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HB90 Bootcamp: Is It Worth $200?

Every quarter is a fresh start. What will you do with yours?

Heart Breathings 90 (HB90) is a one-week time management course for entrepreneurs who want to develop effective goals, grow their businesses, and maximize their potential within their niche. The program was developed by Sarra Cannon, bestselling author of The Shadow Demons Saga and six other long-running series. Sarra began self-publishing in 2010 and has earned over a million dollars in profit with her writing. With so many projects in development, Sarra initially created the productivity plan for herself as a way to balance her writing duties with the marketing concerns she faces as an indie author. However, writers who follow her Heart Breathings YouTube channel (where she offers advice on everything from “How to Plot Your Novel” to “How to Edit Your Novel”) became interested in the process. So around 2018, she introduced the standalone course and made her HB90 Planner available on Etsy.

Fortunately, the methods found in this course are helpful regardless of whether you’re a bestselling author, a first-time writer, a social media content creator, or a harried mom simply hoping to find time for herself. In other words, if you’ve lost your passion or focus because you’ve got too much on your plate or you never finish what you start because there’s always something new drawing your attention, then this course will help you find what’s important so that you can create your ideal life.

This is also the perfect program for anyone who has yet to find their niche, or “zone of genius,” as there is a free downloadable PDF workbook “Picture Your Ideal Life” at the start of the program. This bonus exercise is designed to streamline each participant’s focus and get them primed to select the three main goals that the HB90 Method will help them prepare and pursue over a three-month period. She also offers a handful of other bonus productivity downloads throughout the course that I won’t spoil, but I will mention this element as it speaks to the generosity of the program’s creator.

The main course contains seven modules designed to be completed over one week. The purpose is to adopt a clear understanding of your most important goals then develop a system for planning the next 90 days to ensure their achievement. Sarra has designed this program around her quarterly HB90 Planner, which contains 50 goal setting pages as well as daily planning pages for the quarter. Be advised: Although she offers a free HB90 Planner with the course, students will need to print their own pages. All of the course freebies are static or fillable PDFs. However, a fully digital interactive version of the planner, which you can use with a digital pen via an iPad or tablet, is available for an additional cost. Even still, you don’t need to chain yourself to the planner for the concepts to work. At the end of the day, this program is engineered to help you create specific, measurable, achievable, and relevant goals that you can complete in three months with quantifiable results.

The course content is a series of videos spread out over seven days. Each day contains about 60 minutes of lesson footage broken into three or more parts, depending on the subject. In addition, students will have anywhere from 60 to 90 minutes of homework each night as they work on each aspect of productivity—visualizing, decluttering, prioritizing, time managing, goal setting, project planning, task creation, and execution. I have included a brief overview of the program below. However, keep in mind, the class may be slightly reordered or expanded when you enroll. Sarra is always updating these concepts to better serve her students. The best part is that you have lifetime access to the modules once your session begins, which means you can work on the program at your own pace and you are entitled to every update. This also means you can return to the course each quarter and review the lessons as many times as you’d like.

Are you ready for a different way of doing things? A new way of showing up so that you can thrive, no matter what is happening in the world?

  • Essential Course Info and Pre-Bootcamp Homework – this includes the “Picture Your Ideal Life” Workbook
  • HB90 Planner Downloads and Printing Information
  • Live Kick-Off Call – this contains the link to the hour-long video call for students who may have missed the event as aired on Facebook and YouTube
  • Day 1: Picture Your Ideal Life (38 minutes)
  • Day 2: Find Your Priorities (48 minutes)
  • Day 3: Find Your Time (61 minutes)
  • Day 4: Goalsetting (73 minutes)
  • Day 4: BONUS: Calculate Your Energy Score (19 minutes)
  • Day 5: Projects (52 minutes)
  • Day 6: Tasks (58 minutes)
  • Day 7: Follow-Through (97 minutes)

Sarra mentions her philosophies regarding goal setting and personal achievement derive from books like The Desire Map by Danielle Laporte and The Big Leap by Gay Hendricks among many others. However, the approach is unique to Sarra, and she is immensely generous with her insights. She is also a loving teacher who has been in the trenches, so she gives generously of her time by fielding students’ questions, which you can leave in the class forums. In addition to opening the course with a live kick-off call, where she answers inquiries and addresses what you’ll gain from the course, she has a private Facebook group where students can interact with her and mingle with other students as the session unfolds.

I found that the Facebook community is immensely helpful because you can see how others are setting up their planners and kanban boards (i.e. a visual layout of your quarterly tasks), which inspires new approaches to your own goal setting. Plus, if you found the course because you’re a writer, there’s a huge group within the community who can help with your concerns. Writers of all levels benefit from this course since time management and productivity are vitally important whether you’re juggling your first book or your fourteenth. So as you finish the class and become an alum, you’ll notice that the main Facebook group contains many established writers such as Traci Douglass, Brook Peterson, Priscilla Oliveras, and dozens more. Some will be posting their progress just like you, which is yet again great inspiration, but others stop by to answer questions about publication and are just as generous with their time as Sarra, who updates the group of her own planning and publishing progress each week.

But with that said, her program only works if you put in the effort. I’ve used the HB90 Method for the past year, and I have completed tasks I’d never dreamed—from getting my first speaking engagement to improving my book sales. I accomplish more because my tasks are being completed on time, and I am not pushing things back saying, “I’ll get to that next week.” Arbitrary deadlines never work. I now have a clear understanding of what is important and what isn’t and all of my essential tasks have a clear deadline.

Of course, productivity doesn’t mean planning out every second of your life, but it does mean making realistic goals. No more saying you’re going to write a book in a month if you’ll be on vacation for half of it, or no more saying that you want to increase your social media following without a plan of attack. HB90 helps you take an honest look at your time and develop strategies for using it properly. New sessions start at the end of each quarter, so there are plenty of opportunities to join throughout the year.

So, is the HB90 Planning Method worth $200? ABSOLUTELY! We all know how to create S.M.A.R.T. goals, but Sarra’s program teaches you how to set things up so that you execute and make real strides toward your dreams. Visit Sarra Cannon’s Heart Breathings website for more information, and join her YouTube channel to see how much she loves her community.

And of course, I’d love to hear from you. Ask a question or leave a comment if you’re familiar with the program and would like to share your experience.

Mindset, Marketing, & Productivity: Books for Building a Stronger Writing Career

Books for Building a Stronger Writing Career

Does it irk you that almost every article boasting “must-read” books for writers lists the same five titles—On Writing, Bird by Bird, The Elements of Style, Daily Rituals, and Ernest Hemingway on Writing?

Don’t get me wrong, those are outstanding books. And of course, the best way to master any skill is to model experts in your field. However, none of these works cover mindset, marketing, or productivity, which are all elements every writer must juggle if they expect to have career longevity, particularly in the world of indie publishing. But even if you’re working toward a traditional book contract, the aforementioned triumvirate is paramount since writers ultimately become responsible for renewing their own creative well while at the same time pumping out two or three books a year in order to capitalize on what little marketing the publisher provides.

And now, with social media becoming the primary hub for both world news and international self-promotion, the best way for an author to protect their financial interests is to build a brand that cultivates a loyal and voracious audience willing to buy books and products regardless of the mode or medium. To help writers with this changing dynamic, I’ve identified 13 books covering mindset, marketing, and productivity. These books outline everything from goalsetting to brand building to avoiding burnout so that you can successfully balance your passion for writing with the realities of every day life and ultimately build a career that will last a lifetime.

Mindset

Mindset: The New Psychology of Success (2006) by Carol S. Dweck, Ph.D.

The book’s conceit is simple: People with a fixed mindset are less likely to succeed than those with a growth mindset. You’ll be surprised how acknowledging this simple truth will revolutionize your self-discipline and perseverance. And for those who worry that they aren’t smart enough or weren’t blessed at birth with the gift of genius, Dweck also tackles the debate of intelligence versus natural talent. She uses scientific research to prove that both acumen and ability can be cultivated, noting our capacity for improvement, whether innate or learned, is malleable.

The Desire Map Experience: A Guide to Creating Goals With Soul (2014) by Danielle Laporte

A book focused on using your heart, not your head, to discover what’s most important about your health, happiness, and career. Sounds crazy, right? On the contrary, working to pinpoint your “core desired feelings,” i.e. figuring out how you want to feel or determining which emotions emerge when you’re operating at your best, is a foolproof way to judge what’s worth doing and what isn’t. After all, isn’t life about doing more of what works and less of what drains us? Sure, this book can get a little hippy-dippy, but crafting goals based on feelings rather than societal expectations removes the pressure of being perfect and puts the focus back on YOU, which increases the likelihood of success.

The Genius Zone: The Breakthrough Process to End Negative Thinking and Live in True Creativity (2021) by Gay Hendricks, Ph.D.

Hendricks is the author of The Big Leap (2009), which I also recommend because in that book he discusses the idea that we all have an upper limit problem that we must remedy if we’re ever going to meet our potential. Or to put it plainly, every person has a subconscious threshold for how much success they can handle before they sabotage themselves, and we must work to slay that limitation if we’re ever going to take our lives to the next level.

However, I am more partial to The Genius Zone because, in addition to providing solutions for tackling the upper limit problem, this more recent book emphasizes two things we need to remember when goalsetting: recommitment and passion. Just because you failed today, doesn’t mean you should give up. Try again tomorrow. And if you have a true hunger to do something, especially if you’re good at it, put all of your energy into that place of power, which Hendricks calls your “zone of genius.” You will find that the cumulative effects of those two things alone will change your life forever.

Finish: How to Give Yourself the Gift of Done (2018) by Jon Acuff

Acuff describes the mindset strategies in this book as being “counterintuitive,” but I’d describe them as the perfect common sense guidelines every writer needs to hear since we’re often raised on the mistaken belief that good writing stems from an elusive wellspring of creative genius. Acuff quickly busts that myth by noting that when we chase perfection, we are subconsciously blocking our ability to finish. In other words, the message we’re sending our brain is that a project isn’t worth doing unless it’s flawless.

Instead, be kind to yourself. Yes, we want to stretch when it comes to goal setting, but we don’t want to be so ambitious that we talk ourselves out of the process before we even begin. To avoid this pitfall, Acuff advises cutting goals in half, doubling your timeline for completion, and anticipating failure with a backup plan—all methods that will make your goalsetting journey more enjoyable thus increasing the probability of getting the job done.

Dear Writer, You Need to Quit (2019) by Becca Syme

Becca Syme is a Gallup-certified strengths coach, USA Today bestselling author, and founder of the Better-Faster Academy where she helps writers maximize their success by identifying which productivity methods align with their personalities. However, she is probably best known for her QuitCast for Writers Podcast where she discusses the things authors need to stop doing in order to discover the least painful path to success. Like her podcast, this book goes in-depth about the most common writer pitfalls and why we should avoid them—reasons born mostly from the mantra, “question the premise.”

Syme believes that writers are often taught harmful one-size-fits all approaches to our careers like writing every day or writing to trends or pursuing traditional publishing over indie as the only way to succeed when such truths often don’t apply to most people—nor do they make any sense when put to a reality test. Syme believes that every writer must find his or her own way and that means trial and error or even doing some things that seem to buck the common gospel touted by the writing community. In Dear Writer, You Need to Quit, expect to read about things like the unfounded obsession with writing a book a month, the detriment of measuring our progress against those around us, and tips for staying the course when you’ve lost your way.

Since this book’s publication, Syme has written an entire series that uses the “question the premise” mindset to cover such topics as burnout, writer’s block, how to foster creativity during tough times, and methods for developing one’s intuition. Syme’s work is essential for anyone who desires the truth about self-sabotage and self-care.

Marketing

When the average person learns a few marketing techniques, they apply them once (maybe twice) and expect the world to fall magically at their feet. Don’t fall prey to the mentality of the average person. Why? Here’s the truth: Brand building is just like anything else; the techniques only work if you work it—and that means tweaking your methods until you find what works best for your niche then following through with persistence and consistency. I state this up front to remind you that while all of these books listed offer solid advice, you can’t expect the knowledge alone to make you rich.

You must first endeavor to craft a distinct voice. Then you must assess the marketplace and take action in a manner that suits your career goals. Remember, success doesn’t happen in a vacuum. You can be more talented than Shakespeare or more prolific than Nora Roberts, but if you don’t understand where your work fits into the marketplace or you’re not willing to figure out how to publicize the work, you’re doomed before you even start.

The Business of Being a Writer (2018) by Jane Friedman

Jane Friedman is a former publishing executive and editor who has written several how-to books for writers including Publishing 101, What Editors Do, Literary Publishing in the 21st Century, and the Beginning Writer’s Answer Book. Her latest work encapsulates her experiences into one comprehensive guide aimed at helping fiction and nonfiction writers discover how to set realistic goals for achievement and how to market themselves once they’ve targeted their niche. To achieve this feat, she divides the book into five sections—establishing a writing career, understanding the publishing industry, getting your book published, laying the foundation for entrepreneurship, and making money as a writer. Friedman writes from the belief that although business savvy may not compensate for mediocre work, an understanding of the publishing industry from the inside out will reduce author frustration and lead to a more productive career over the long haul.

If you want my full review of this book, head over to the blog at Submittable.

Influence: The Psychology of Persuasion (Expanded Edition – 2021) by Robert B. Cialdini, Ph.D.

While I am sure Cialdini would hate me touting this as a marketing book, the content speaks for itself. Influence covers seven principles every writer needs to know to become a master persuader, a necessary edge for anyone attempting to sell their book in a tight market. Here is a quick outline of each tactic:

  • Reciprocation: This is the concept that when you give something away free first, your audience will feel obligated to repay your kindness with a purchase.
  • Commitment and Consistency: This is the idea that if we convince our audience to make a small commitment, they will continue to follow through on even larger commitments because of our basic human need to remain consistent when we make an initial promise. You can see this persuasion tactic at work when a company initially offers a low price on a monthly membership, assuming that most people will honor the obligation even when the fee rises in subsequent months.
  • Social Proof: This is the use of customer testimonials or the act of aligning yourself with other successful brands to show that your work is trustworthy and reliable.
  • Liking: People tend to align themselves with brands they like or with people who they have things in common. That’s why we ask our friends for recommendations or lean toward products endorsed by our favorite celebrities even though there’s no real indicator of that product’s superiority.
  • Authority: Experts and those in a position of authority gain the trust of an audience far more quickly than the average person. Therefore, it is best to put your knowledge, awards, or credentials on display as a way to elevate yourself above the competition.
  • Scarcity: As any child of the eighties Cabbage Patch kid craze knows, when the audience believes something is in short supply, they want it even more. Shortages imply a high demand. That’s why when you’re buying a concert ticket, the screen header declares there’s only two seats left at that special price. The ticket retailer is manufacturing scarcity to prompt you to act.
  • Unity: This final method of persuasion hinges on man’s desire for community. Brands can easily turn solicitations into sales by convincing the audience they’re family. I’m looking at you Olive Garden.

How to Market a Book (2017) by Joanna Penn

Joanna Penn is a New York Times and USA Today bestselling thriller writer, but she is probably just as well known in indie writing circles as one of the pioneering booktreprenuers, having sold almost a million books to readers in 169 countries and 5 languages. How to Market a Book is the second entry in her ever-expanding line of self-help books for authors (14 titles as of this publication) which includes subjects such as audiobooks, business planning, public speaking, mindset, and productivity.

The lessons in How to Market a Book are designed for anyone serious about cultivating habits that will help develop a long-standing writing career—indie and traditional, newbie to veteran. Some of the key topics covered in her text include: How to get customer reviews and find influencers to promote your book; how to coordinate paid advertising through Facebook, Amazon Ads and organically through algorithm hacking; author branding; email marketing; content marketing; blogging and podcasting; social networking; and booking professional speaking gigs. Best of all, she has the amazing Creative Penn Podcast where you can connect with her and ask in-depth questions about these topics and so much more.

Productivity

Vowing to write a book in a month is one of those declarations that sound impressive because who doesn’t want to maximize their time and achieve a level of productivity that will enable more career opportunities? However, making such promises or pushing ourselves to the brink can never end well because we’re ultimately faced with two challenges: How do we juggle the struggle to be creative with our daily lives, and how do we sustain such a daunting pace for the long haul? Obviously, the answers are different for every person, but I have found that optimizing one’s productivity is often more about working smarter than working harder. Therefore, I have curated a list of productivity books geared toward writers that emphasize stress reduction and creative renewal. You will find that none of these books are new or even innovative in their ideology, but each of them offer the common sense kick in the pants every author needs to avoid burnout and build a career that will last a lifetime.

Make Time: How to Focus on What Matters Every Day (2018) by Jake Knapp and John Zeratsky

Feel like you’re constantly on the go but never getting anything done? This book gets you off the busy bandwagon and onto the path of productivity by learning to live more intentionally through the use of daily highlights. The purpose of creating such highlights (in advance!) is to place unflinching focus on tasks that will not only use our time most efficiently but also produce enough forward movement on our key projects and goals that we feel like we’ve had a win for the day.

The idea is that if we plan for a big win, we’re more likely to achieve it. But more importantly, shooting for a big win that we can quantify, helps to eliminate that feeling of running around but getting nothing done. But the twist that makes this book special is that the authors claim that these daily highlights don’t necessarily need to be career-oriented or even large in scale to have a profound effect. You simply need to find one thing in each of the following categories: urgency, efficiency, and joy. If each day you are able to complete three major things—i.e. something you deem pressing, something that satisfies a need, and something that brings you passion—you’ll walk away from each day feeling like a winner.

Smarter Faster Better: The Transformative Power of Real Productivity (2017) by Charles Duhigg

Duhigg is a Pulitzer Prize winning journalist and the New York Times bestselling author of The Power of Habit (another great book you should grab). As for Smarter Faster Better, the book’s main takeaway can be distilled into one sentence: Realize your tasks are a choice, not a chore.

In other words, reframe the steps you take toward any project as a decision that highlights something you value or gets you one step closer to achieving something meaningful. Of course, this is easier said than done, but taking a moment as you plan your day to outline three reasons why the steps you’ve chosen are important, will help motivate you.

Duhigg also notes that finding ways to exercise your personal power by putting boundaries on your time and energy—and hence, taking some measure of control over the item or event—can provide a sense of empowerment that will spur you forward when motivation is low. To quote Duhigg directly, “When people believe they are in control, they tend to work harder and push themselves more. They are, on average, more confident and overcome setbacks faster.” This book is an outstanding motivational tool if you have tons of great ideas but haven’t been able to execute.

Overwhelmed Writer Rescue: Boost Productivity, Improve Time Management, and Replenish the Creator Within (2017) by Colleen M. Story

Story uses her background as a wellness writer for publications such as Healthline and Women’s Health to put a unique mental fitness spin on why artists experience overwhelm and self-sabotage. Her techniques on how to expand our writing time and sustain creativity are the perfect roadmap for professionals who feel bogged down by deadlines or beginners who need motivation to stay the course when the road gets rough. Some of her tips include clearly defining our goals, chunking them down into three small tasks per week to avoid burnout, and rewarding ourselves for even the smallest success as a way to train the brain to see writing as fun. She also identifies seven productivity saboteurs, like perfectionism and self-doubt, and outlines how to conquer them in favor of confidence and consistency. Basically, any writer who feels stalled due to a lack of passion for the craft should invest in this book to learn how to get unstuck.

If you want my full review of this book, head over to the blog at Submittable.

The Artist’s Way: A Spiritual Path to Higher Creativity (1992) by Julia Cameron

Many know Cameron from the concept of “morning pages,” but this book also provides a twelve-tiered approach to unblocking the things that staunch creativity. For example, Cameron recommends every writer find at least an hour a week to spend on a creative endeavor that isn’t writing. She calls this the “artist’s date,” and I believe this renewal of the creative well allows us to see things differently and more deeply. Such an activity is essential as we claw our way out of depressive depths of a pandemic where writers were often overextending themselves in order to take advantage of the additional time allotted during quarantine.

Another one of her key tips is the “creative cluster,” similar to the master mind group concept attributed to Napoleon Hill, where like-minded individuals come together to support each other in their artistic endeavors. Cameron’s words were originally published thirty years ago, but her concepts are more relevant than ever. I highly recommend this work to anyone seeking writer-related tips on self-care and artistic passion.

The Practice: Shipping Creative Work (2020) by Seth Godin

Although more a blog compilation than a cohesive book, Godin reminds us that consistency gained through honing our craft is far more important than chasing trends and that success will come to those who commit to their passion. One of the passages I found most illustrative of these deceptively simple concepts is his anecdote on learning to juggle. He states that most people fail because they lunge out of position in order to catch the next ball. When we move away from the methods and practices that bring us results to lunge after what everyone else is doing, we lose our momentum and never gain progress in the areas best suited for our growth. This disconnect causes the kind of emotional pain that ends careers, and Godin believes writers interested in building a long-standing backlist should learn the difference between risks worth taking and risks that simply put us out of alignment.

Final Thoughts: Even though each of these books have a specific philosophy about mindset, marketing, productivity and what it means to maximize oneself for success, it is still up to you to find a stress-free way to make that path your own. Remind yourself daily why you want to be a writer and define what success means to you. Once you’ve established your motivations, designing an action plan will be easier, succumbing to burnout will be less likely, and setbacks will seem less daunting because your impulse to succeed will have a definite purpose.

Craft Killer Fiction Community is LIVE!

The Craft Killer Fiction Community is LIVE!

For those who have been asking whether I have any Writer Productivity tools available online, the answer is a resounding YES! We just launched an online community for those who want personal guidance and support as they navigate their book journey. It’s absolutely free and open for you to join today.

Your invitation is just a click away. Follow the link below to join the Craft Killer Fiction Community—a group of motivated creatives from all over the world who want to improve their writing and connect with like-minded artists. The group is designed to give you the freedom to discuss fiction techniques, book marketing, querying, and so much more. And this opportunity is open to everyone from hobbyists to professionals and from mystery writers to romance.

The great benefit of the community is that this is also a place where you can connect with me through the live chat feature during my open office hours every Monday, Wednesday, and Friday from 4:00 p.m. to 6:00 p.m. We also have weekly video hangouts via Zoom. Those are every Monday at 2:00 p.m. Eastern. The one-hour sessions are exclusive for community members, so you must join to gain access to the link. These hangouts are a fantastic opportunity to share your work, ask me questions, encourage others, or just relish in the beauty of having our own Craft Killer Fiction Community.

We also have several classes available:

  • 3 Steps to Crafting a Killer Cozy Mystery
  • Crafting Characters of Color With Care and Creativity
  • Understanding Unreliable Narrators
  • Create the Perfect Author Tagline in 30 Minutes or Less

Sign up today and start making connections immediately. You will also be the first to hear about all of the freebies and workbooks as they become available.

Click here to join the Craft Killer Fiction Community TODAY!

Flashback Friday Book Review: Scene & Structure

Book Review Scene & Structure

John Miles Bickham is a professor and an accomplished genre fiction writer having published over 80 novels, including westerns, mysteries, and thrillers. However, his major claims to fame are his instructional books on the craft of writing. The most popular of which is Scene and Structure. This book reads like a textbook for the advanced writer but has lessons that are vital for the beginner. Bickham covers why story structure is important, how to start a story, why cause and effect rule the day, and how to manipulate the elements of a scene. All of this information is vital to the budding fiction writer, so in summarizing the material, I hope to provide a roadmap that will lead others to this fantastic book.

Why is Structure Important?

Scene and Structure opens with this vital question and wastes no time answering it. According to Bickham, “Structure is nothing more than a way of looking at your story material so that it’s organized in a way that’s both logical and dramatic” (1). Structure gives our stories shape and provides clarity. Readers use structure as a guide to a visceral reaction. Writers use structure as a guide to plot. Therefore, learning scene structure is important because scenes are the main component of our novels. Recognizing the components of a scene will lead to understanding plot development. The principles that connect line to line, scene to scene, and chapter to chapter are the same. The bulk of Bickham’s book deals with giving writers the secret logic behind these connections – a logic that begins with five simple steps and ends with the principle of causation.

How to Start and End Your Story

Bickham has a succinct but powerful five-point strategy for starting and ending a story. I’ve boiled it down even further: Start the story in the seconds before a life-altering change occurs. Give the audience a story question to worry about (i.e. a problem to solve or challenge to overcome). Make sure everything flows back to the story question. Resolve the story question at the end so that the audience does not feel cheated.

Elements of a Scene

“What is a scene? It’s a segment of story action, written moment-by-moment, without summary, presented onstage in the story ‘now.’ It is not something that goes on inside a character’s head; it is physical” (23). A basic scene begins with the protagonist or point of view character moving toward a situation with a definitive goal, which on the surface appears achievable and acts as the main question for the scene. Will Jenny reach Goal X? This scene question or goal must also relate to the overall story question and must be immediate enough to answer with a simple “yes” or “no.” According to Bickham, both the scene question and the story question must be relatable to the audience and must be important. In addition, a character’s failure to attain the scene goal must have immediate consequences.

A scene grows out of the author placing obstacles between the character and goal achievement – a/k/a conflict. This can be in the form of situations or another person – a/k/a the antagonist. Bickham notes that conflict reveals character and to some extent creates it based on how a character reacts to adversity. Conflict should align with the scene goal and should not rely on a linear attack. Make the conflict multifaceted by having the viewpoint character and the antagonist altering their tactics, shifting their approaching, revising their logic, and escalating their efforts. The struggle to overcome conflict ultimately leads to disaster so that the POV character must realign his goal for the next scene, thus, preparing (through the reflective process of the sequel, which I’ll describe later) to face a new conflict and disaster.

Disaster, in Bickham’s book, is defined by a failure to achieve the scene question or goal in such a way that the character is left to ponder a result of “no,” “yes, but” or “no, and furthermore.” Therefore, true scene-ending disasters cannot be arbitrary occurrences such as a tornado or a heart attack. Since the disaster must evolve logically from the story question, a simple “yes” will never do. An easily achieved goal ends the story too soon and does not make interesting drama. However, if a character faces a roadblock and must regroup (“no”); or if she is given the greenlight but also must face a dangerous sacrifice or an ethical choice (“yes, but”); or if she has been thwarted and given another burden (“no, and furthermore”), the story becomes intriguing because the consequences of the disaster are clearly defined.

The writer should not fix or undo the disaster in the subsequent scene because the reader develops sympathy for the viewpoint character as she tries and fails. This struggle leads the audience to wonder how the character will possibly answer the overall story question as each disaster brings “newly threatening” circumstances that keep the character in flux and the audience guessing.

In addition to the basic scene, Bickham describes something he calls “sequels.” Sequels are scenes that focus solely on emotion, internalization, and decision-making. Bickham makes this distinction because he believes that to counterbalance the conflict of a standard scene an emotional journey must take place in response to the disaster. Sequels usually follow standard scenes to give the point of view character an opportunity to reflect and regroup before charging toward the next goal. Sequels, however, have their own structure of emotion, thought, decision, and action.

Cause and Effect

In popular fiction, everything must happen for a reason. As Bickham says, “Fiction must make more sense than real life . . .” (12). Luck has no place in fiction. Readers need a reason for disaster and conflict to unfold. The through line of cause and effect must be clear. If a person falls ill, we first need to see him grab the germy handkerchief that gave him the cold. “To restate this differently: in fiction, effects (plot developments) must have causes (background), and vice versa” (13).

On a related note, every stimulus must have a response. Bickham defines stimulus as an external action, reaction, or dialogue. Responses are external as well but may also contain an internal component known as internalization or thought. Internalization must be the result of a stimulus and must not occur untethered. Not every stimulus needs an internalization, but the response (the action/reaction) should immediately follow the stimulus. One cannot exist without the other or the story will fail to make sense. Therefore, to create a cohesive and rational scene, the structure should follow the pattern of stimulus, internalization, and response. Consider this modified example from page 16 of Bickham’s book:

            (Stimulus) Joe threw the ball to Sam.

            (Internalization and Response)  Sam flinched in surprise but leaped in time to catch the ball.

“Sure is a nice day to play catch!”

Notice we did not color code the dialogue. Also, note how impotent the dialogue becomes without the internalization and response. While the dialogue may propel the overall plot (and provide description), the stimulus would be pointless without the color coded elements. Authors often make the mistake of moving forward with the agenda they have for the scene without creating the proper checks and balances regarding stimulus/response and cause/effect. This breeds poorly motivated characters plagued by faulty logic.

According to Bickham, stimulus-response transactions drive the moment-to-moment structure of a scene, just as sequels connect scenes through cause and effect. That is to say, scene-ending disasters lead to the emotional thought process of the sequel where a decision unfolds and action ensues leading to the next goal (i.e. the start of a new scene).

Coming to the End of the Scene

Even though Jack Bickham’s Scene and Structure considers itself a guide toward scene development, I believe the book has a lot more to offer writers because the subtext of each lesson is use structure to heighten the stakes. Often, new authors create stories without considering how the arrangement of ideas affects the reader. By teaching the elements of a scene and showing what portions of a scene are most important, Bickham provides a clear-cut system for developing stories that leave will leave readers on the edge of their seats. That’s the kind of lesson worth keeping for a lifetime.

Work Cited:

Bickham, Jack M. Scene and Structure. Cincinnati, Ohio: F+W Publications, Inc., 1999.

One Unreliable Narrator – Two Gigs!

Unreliable Narrators

We love unreliable narrators like Tyler Durden from Chuck Palahniuk’s Fight Club or Amy Dunne from Gillian Flynn’s Gone Girl, but we rarely talk about how such narrators are written and what makes the characters so memorable. So when I was given an opportunity to speak at the 2022 Craftfest held at ThrillerFest XVII, hosted by the International Thriller Writers in New York City, I decided to tackle the topic to discover: What are the benefits of using an unreliable narrator to tell a story? What is the purpose of unreliable narrators in fiction? And when it’s all said and done, how can writers reveal their unreliable narrator without angering the audience?

But first, what is an unreliable narrator?

An unreliable narrator is someone whose storytelling lacks some level of veracity or credibility and this inaccuracy produces a void between the story’s reality and the narrator’s reality, which the reader must then bridge and eventually fill. In contrast, the reliable narrator—i.e. the type most writers strive to incorporate—uses their personal perspective to tell readers all the information they need to know and does so as accurately as possible. However, the truth is that all first-person narrators are unreliable because they are telling the story based on personal bias and because memory itself is a faulty illusion filtered through past experience and one’s level of vested interest in the story. In other words, your job as a writer is to decide how trustworthy or untrustworthy you plan to make that lead character.

With that in mind, we should note that the degree of unreliability runs on a scale from mild to heavy. This means you can even develop characters that have layers of unreliability (e.g. they’re unreliable only about things related to themselves but honest otherwise) and that a story doesn’t need to tell the whole truth to still be true! Plus, when you use the unreliability technique—especially to its fullest extent—you can reveal that device to readers at various times: immediately (The Perks of Being a Wallflower), gradually (Gone Girl), or late enough to become a major plot twist (The Murder of Roger Ackroyd). But however you choose to go about it, keep in mind that this approach to viewpoint is very powerful since no one has more control over the plot—who, what, where, when, and why—than the narrator. Remember, the narrator controls the pacing, diction, who to root for, how the audience should feel about what happens, and the moral compass for the story as presented to the reader.

In Pícaros, Madmen, Naīfs, and Clowns: The Unreliable First-person Narrator by William Riggan, the approach to unreliable narration is broken down into five types.

  • Pícaro – one who exaggerates or misrepresents events for the purpose of bragging
  • Madman – one who is dealing with trauma, mental illness, or emotional flaw that makes it difficult for them to interpret events accurately
  • Clown – one who doesn’t take things seriously and thereby toys with the common narrative conventions
  • Naïf – a naïve or inexperienced narrator who views things from an innocent perspective
  • Lair – one who deliberately lies about events or hides important information

Remember, these categories aren’t black and white. As with many things in fiction, shades of gray exist, and you can take advantage of that by using several types to make your characters more complex. For instance, it could be argued that Alex from A Clockwork Orange is both madman and clown. So with today’s heightened use of the technique, you may find yourself mashing up the categories or breaking them into new chunks like the supernatural where the narrator’s unreliability comes from some sense of magic or otherworldliness (think The Sixth Sense) or the outsider, i.e. someone with a skewed view because they’ve been scorned in areas based on race, class, culture, or gender (think Ralph Ellison’s novel The Invisible Man). Or it might help to simply think of unreliable narrators as deliberate (ones who know they’re deceiving and why) versus inadvertent (ones who believe they are telling truth or are doing their best despite shortcomings).

Regardless, the benefits of using the technique properly are multifold since it can pack a powerful emotional punch, teach a lesson, add conflict and characterization, or force the reader to dig deeper into their interpretation of the story as they search for the line between fantasy and reality.

However, the key to creating an effective unreliable narrator is to provide clues throughout to indicate the truth about your narrator or to show (in retrospect!) how and/or why they misrepresented events. This is doubly important when using an inadvertent unreliable narrator who may never have enough information to reveal the misconception on their own. You can do this through the other characters or the environment. Failure to do this will leave the reader feeling cheated upon the reveal. Remember, if a character is unreliable and there isn’t a method for distinguishing the truth, the technique serves no purpose. We want the reader to decipher enough about what was being hidden to gather new meaning from the story. So don’t wait! Plant your clues early as with The Sixth Sense (1999).

Here are some things a writer can do to set up the final reveal of their unreliable narrator, but they can also act as clues to produce foreshadowing. Ultimately, to expose the narrator’s biased view, draw attention to the portion of the narrative deemed most credible either through behavior, environment, or comments from other characters. Here are examples of some techniques you can use:

  • Contradicting stories, mistakes, or inconsistencies
  • Repetition, exaggerations, or overemphasis
  • Symbolic representations and patterns of thought
  • Incomplete or missing explanation of events
  • Illogical information, time manipulation, or overlapping imagery
  • A questioning of the narrator’s health, sanity, or motives
  • An authoritative, expert, or trusted character revealing the truth
  • Outright omission by narrator on first page (often overlooked by reader)

Make sure to then hint at the cause for their unreliability (alcoholism, trauma, naiveté) and provide access to the truth (even if it is fleeting!) through flashback, diaries, news articles, other POV characters, et cetera. You should also hint at your narrator’s motivations, yet give them conflicting desires. This will keep the audience guessing about their true purpose and make for a compelling read.

Another tip for creating a compelling unreliable narrator is to give your protagonist a sense of innocence (i.e. a logical personal justification) even if they are deliberately deceptive because that will help put the audience on their side. But most importantly, keep it sincere. The key approach to writing unreliable narrators is to write them so they believe the story they are telling. Every good lie is based on a kernel of truth—that’s usually how the narrator reconciles reality with the version of the story they are telling. And if the narrator has no moments of truth or levity, readers will not buy their story. Gain reader trust by starting from a place of perceived genuineness.

In short, tapping into your narrator’s humanity is crucial.

The unreliable narrator is an effective technique mainly because we all have egos that play into our deceptions and we all sometimes wish the truth were different. If the lies and idiosyncrasies you create ring true, the reader will bow to your technique. But remember, the unreliable narrator is more than a literary device, it’s a fully realized portrait of humanity’s flaws.

If you want more information about unreliable narrators, you can order my new book Mastering the Art of Suspense: How to Write Legal Thrillers, Mysteries, and Chilling Crime Fiction, which will have an expanded chapter on the subject going deep on many of the techniques and topics mentioned here. Or you can register for the 30th annual Surrey International Writers’ Conference scheduled October 21-23 where I will once again give my talk on unreliable narrators along with a discussion on creating characters of color.

What techniques have you used to craft an unreliable narrator? Leave a comment!

Escape With a Writer Interview

A new year brought a new opportunity to mix and mingle with new writers in the cozy community. On February 2, 2022, book coach and mystery author Diane Bator invited me to talk about my experiences as a novelist — particularly, what aspects of the craft I love most and my most successful writing practices — on her blog Escape With a Writer. This is a space where new and veteran artists can gain exciting insights about how to build a successful writing career from an amazing list of popular authors from romance writer Tanya Agler to cozy mystery author Suzanne Bolden. So it was quite the honor to get the call for an interview. I am amazed to be in such great company.

During my chat with Diane, you’ll learn more about my upcoming novel, Deceptive Justice, and hear about all of the projects I have planned for 2022. Hint: One of the biggest is a new entry in the Writer Productivity series all about Mastering the Art of Suspense.

So visit Escape With a Writer to get the full scoop or leave a comment if you have questions!

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