Tag Archives: Storytelling

HOW TO START WRITING A NOVEL – WITH RACHEL ABBOTT

Rachel Abbott is psychological thriller writer who has sold over a million novels. Rachel generously shares her views on novel writing with DyingWords followers with this abridged piece which has been republished from her website, Rachel-Abbott.com.

A1The world is full of people who really want to write. For some, it’s a burning ambition. They dream about days of sitting in front of their computer (or even more whimsically, in their attic – with pencil and notebook), having great ideas and getting them all down on paper.

Some of it is like that. It’s exciting seeing your ideas grow and develop and watching the words appear on the page – sometimes it’s as if your sub-conscious has taken over and when you read back your latest chapter you think “where the hell did THAT come from?”. It’s a wonderful experience.

With the growth of self-publishing and the ease with which any writer can publish their work, that dream can become a reality.

But where do you start?

A2I’m sure that everybody writes in a different way. Some people say that they start with the title. Others say they just sit down and write and see what comes out. So I’m just going to talk about what I do – not because it’s the right way, but just because it’s the only way I know.

I start with a question.

In Only the Innocent the question was “What set of circumstances would be so bad that a woman would have absolutely no other option than to kill a man?

A4It had to be a scenario from which she couldn’t escape. But initially each avenue that I pursued left me with a “but she could do this or that” and it took a long time to work out what would make me kill a man. And for me, that’s the way it has to be. I have to think how I would behave, and not just one of my imagined characters.

For The Back Road I thought about a group of people, each with a secret that they need to hide.

The secrets had to be credible – secrets that you might encounter amongst your own friends. Or at least, the majority of them had to be. Perhaps in one case the secret is darker than the rest. Then I asked myself what kind of catalyst would it take to blow everything apart and expose the lies and deceit, and what would be the outcome. I have been to dinner parties or business dinners and seen looks exchanged between people and thought “I wonder what that’s all about?” knowing that I would probably never find out. To me, that dinner party is real.

That is always my starting position – what is the overall issue that the protagonist has to solve.

A22Then comes the incubation time. Once the initial idea is in my head, I start to carry round a notebook and pencil, and each time I have an idea that develops a character or plot point, I jot it down. There are always plenty of false starts – storylines that I begin to develop and then discard. I think that’s fairly normal (at least, I hope so).

Once I have a rough idea of the beginning – the inciting incident (the conflict that begins the action of the story and causes the protagonist to act) – and the end – how the protagonist solves (or doesn’t) the problem – I switch tack. I start to develop my characters, locations and timelines.

For each character, I find a photograph that matches my idea of how they might look.

A9It may be a picture of a famous person, or it might be a random person that I find in images on the Internet. It doesn’t matter. I grab their photo and put it into their character file. Then I begin to develop their characteristics – Age, date of birth, personality, likes, dislikes, greatest strengths and weaknesses, story goal, past traumas – a whole list of details which gives me a very clear idea of who they are and how they would behave. It also means that I know how to describe them, and because it’s all written down, I can always remember how old they are, what they drink, what secrets they have, what job they do.

Next come the locations.

I was recently interviewed for a blog, and the interviewer very kindly said “I find the atmosphere of place very strong in your novels.  I know those villages – I’ve met those people.  How do you get that atmosphere?

A3The answer is that I also know these places – because I have found photographs of interiors and exteriors of all the houses or other locations that are featured. In The Back Road I used Google street view to walk around the Cheshire village that I used as my main location, and found the perfect property for my protagonist. I was inspired by an atrium dining room that I saw on an architectural site, and grabbed that image too. I found a map and worked out which road would be “The Back Road” and then plotted where everybody lived. Only that way could I be sure that journeys were logical. Even at the dinner party, I wrote down the menu and a seating plan. It was important to know where everybody was sitting, so that I knew when people had to lean forward to speak across somebody, or when people’s eyes could meet.

Timelines are really important – and not just the timeline of the book.

A14Most people have a back-story – when did they meet? What are the major events in their lives? The back-story timeline is really important, because I have often read books in which a section has made me stop and think, “How old is this person? Does this make sense?” and anything that slows a reader down is bad news. If you are confident because you have the information in front of you, the reader will feel that confidence.In short, then, I need to know every detail so that when I write about a location or a person I have a very clear vision of them in my mind. In The Back Road, if I had any artistic skills, I could paint you a picture of every room in the house, and how the rooms connect with each other. It’s as clear in my head as my own home, and allows me to write with confidence.

Of course, the important thing is the story!

A16As you will have gathered, I am a fanatical planner, and I use two different pieces of software for my planning. My main tool is a piece of software called Scrivener. This has some fantastic features that I will talk about briefly here, but hope to do a more detailed blog post soon. However, it doesn’t do one thing that I need, and that’s to create the equivalent of a story flowchart. For that – and the initial planning stages – I use Storylines.

With Storylines I can either create a number of story threads, or character threads, and I can see them all at the same time on a cork board using individual ‘cards’. The board is arranged in columns for scenes and rows for character or plot threads. I can move these around and see all on one screen how the story develops and how and when characters appear in the story. It gives me the main outline of my book, and the software does so much more than this. You can write your whole book using nothing else, but there are some elements of Scrivener that I prefer for the writing process.

A5With Scrivener I create folders for each chapter, and then write scenes within a chapter. I can colour code scenes – for example, in The Back Road I coded scenes in relation to the level of tension. I could see when there were spots in which the tension dropped, and it gave me an opportunity to think about the scenes and how to ramp them up a notch.

Similarly, I used keywords extensively. The Back Road has a number of story threads, with huge potential to get lost! So each scene is given one of a number of keywords each of which relates to a thread. I can then search on the keywords, and find all the scenes, allowing me to read one storyline in complete isolation – a fantastic tool for checking consistency and story development. Scenes can be written in any order – once the structure is in place you can add a scene, move it around, put it in an ideas folder for later use – the options are endless. But with the structure in place, the writing can begin.

A8I could talk all day about the tools I use and how they help – but this is supposed to be an overview of how to get started. Remember, I am not for a moment suggesting this is the right way or the only way, but it might give you some ideas of where to start.

*   *   *

A15Rachel Abbott has written four psychological thrillers which, combined, have sold over one million copies. She self-published Only the Innocent in November 2011. It raced up the UK charts to reach the top 100 within 12 weeks and quickly hit the #1 spot in the Amazon Kindle chart (all categories) and remained there for four weeks. 

A10Only the Innocent was so successful that it was re-edited and the new version was launched in the US by Thomas and Mercer in paperback, audio, and Kindle versions on 5th February 2013, hitting the number one spot in the Kindle Store in August 2013. Her second book, The Back Road, was also published by Thomas and Mercer.

Her third book, Sleep Tight, was published in February 2014 and her newest, Stranger Child, was released last month.

A13Rachel Abbott was born just outside Manchester, England. She spent most of her working life as the Managing Director of an interactive media company, developing software and websites for the education market. The sale of that business enabled her to fulfil one of her lifelong ambitions – to buy and restore a property in Italy.

Rachel now lives in Alderney – a beautiful island off the coast of France, and is now able to devote time to her other love – writing fiction. For more information, see Rachel’s website, or follow her on Twitter.

Visit Rachel Abbott’s website at:  www.Rachel-Abbott.com

Like her on Facebook: https://www.facebook.com/RachelAbbott1Writer

Follow Rachel on Twitter:  @_RachelAbbott   https://twitter.com/_RachelAbbott

Buy her books:  http://www.amazon.com/Rachel-Abbott/e/B0068FBVCW

WHAT MAKES GREAT CRIME-THRILLERS?

Crime ThrillerStatistics show that the largest selling book genre is now crime-thrillers. They’ve surpassed celebrity bios, food & drink, erotica, historicals, and even the long reigning queen of fiction… romance.

Why, you ask?

Because great crime-thrillers tell a great story and there’s always a great story to be told when a thrilling crime happens.

As in websites where content is king, in crime-thrillers – story is king.

Murder on orientIf you think about the great crime-thrillers that have survived the past century and are still being read, it’s because they are terrific stories. Murder On The Orient Express (Agatha Christie) The Big Sleep (Raymond Chandler) Sherlock Holmes (Arthur Conan Doyle) The Talented Mr. Ripley (Patricia Highsmith) and The Maltese Falcon (Dashiell Hammett) are thrilling crime stories.

So much of literary fiction, romance, erotica, and historical novels are character driven or indulge in a lot of introspection, rather than just tell a great story. In short, they’re boring. The best crime-thriller writers know that, foremost, they produce works of entertainment. The know their market and know that their ideal reader wants to be entertained by getting lost in a great story.

Great crime-thriller writers realize their reader expects a standard story format with a beginning, a middle, and an ending. The story must have a hero, a villian, and a resolution. They also realize their reader wants to be scared in a safe manner. Being safely scared is like rollercoasting where you scream, but you know you’re safe, and immediately want to go again.

Val McDermidCrime-thriller queen Val McDermid puts it like this. “A crime-thriller gives you an adrenalin rush. It’s exciting, suspense-laden, and you can’t help wondering what’s going to happen next. But you know it’s fiction and that the protagonist is going to make it out okay in the end.” She says ” We live in a society increasingly fragmented and alienated. People fell isolated and anxious. They find reassurance in crime-thrillers because they know that in the end the world will be put right.”

Characters are vitally important supporters of the story, though. They’re the instrument through which the story is told.

Take a look at the current crime-thriller queens & kings.

David Baldacci  (USA) – characters Sean King & Michelle Maxwell

Patricia Cornwell (USA) – character Kay Scarpetta

James Patterson (USA) – character Alex Cross

Harlan Coben (USA) – character Myron Boltair

Ian Rankin (UK) – character John Rebus

Michael Connally (USA) – character Harry Bosch

Lee Child (UK) – character Jack Reacher

Jo Nesbo (Norway) – character Harry Hole

Peter Robinson (Canada/UK) – character Alan Banks

Kathy Reichs (USA) – character Temperance Brennan

David BaldacciWhat the reigning crime-thriller kings & queens have in common is that they tell great stories and have great characters who support their stories.

They parley this formula into sequels that entertain millions of readers.

HOW TO TELL GREAT STORIES IN THE WORKPLACE

This guest post is by Carolyn O’Hara and originally appeared in the Harvard Business Review. Thanks, Carolyn!

StorytellingThe power of story-telling is under appreciated and it’s effectiveness in a workplace environment is something that all leaders must know.

We tell stories to our coworkers and peers all the time — to persuade someone to support our project, to explain to an employee how he might improve, or to inspire a team that is facing challenges. It’s an essential skill, but what makes a compelling story in a business context? And how can you improve your ability to tell stories that persuade?

What the Experts Say

In our information-saturated age, business leaders “won’t be heard unless they’re telling stories,” says Nick Morgan, author of Power Cues and president and founder of Public Words, a communications consulting firm. “Facts and figures and all the rational things that we think are important in the business world actually don’t stick in our minds at all,” he says. But stories create “sticky” memories by attaching emotions to things that happen. That means leaders who can create and share good stories have a powerful advantage over others. And fortunately, everyone has the ability to become a better storyteller. We are programmed through our evolutionary biology to be both consumers and creators of story,” says Jonah Sachs, CEO of Free Range Studios and author of Winning the Story Wars. “It certainly can be taught and learned.” Here’s how to use storytelling to your benefit.

Start with a message 

AudienceEvery storytelling exercise should begin by asking: Who is my audience and what is the message I want to share with them? Each decision about your story should flow from those questions. Sachs says that leaders should ask, “What is the core moral that I’m trying to implant in my team?” and “How can I boil that down to a compelling single statement?” For instance, if your team is behaving as if failure is not an option, you might decide to impart the message that failure is actually the grandfather of success. Or if you are trying to convince senior leaders to take a risk by supporting your project, you could convey that most companies are built on taking smart chances. First settle on your ultimate message; then you can figure out the best way to illustrate it.

Mine your experiences

BarriersThe best storytellers look to their own memories and life experiences for ways to illustrate their message. What events in your life make you believe in the idea you are trying to share? “Think of a moment in which your own failures led to success in your career, or a lesson that a parent or mentor imparted,” says Sachs. “Any of these things can be interesting emotional entry points to a story.” There may be a tendency not to want to share personal details at work, but anecdotes that illustrate struggle, failure, and barriers overcome are what make leaders appear authentic and accessible. “The key is to show your vulnerability,” says Morgan.

Don’t make yourself the hero

HeroThat said, don’t make yourself the star of your own story. “A story about your chauffeured car and having millions in stock options is not going to move your employees,” says Morgan. You can be a central figure, but the ultimate focus should be on people you know, lessons you’ve learned, or events you’ve witnessed. And whenever possible, you should endeavor to “make the audience or employees the hero,” says Morgan. It increases their engagement and willingness to buy in to your message. “One of the main reasons we listen to stories is to create a deeper belief in ourselves,” says Sachs. “But when the storyteller talks about how great they are, the audience shuts down.” The more you celebrate your own decisions, the less likely your audience will connect with you and your message.

Highlight a struggle

ConflictA story without a challenge simply isn’t very interesting. “Good storytellers understand that a story needs conflict,” says Morgan. Is there a competitor that needs to be bested? A market challenge that needs to be overcome? A change-resistant industry that needs to be transformed? Don’t be afraid to suggest the road ahead will be difficult. “We actually like to be told it’s going to be hard,” says Morgan. “Smart leaders tell employees, ‘This is going to be tough. But if we all pull together and hang in there, we’ll achieve something amazing in the end.’” A well-crafted story embedded with that kind of a rallying cry means “you don’t have to demand change or effort,” says Sachs. “People will become your partners in change,” because they want to be part of the journey.

Keep it simple

SimpleNot every story you tell has to be a surprising, edge-of-your-seat epic. Some of the most successful and memorable stories are relatively simple and straightforward. Don’t let needless details to detract from your core message. Work from the principle that “less is more.” One of the biggest mistakes you can make is “putting in too much detail of the wrong kind,” says Morgan. Don’t tell your audience what day of the week it was, for instance, or what shoes you were wearing if it doesn’t advance the story in an artful way. But transporting your audience with a few interesting, well-placed details — how you felt, the expression on a face, the humble beginnings of a now-great company — can help immerse your listeners and drive home your message.

Practice makes perfect

PracticeStorytelling is a “real art form” that requires repeated effort to get right, says Morgan. Practice with friends, loved ones, and trusted colleagues to hone your message into the most effective and efficient story. And remember that the rewards can be immense. “Stories are the original viral tool,” says Sachs. “Once you tell a very compelling story, the first thing someone does is think, ‘Who can I can tell this story to?’ So, for the extra three minutes you spend encoding a leadership communication in a story, you’re going to see returns that last for months and maybe even years.”

Principles to Remember

Do CheckmarkDo:

  • Consider your audience — choose a framework and details that will best resonate with your listeners.
  • Identify the moral or message your want to impart.
  • Find inspiration in your life experiences.

Do Not SignDon’t:

  • Assume you don’t have storytelling chops — we all have it in us to tell memorable stories.
  • Give yourself the starring role.
  • Overwhelm your story with unnecessary details.

 

 

1Case Study #1: Embed conflict to motivate and inspire

Josh Linkner was worried his employees were becoming complacent. Then the CEO of ePrize, a Detroit-based interactive promotions company, Linkner had seen his company become the dominant leader in the online promotions industry almost overnight. In the mid 2000s, “we had double and triple growth every year,” he says. “I became worried that we would start clinging to our previous success instead of forging new success, and that our creativity would decline.”

Greatness is often achieved in the face of adversity,” he says, “but we didn’t have a competitor to gun against.”

So he made up a fake nemesis. At an all-company meeting, he stood up and announced that there was a brash new competitor named Slither. “I told everyone they were bigger than us, faster than us, and more profitable,” he says. “Their investors had deeper pockets. Their footprint was better, and they were innovating at a pace I’d never seen.”

The story was greeted with chuckles around the room (it was obvious the company was a ruse), but the idea soon became embedded within ePrize’s culture. Executives kept reinforcing the Slither story with fake press releases about their competitor’s impressive quarterly earnings or infusions of capital, and soon the urge to best the imaginary rival began to drive improved performance.

“It inspired creativity,” Linkner says. “In brainstorming sessions, we used Slither as the foil. Instead of saying, ‘OK, guys, we have to reduce our production time. How are we going to do that?’ I would say, ‘The folks over at Slither just shaved two days out of their cycle time. How do you think they did it?’ The white boards filled with ideas.”

2Case Study #2: Anchor the story in your personal experiences 

Vince Molinaro, managing director of the leadership practice at Knightsbridge Human Capital Solutions, Canada’s biggest HR advisory, tells clients he knows exactly when his career direction snapped into focus. It was at his first job out of college, with an organization that helped needy individuals get back on their feet. Vince loved the mission but found the atmosphere uninspiring. “Everyone just went through the motions,” he says. “I remember thinking, ‘Is this it? Is this what working in the real world is like?’”

A senior manager named Zinta sensed that Vince wanted to have a bigger impact, and asked him to join several likeminded colleagues on a committee to make their workplace a more positive environment. They began to make subtle changes, and coworkers’ attitudes started to improve. “I saw firsthand how a single manager can change the culture of a place,” he says.

Then Zinta was diagnosed with aggressive lung cancer. In her absence, the office culture began to revert back. On a visit to see Zinta in the hospital, Vince told her about the disappointing turn of events. She surprised him with a confession: Since she had never smoked and had no history of cancer in her family, she was convinced that her disease was a direct function of putting up with a toxic work environment for so long.

Shortly after, Zinta sent Vince a letter telling him he would be faced with an important choice throughout his life. He could allow the negative attitudes of others to influence his behavior, or pursue professional goals because of the sense of personal accomplishment they offered. “In her time of need she reached out to me,” he says. “She was a mentor to me even though she didn’t need to be.”

Two weeks later, Zinta passed away. But the letter changed Vince’s life, inspiring him to leave his job and start his own consulting business devoted to helping people be better leaders. “I’ve seen the kind of climate and culture that a great leader can create,” he says. “For the last 25 years, I’ve tried to emulate that.” He still has Zinta’s letter.

When Vince first began sharing this story with his leadership clients, he was taken aback by their reaction. “There was a connection they had to me that was really surprising, he says. “It’s like they got me in ways that I wasn’t able to directly communicate.”

“It also gets them thinking about their own story and the leaders that have influenced them. In my case, it was a great leader. Sometimes it’s the really bad ones you learn a lot from.” Whatever the case, he says, the power comes from sharing your story with the people you lead so they better understand what motivates you.

Carolyn O'Hara2This post originally appeared in the July 30, 2014 issue of Harvard Business Review. I  thought it was so good that I re-posted it here on DyingWords.net. The author, Carolyn O’Hara, is a writer and editor based in New York City. She’s worked at The Week, PBS News Hour, and Foreign Policy.

Thanks, Carolyn!