar sense of communion with creative genius. Whether you plant yourself there with a laptop or stroll the halls contemplating something you'll write later, a brush with greatness never fails to inspire.

WANDERLUST
Performing a mindless task inherently causes your mind to wander, lusting for something more interesting to think about.  You can use the thankless time spent mowing the lawn or doing the laundry to ponder a scene or a plot, unimpaired by the dull duty in front of you. Sort through story ideas while you're sorting socks and you could have the first paragraph of your next writing session ready to roll.

THE GREAT ESCAPE
When all is said and done, getting our words written is not a matter of escaping to a place of perfection. The most prolific authors say that where you write is not as important as getting in that chair and simply writing, period. Books get written through sheer will and the tenacity to see it through. So the real escape is sometimes from our own procrastination.

For your entertainment, here's a YouTube link to the classic cabin scene from that Dick Van Dyke episode mentioned earlier. May it serve as a reminder to avoid distractions wherever you choose to write, or if you can't, at least have fun.
https://www.youtube.com/watch?v=W1ovj_GhPK0&feature=youtu.be

By the way, you'll be glad to know that in the very last episode of the series, he finally did finish his book, just as you will.

Fortunately/Unfortunately

by Gary Fearon, Creative Director, Southern Writers Magazine

Perhaps you've heard of (or played) a game called "Fortunately/Unfortunately".  It's been around since the 80s, although I only learned of it recently. Apparently I travel in the wrong playgroups.

This verbal game requires nothing more than people to play it. You simply take turns making up a story, alternating sentences with the first words "fortunately" and "unfortunately".  For example:

"Fortunately, I won a trip to Paris."
"Unfortunately, my car had a flat tire on the way to the airport."
"Fortunately, a friend picked me up and I made it just in time."
"Unfortunately, I forgot my ticket."
...and so on.

It's a creative way to fill time, like on a long car ride.  It's also good exercise for both sides of the brain, since logic and imagination must work together in order to keep the game going.

But this concept has even greater possibilities for a writer.  Isn't "fortunately/unfortunately" the pattern followed by the classic stories?  For example:

The Wizard of Oz
(skipping ahead to the good parts:)

Fortunately, a good witch gives Dorothy magic shoes to protect her.
Unfortunately, a wicked witch wants the magic shoes.
Fortunately, the Wizard of Oz can help Dorothy return home to Kansas.
Unfortunately, it's a long walk to the Emerald City.
Fortunately, there's a yellow brick road to guide her.
Unfortunately, she gets lost at a crossroad.
Fortunately, she meets a scarecrow who points the way.
Unfortunately, he doesn't have a brain.
...and so on.

Following this pattern of "I have good news and bad news", the audience enjoys a roller coaster of ups and downs to keep things interesting.  And, as I elaborated on in a previous post, it's helpful if the writer knows how it's all going to end so that each scene furthers the plot in the proper direction.

It's not uncommon for a writer to insert several "unfortunatelys" between each "fortunately". Problem may pile upon problem before a reprieve temporarily breaks the tension.  This is especially common in a dark tale or an action drama.

I get this a lot (bad news/good news from Firefox).

And the "unfortunately" doesn't always have to be the direct antithesis to what comes before. It can be something completely unpredictable that turns everything on a dime. Who would have anticipated that a cyclone would interfere with Dorothy's running away from home?  Any roadblock to the overall goal can do the trick.

Just as when playing the game itself, allow your imagination to come up with fortunately/unfortunately scenarios spontaneously and without overthinking.  Let the muse do the work, and in no time at all you could have a working outline for your next novel.

All Action and No Talk

by Gary Fearon, Creative Director, Southern Writers Magazine

British audiences love American cinema.  Hollywood films have always been very successful across the pond.  Ironically, we don't seem to return the favor.  Comparatively few British films achieve major success here in the States.  One reason, experts have determined, is that American movies contain 1/3 less dialogue than British films.

Think of any British movie (or TV series, for that matter).  Conversation is basically nonstop.  Sometimes the only pause is for an establishing shot, and then they're right back at it again. Even an action flick like James Bond will have more dialogue than most, which makes sense since exposition is what espionage is all about.

They say the reason for this dates back to the 1930s, when movies were still young.  Once the silent film era ended and talkies were possible, British cinema went for intellectual, heady dramas, while America's post-war influx of non-English-speaking immigrants caused filmmakers to rely less on the spoken word and more on the action.  Musicals were extremely popular, and Gene Kelly's long dance numbers caught on with people of any language.

I'm reminded of a CD a friend recommended years ago and gave me for my birthday, an album by a foreign soprano who sang many of the selections in Italian.  Since the only Italian I know involves pasta dishes, the music and the performances had to work extra hard to get my attention, which they did.  I remember marveling at how effectively emotions were conveyed despite my lacking any understanding of the message.

The orchestration, of course, did much of the heavy lifting.  If, by the same token, you were to listen to a spoken radio broadcast in a foreign language you don't know, chances are there would be a total failure to communicate.

2012's Best Picture Oscar winner,  The Artist, is a silent film relying largely on what the audience sees rather than hears (or, in this case, reads). Pixar's Wall-E (2008) is an even stronger example of delivering an entire story without the use of words.

There's a legendary scene in the classic On the Waterfront where Marlon Brando's brother threatens him in the back of a cab, pointing a gun at him.  The disappointment on Brando's face and the gentle way he moves the gun away conveys more pathos than any diatribe a writer could have put in his mouth at that moment.

By now you may be reminded of the old adage "Show, don't tell", and indeed, all of the above makes a decent argument for that philosophy.  I bring it up not necessarily to promote writing less dialogue, but to encourage greater appreciation for the power of imagery, whether on the screen or in a novel.

We are, after all, visual people.  The quote "Believe half of what you see and none of what you hear" is attributed to everyone from Mark Twain to Edgar Allen Poe to Benjamin Franklin.  I myself heard it through the grapevine from Marvin Gaye.   I don't know how true that statement is, but I'll believe it when I see it.

Great Minds Think Alike

by Gary Fearon, Creative Director, Southern Writers Magazine


You may have heard the expression "Putting the fun in dysfunctional."  It's a phrase that's been around for years and shows up from time to time.  I'm proud to announce (trumpet fanfare) that I came up with that very slogan. Yes, it's true. The only thing is, so did a thousand other people.  It seemed original to me when I first thought it up, but within a short time I was hearing it on TV and reading it in magazines.  Apparently it was a phrase whose time had come, and obviously not just to me.

I had a similar experience this very weekend, recalling the children's chant "I scream, you scream, we all scream for ice cream."  (Full disclosure: I have never actually screamed for ice cream, but I've come close over a Chocolate Stampede at Longhorn.)  Anyway, it occurred to me that I Scream, You Scream would make a perfectly clever title for a novel. Out of curiosity, I checked to see if any books by that title already exist.

 
Well, fine.  I wasn't planning on writing that book anyway.  But it got me wondering whether some other well-known phrases that might make a catchy book title are readily available. How about "In your dreams"?

 

Strike two.  Apparently my muse gets around.  Not to be defeated, let's try again with a different phrase, maybe even something a little positive like "It's nothing personal."

Alright, I'm ready to say nasty things about my muse, but not out loud, because she's elusive enough as it is.

Maybe a different approach altogether is in order.  Surely a song title like "Can't Buy Me Love" hasn't been turned into multiple books.

By now you get the point.  You could spend a hard day's night going down that long and winding road, trying to come up with a common phrase that hasn't already been taken.  Rather than risk getting lost in the shuffle, you may be better off creating a title that's never been done before. The more original, the more memorable, such as How Come Boys Get to Keep Their Noses?  (Yes, that's actually a book.)

Not to suggest that there isn't value in borrowing a phrase that's already in the public consciousness, since the familiarity factor could pay off in extra recognition for your novel.  But if someone else should use the same title, remember ... it's nothing personal.

Based on the Book

by Gary Fearon, Creative Director, Southern Writers Magazine


Each year at this time, I get a kick out of looking at the Best Picture Oscar nominees with an eye toward how each story originated  This year, a record seven of the eight chosen films were based, at least partially, on books.

THE BIG SHORT
Michael Lewis' nonfiction bestseller about the housing and financial crisis of 2007-2008 was released in 2010, and Paramount picked it up three years later. Dialogue and data-driven, this is one of those films released just under the wire in December, presumably to be fresh in Academy voters' minds.

BRIDGE OF SPIES 
Another 2010 book, this true story of the Cold War recounts the politics and negotiations involved in trading an imprisoned Russian spy for an American POW. However, the movie borrows even more from the details given by the actual negotiator himself, James Donovan, in his book Strangers on a Bridge.

BROOKLYN
The only romance in the bunch, Irish novelist Colm Tóibin's 2009 tale is about an immigrant (appropriated named Ellis, as in the island) who comes to New York in search of a better life in the 1950s. Her affections are soon divided between her new home and the one she left behind. A secret marriage is involved, and those always tend to complicate things.

THE MARTIAN
This debut novel by Andy Weir was published in 2011. Those who remember Gravity from a couple of years back were pleasantly surprised when this wasn't simply one more Lost in Space. How a stranded astronaut (played by Matt Damon) conquers insurmountable odds through ingenuity, science and humor was lauded by no less than NASA for its technical accuracy. And as a plus, there were no aliens in sight.

THE REVENANT 
A revenant is something that returns after death or a long absence. The same could be said of the book this Leonardo DiCaprio film is based upon, The Revenant: A Novel of Revenge, originally published back in 2002. It took author Michael Punke four years to write what he originally intended to be a political novel. He ultimately turned it into a chronicle about a real American frontiersman, Hugh Glass, who was left for dead by his companions after being attacked by a grizzly bear.

ROOM
Loosely inspired by a real-life incident of a woman held captive in a basement for 24 years, Emma Donaghue's fictional 2010 novel focuses on a young mom (played by Best Actress nominee Brie Lawson) and her five-year-old son, for whom the tiny room in which they're imprisoned has been his entire world. It's not a spoiler to say he gets out, and awakening to how big the real world is becomes an insightful eye-opener for the audience too.

SPOTLIGHT
In 2001, a team of investigative reporters for The Boston Globe followed up on a tip about a priest abusing choirboys. They went to court to obtain sealed documents and published their findings in 2002. The power of the press is the star of this film, though it boasts a full ensemble of familiar faces including Michael Keaton.

The remaining nominee for Best Picture, Mad Max: Fury Road is an original screenplay based on its own continuing sci-fi saga. It may not have made that great a read anyway, since its calling card is the constant visual stimuli of bombs and truck chases.

So over half of the books are based all or in part on actual events. Several (The Martian, The Revenant and Room) feature individuals stranded and endangered. And look how many of them have only one or two words in the title.  That's a tactic that can either help or hurt, but in this case, to say "The Revenant" or "The Martian" subtly implies that this is the revenant or the Martian that stands above all others. This Sunday, February 28th, we'll get to see if that is indeed the case.

For a musical mashup of all of the above, I hope you'll enjoy my latest tongue-in-cheek tribute to the 2016 Best Picture nominees, via this video:

https://www.youtube.com/watch?v=0UxNWCBknk0

See you in Tinseltown!

New words to know in 2016

by Gary Fearon, Creative Director, Southern Writers Magazine


The catchword of any given day is one of the great mysteries.  Where they come from is often anyone's guess, as multiple sources take credit for a new word or phrase, banishing its true origin into ambiguity.

Easier to narrow down is why a catchword catches on.  The better ones do so because they fill a gap, providing a word for a situation that didn't previously exist, or offering clarity to one that did. Plus, using them helps us feel hip and with it, man.  Oh wait, I think man is out.

Once a catchword captures enough people's ears and establishes a certain longevity, the dictionaries of the day deign it worthy of immortalization.  In the past year, Merriam-Webster added an amazing 1,700 new words to its already hefty reference.  Today I thought I'd share ten of the best and worst new additions.  I'll include my unsolicited critiques of each, just because I can.  I mean, to help you remember them.

NSFW
Yep, you'll be seeing more of this anagram from now on. warning that a website or email attachment is Not Safe (or Suitable) for Work.  (Please note that Suite T is ALWAYS safe for work.)

EMOJI
Again, the internet plays a role in this.  Emojis are those little images added to text that represent something.  What is the difference between an emoji and an emoticon, you ask?  Emoticons only express emotion, like a smiley face or the tongue-sticking-out one that my editor Susan sends me.  Emojis, on the other hand, can be emoticons as well as any other symbol, plus it sounds more Japanese.

PHOTOBOMB
Used when a goofy friend intentionally messes up your photo by getting into frame and being silly.  I suspect "videobomb" will be next.

JEGGINGS
Jeans and leggings as one.  They look better than the name sounds.

TWERK
Can I say it?  That horrid dance move is neither flattering nor sexy.  Bring back the Twist.

VOCAL FRY
This one's interesting.  It's "a vocal effect produced by very slow vibration of the vocal cords and characterized by a creaking sound and low pitch".  Also known as the voice we do when we  say, "I can't come into work today, I have the flu."

BESTIE
This has been around long enough that most know it.  I think the official definition, however, should state that it must only be used between best friends of the female persuasion.  If I ever called my friend Ron my "bestie", he would punch me in the face.  If I didn't beat him to it.

MANSPREADING
I wasn't sure I even wanted to know what this meant.  But it refers to the way a guy sits when his knees are so far apart that they infringe on someone sitting next to him.  Gender-specific that it is, maybe some feminists will jump on this and squash it like the cockroach it is.  In the meantime, if I hear anyone using it, I will punch them in the face.

MX
Let's get really ridiculous, shall we?  Those who never got used to the whole "Ms." thing when addressing a lady can now cringe at this horrific new honorific for when you don't want to be politically incorrect.  In the audio world "MX" has long stood for "music", so let's stick with that instead of reducing our fellow man (or woman) to androgeny.

BANT
I like this one, though.  It's a multi-purpose word for "bantering".  It can be a noun ("I liked your bant") or a verb ("I'm banting with my bestie and I just can't stop").  You'll see me using this one.  Be forewarned.

Here to Stay

 by Gary Fearon, Creative Director, Southern Writers Magazine

Last week a writer friend posed a question that many of us have probably asked ourselves in recent years: Will books ever be replaced?

It's a simple question, but a gut answer soon begs for some second guessing, because ever-advancing technology and the even more fickle public continue to surprise each other.

If we look at communication and entertainment in general, mankind has always clamored to possess that which they enjoy. Before there were VCRs, movie fans could only see a flick during the weeks that it appeared at their local theater, and then hope it will show up on NBC Saturday Night at the Movies a year later.  But once video stores popped up, the ability to revisit their favorite flick on demand changed everything. DVDs and streaming now take a huge bite out of theater attendance.

Prior to Edison and his fellow audio pioneers, music fans had to rely on live bands, sheet music and music boxes to recreate the songs of the day.  But once the gramophone came along, music could exist in every household.  We've since seen record players replaced by 8-track and cassette tapes, CDs, MP3s and, like video entertainment, streaming.

But long before phonographs and videotape, there have been books. Since the first mass-produced bibles in the 1400s, the public has bought the published word voraciously and increasingly year after year. Taking home a favored tome in print and displaying it on a shelf provides a sensorial satisfaction that is unlikely to be replaced by pixels on a tablet, which by their very nature are here one moment and gone the next.

It's rather encouraging that the printed book has not changed much in six centuries. Certainly, printing technology changes with the times, but at the end of the day it is still ink on paper. Some people collect books the same way others collect works of art.  To a true appreciator of the printed word, an excellent book is a very civilized and cultured prize. I treasure a well-worn book on music that a friend gifted me with years ago, a book decades older than I am.

Despite the advent of e-books, we have seen that digital books and printed books coexist just fine in the publishing world, one of the reasons we offer both digital and printed editions of Southern Writers Magazine. The convenience and immediacy of digital, for some, will never hold a candle to holding real paper and turning real pages.

It's human nature to want to keep close to us that which we love. There will always be a place for good books as long as there are good writers to write them.  I find this very inspiring, even a call to action.  I hope you do too.

WHAT’S IN A TITLE?

By Vicki Moss, Contributing Editor for Southern Writers Magazine

Everything.

A good title that sums up a novel’s theme can draw a reader in on a hook that won’t bend. A bad title can send someone to another shelf in the bookstore or for a caffeinated latte. 

Would Gone With the Windsound as romantic if the book had been titled Gone with the Civil War or Gone with Granny’s Silver?  

Another example is Larry McMurtry’s Lonesome Dove. The title is fitting—literary perfection. The ex-Texas rangers are lonesome. And the landscape is so stark and lonesome the rocks seem to weep and a reader feels the skies will be swarmed any minute with endless clouds of mourning doves crying for Christ’s second coming.

   

But how to find a title that hooks? McMurtry says, “I didn’t even have a title, until, by a miracle, I got one. There was an old church bus sitting in seeming abandonment beside a Texas road I was driving along. The sign on the bus said LONESOME DOVE BAPTIST CHURCH. I knew, at once, that I had had a piece of luck; I drove straight home and wrote the novel. A good title can save a book, and the sign on the old fading bus saved mine; tragic though it is it has added some happiness to the world.”

  

What goes for novels also goes for articles. After interviewing bestselling author Lee Smith, I sent my article in to Southern Writers Magazine’s Creative Director, Gary Fearon, to add graphics. I’d titled the article “From Meatloaf to Magical Thinking.” When I received the article back for approval, the title had been changed to one that included the word “mountains”—in part, because Lee writes a lot about the Appalachian Mountains and their people. Fitting. Gary also changed the title in part because—and rightly so—he felt that an elegant lady such as Lee might take offense at the word meatloaf…in her title.   

While, sometimes, two heads really are better than one and collaboration and respect for Gary’s expertise is what I hold dear in working so closely with him because I value his input, I liked my title better and was going to fight for it like Sherman on his fire path from Atlanta to the big pond.      

My thinking: Meatloaf and “magical thinking” were written into Lee’s interview because she’d shared about her piano teacher’s house always smelling like meatloaf and she laughed about people wearing football jerseys on game day for magical thinking their team would win if they did so. All in the article.   

Almost like Abraham going to God to negotiate about saving any righteous in the towns of Sodom and Gomorrah. And because I think so highly of Gary’s writing skills and judgment when it comes to layout and titles—I invoked the graphics guru to beseech, implore, and beg like a junkyard dog on a tethered leash trying to get a taste of an out-of-reach Sunday-supper bone, to keep my title. 

After a couple of emails back and forth with me saying something like, “I know Lee Smith personally. She’s had hundreds of articles written about her with “mountains” in the title and I think she would love my meatloaf title because it’s different and meatloaf is just funny. Why don’t we let her weigh in so she can make the final decision?” 

Gary, gracious as always, agreed. Lee Smith wrote back, her humorous voice evermore shining through even in an email, “I vote for meatloaf!” 

That said, trying to dicker with an editor or the Creative Director on every title they might want to change isn’t always wise. A Creative Director might have a certain piece of artwork in mind that compliments a different title along with making an article “pop” more. 

In summation, when it comes to titles, try to find the best title for your book and keep it short if possible—the title along with the cover are obviously the first two things readers see. And if the title is worth a donnybrook when your work goes to an editor, duke it out.

Most editors know best—although some of the big city editors don’t understand some “Southern” terminology like chirt roads (my experience) or why Southerners are so enamored with sweet tea—but that’s when it’s necessary to gently explain the often times unexplainable. 

And for the tale’s end of this title epistle, know that most editors have usually been in the business for a while and know what works, what sells. So tread softly. Be flexible. No need for lacing up the gloves and fancy footwork if it’s not that big a deal. Wisely choose your fights before going into the ring or heading out of Atlanta on a fiery swath—you don’t want to intentionally step in anyone’s meatloaf.    

________________________________________________________________________________

Vicki H. Moss writes across a variety of genres and is Contributing Editor for Southern Writers Magazine. A columnist and contributor to seven anthologies, Vicki is also author of Adrift, Smelling Stinkweed, Rogue Hearts, and How to Write for Kids' Magazines while Writing with Voice is forthcoming. When she's not teaching writing workshops, and editing for others, she's making meatloaf. Vicki can be found on her website  www.livingwaterfiction.com, twitter: @VickiMoss and on FB as author Vicki Moss.

Creative Recalibration

by Gary Fearon, Creative Director, Southern Writers Magazine


So I was wandering around at Lowe's last week looking for a piece of white laminated wood to finish an office project.  My massive collection of CDs has grown into the need for one more shelf, which must fit the precise measurements of an existing bookcase, one with apparently uncommon dimensions, because this has been going on for awhile.

Finding the ideal type of wood in a slightly larger size than I needed, and having meticulously written out the precise cuts I could have Lowe's do, I proudly took both to the cutter man, who was quick to inform me that their machine can't make a lengthwise cut on any wood narrower than two feet.

Not to be thwarted, I tried my luck at Home Depot, a block away, where I found an even more suitable size of white laminated wood and proceeded to the cutting station.  Here they had the right kind of saw, but the cutter man said that a lengthwise cut on that type of wood would likely split it all to pieces because of the way it's made.  I asked if he would try anyway, that I'd be willing to take the gamble, but he said they're simply not allowed to cut that type of wood.

Well, shucky durn, I thought.  I left the store carrying not my prize shelving, but a sense of resignation (not to mention self-loathing for thinking "shucky durn"). Having already explored a number of stores and websites prior to this episode, I had now exhausted all avenues of success for my grand plan.

Then it occurred to me that a white laminated CD shelf might not be the best plan at all.  There were other options, but I had been so stuck on my original plan that I hadn't seriously considered them.

I thought back to two days earlier when I was returning home from a long drive.  My GPS insisted that I take the highway, but I knew it was under construction, so I chose an alternate route.  For some miles the GPS kept nagging me to turn around or to take this turnoff to get to the route it had chosen for me.  Finally, it gave up and recalibrated, aligning with my preferred route.

But this isn't about CD shelves or GPS systems.  The bigger picture is that the first route we set our sights on isn't necessarily the best.  It may just be the most obvious one, which is why we get stuck on it.  But there are always alternate routes which could be more to our advantage.

Trained by all the great books and movies that have gone before, we expect story lines to follow certain formulas: when there is this cause, there will be this effect.  Having these mile markers to work from can be an excellent writing tool.  They have stood the test of time because they work. 

But limiting ourselves to something tried and true (and predictable) can induce its own brand of writer's block.  When we realize in horror that our story is commonplace and has turned into drivel, we will question whether it's worth writing.  Or if we develop a scene or plot that is getting nowhere fast, or has boxed us into a corner, we believe we're wasting our time.

That's the time to ask, Are we taking the best route?  We may have enthusiastically jumped on our first impulse, overlooking a road less traveled the story or characters could have taken.  It's a personal challenge to give up an idea we were excited about, but the reward comes when we recalibrate and our next idea solves all our problems.

And as for my CD shelf idea?  I decided I have way too many CDs.  eBay, here I come.

The Dreaded Christmas Letter

by Gary Fearon, Creative Director, Southern Writers Magazine

Whether writing them or receiving them, there's an underlying dread associated with the traditional Christmas letter.  For those who write them, it's one more deadline to meet during an already busy time of year. For those who receive them, it can mean slogging through a lengthy recitation about people we haven't stayed in touch with, and a reminder of why.

Since you're a writer, you're determined not to let your letter be a yuletide yawner.  Here are 12 tips to make your Christmas letter a holiday classic.

1. Colored paper adds a festive touch. White is fine, but pastel green or pink paper gives things an extra splash of holiday magic.  If you're inclined, you can spend money on fancy decorative paper with holiday bordering, but keep in mind that it requires extra formatting and that the design eats up some of your wordage space.

2. Try to keep it to one page. While it's not a crime to continue on the flip side, you risk recipient apprehension before they even start reading. That said, many people are fine reading two pagers (including me).  Nonetheless, Christmas letter authorities advise one page.

3. Don't use a tiny font. You can't go wrong with a highly readable 12-point Arial or Times (11-point in a pinch).  Save any decorative fonts for a header if desired ("Holiday Greetings from the Addams Family").

4. Write in your voice. It's tempting to chronicle your year like a reporter, but your reader wants to hear from you, not Dan Rather. Share your news in a conversational style, first person.

5. Provide interesting updates about each member of the immediate family.  Be proud but not prideful.  "I was honored to be chosen Writer of the Millennia.  I hope I'm up to the challenge."   It's more okay to brag on others.  "Billy was voted MVP at his State Championship game."

6. Share feelings along with the facts. How did this or that affect you? What are you looking forward to? This adds humanity to your newsletter.

7. Share accomplishments, not acquisitions.  Would you really want to know what kind of car your cousin drives?

8. Avoid too much detail.  Long paragraphs equal audience repellent.  Write tight and you can get more subject matter in less space.

9. Be positive. The point is to spread holiday cheer, so try to keep bad news to a minimum. Update important things like a death in the family, but even then "We will miss Uncle Buck but are grateful for the wonderful memories we have" offers a silver lining.

10. Keep the topics appropriate for every recipient.  Hallmark recommends writing two letters, one for friends and family, and another for more casual acquaintances. (To me, they're lucky to get a card.)

 

11. End with a good thought, appreciation, an invitation, etc.  It's okay to get a little sentimental here.  It's Christmas.  You can also encourage communication by including your current address and phone number.

12. Sign it by hand.  Better yet, add a personalized line for each recipient.  "Miss you and hope to see you soon" takes an extra 15 seconds and is more cherished than the letter itself.

Whether you include your letter folded up in a Christmas card or send it in its own envelope, it's more likely to get an enthusiastic reception using these time-honored tips.  For an added touch, attractive return address labels are easy to print or cheap to have made, and don't forget holiday stamps from the post office.  

Which begs the question, couldn't you just send your Christmas letter via email?  Sure you could, but if you do it won't get hung on the refrigerator with care.

Seven Things Writers Can Learn from Marty McFly

by Gary Fearon, Creative Director, Southern Writers Magazine

October 2015 was a milestone month for fans of Back to the Future, having reached one of the target dates in Marty and Doc's cinematic adventures. Three decades after its release, the trilogy boasts a cult following of DeLorean restorers, cosplay devotees, and less fanatical folk who simply enjoy well-told tales.

With that enduring popularity in mind, I offer seven things that make the Back to the Future series worth a second look for writers.

1. Lack of a hero arc
Unlike the typical protagonist, Marty doesn't experience an inner change that makes him grow as a person by the end of the story.  Instead, everything around him changes.  For the audience, that is satisfying enough. Just like James Bond, Indiana Jones or Frodo, the hero is consistent from story to story, while it's the new adventure providing the variety.

2. Back to the Future wasn't going to be a trilogy
Screenwriter Robert Zemeckis had only intended to make the one movie.  Only because of its enormous success did he write two sequels.  Had he known up front that would happen, he says he would have ended the first movie differently: He wouldn't have had Marty's girlfriend get into the time machine. He would have preferred for Marty and Doc Brown to go on their next mission alone.  That script complication was dealt with (a little too patly) by zapping her with a ray to make her think it was all a dream. The lesson here is: The End might not be The End, so be forward-thinking just in case you're lucky enough for fans to demand a followup.
 
3. Believable characters
To maintain realism in a fantasy, it helps to anchor it with characters who react like real people.  There are no wild and crazy sidekicks or talking animals to suspend belief.  Even the quirky Doc Brown is no more off the wall than your crazy uncle.  Each character contains humanity that invites us to invest ourselves in them.

4. Keepin' it Real
As for the fantastic storyline, Michael J. Fox himself makes the observation that the more radical visionary aspects of Back to the Future still maintained some resemblance to life as we know it. For example, he says, flying cars wouldn't need imaginary lanes to drive in; they have the entire sky in which to navigate. But flying cars are fantastic enough without giving the audience too many additional concepts to distract themselves with.

5. Reassuring repetition
Like the movie posters that echoed each other, repeating gags and catch phrases from film to film also gave the audience a comforting sense of familiarity. Whenever Biff taunted, "What are you, chicken?", we knew Marty was about to go full McFly.

6. Be Flexible
When producers couldn't strike a deal with Crispin Glover to reprise his role as Marty's dad, they brought in another actor and tried -- in vain -- to fool audiences using prosthetics, showing him upside down or at a distance, etc, to awkward effect.  To ease everyone's pain, they eliminate him as soon as possible.  Bottom line: If one of your characters is giving you too much trouble, don't try to negotiate; write him out entirely.

7. Take advantage of marketing tie-ins
Like cozy mystery authors who offer recipes and other tangible story elements to fans, Pepsi is capitalizing on one of the iconic series symbols this very day. A bottle of Pepsi Perfect, in a collectible container, sold out faster than 88 MPH on October 21st. Public demand, however, made 6,500 of them available again for, appropriately enough, $20.15.  They went on sale today, November 3rd, at 8:00 a.m. Central. (Update: They sold out within ten minutes.) http://shop.pepsi.com/

Some say Back to the Future is the best-written trilogy of all time.  Bob Zemeckis won't even attempt a fourth one lest he do it a disservice.  We can take many cues from Marty and friends in our own quest to write a story that stands the test of time.