DIY MFA Radio

Hello hello, word nerds!

Today I have the pleasure of speaking with fellow New Yorker and awesome author, Emma Straub. I had so much fun doing this interview because it was almost like talking to a parallel universe version of myself. After the interview, Emma and I figured out that we had grown up in fairly close neighborhoods (she's a West-Sider, I'm East) and we even went to very similar schools. Talk about crazy coincidence!

But now, let's get down to business. Emma Straub is the New York Times-bestselling author of The Vacationers, Laura Lamont's Life in Pictures, and the short story collection Other People We Married. Her fiction and nonfiction have been published in The New York Times, The Wall Street Journal, Vogue, Elle, and Conde Nast Traveler, and she is a contributing writer for Rookie. Straub's work has been published in fifteen countries, and her newest book Modern Lovers is out now.

In this episode Emma and I discuss:

• Point of view as a story vehicle
• How to decide who the true protagonist is in a multiple POV narrative
• Writing as collaboration with the reader
• Letting the characters lead the story
• How your real life experiences inform your writing
• Time as a focal point for character

Plus, Emma's #1 tip for writers. About Modern Lovers

A smart, highly entertaining novel about a tight-knit group of friends from college—their own kids now going to college—and what it means to finally grow up well after adulthood has set in. Like in The Vacationers, Straub again brings her keen observation and subtle wisdom to a story of relationships that explores ambition and pleasure, the excitement of youth and the shock of middle age, all while maintaining throughout that perfect balance of amusement, substance and tenderness. Elle confirms that Modern Lovers "has the smart, cool sensibility of Straub's other novels," and promises that "you're sure to love this one just as much."

If you decide to purchase a copy of Modern Lovers we hope you'll do so via this Amazon affiliate link, where DIY MFA gets a small commission at no cost to you. Thank you for supporting DIY MFA!

To learn more about Emma and her books, follow her on Twitter or Facebook. You can also visit her website at: www.emmastraub.net.

For more info and show notes: DIYMFA.com/103

Hello hello, word nerds!

Today I have the pleasure of speaking with fellow New Yorker and awesome author, Emma Straub. I had so much fun doing this interview because it was almost like talking to a parallel universe version of myself. After the interview, Emma and I figured out that we had grown up in fairly close neighborhoods (she's a West-Sider, I'm East) and we even went to very similar schools. Talk about crazy coincidence!

But now, let's get down to business. Emma Straub is the New York Times-bestselling author of The Vacationers, Laura Lamont’s Life in Pictures, and the short story collection Other People We Married. Her fiction and nonfiction have been published in The New York Times, The Wall Street Journal, Vogue, Elle, and Conde Nast Traveler, and she is a contributing writer for Rookie. Straub’s work has been published in fifteen countries, and her newest book Modern Lovers is out now.

  In this episode Emma and I discuss:

• Point of view as a story vehicle
• How to decide who the true protagonist is in a multiple POV narrative
• Writing as collaboration with the reader
• Letting the characters lead the story
• How your real life experiences inform your writing
• Time as a focal point for character

Plus, Emma’s #1 tip for writers. About Modern Lovers

A smart, highly entertaining novel about a tight-knit group of friends from college—their own kids now going to college—and what it means to finally grow up well after adulthood has set in. Like in The Vacationers, Straub again brings her keen observation and subtle wisdom to a story of relationships that explores ambition and pleasure, the excitement of youth and the shock of middle age, all while maintaining throughout that perfect balance of amusement, substance and tenderness. Elle confirms that Modern Lovers “has the smart, cool sensibility of Straub’s other novels,” and promises that “you’re sure to love this one just as much.”

If you decide to purchase a copy of Modern Lovers we hope you'll do so via this Amazon affiliate link, where DIY MFA gets a small commission at no cost to you. Thank you for supporting DIY MFA!

To learn more about Emma and her books, follow her on Twitter or Facebook. You can also visit her website at: www.emmastraub.net.

 

For more info and show notes: DIYMFA.com/103

 

Hey there Word Nerds!

Today I'm delighted to welcome back the founder and principal of Book Architecture, Stuart Horwitz, and his collaborator Dave Stebenne. You can listen to my previous interview with Stuart here.

Stuart has spent over fifteen years helping writers become authors and his clients have reached wow-worthy levels of success. You can read the details in his bio below. More personally, though, Stuart is also a trusted colleague of mine and a good friend. When we first met over drinks at a Writer's Digest Conference back in 2013, I knew right away that I had met a fellow writer and writing teacher whose perspective both aligns with and complemented my own.

Stuart's books are among my top go-to resources, both ones that I recommend to my students and that I use for my own writing. The newest installment of the Book Architecture trilogy–Finish Your Book in Three Drafts: How to Write a Book, Revise a Book, and Complete a Book While You Still Love It–just might be my favorite one yet.

For this book, he teamed up with Dave Stebenne who created the stop-motion shorts to accompany the Book Architecture 5-year tour to create a cross between a non-fiction how-to guide and graphic novel. The result is nothing short of awesome.

In this episode Stuart, Dave, and I discuss:

• How the idea for this book came about
• The importance of both spontaneity and planning in writing
• Form, function, and continuity in the development of an idea
• Creating something that has a life beyond you

Plus, Stuart's and Dave's #1 tips for writers. About Stuart Horwitz

Stuart has spent over fifteen years helping writers become authors. His clients have signed with top literary agencies, sealed deals with coveted publishing houses, or forged a successful path as indie authors. Book Architecture's clients have reached the New York Times best-seller list in both fiction and nonfiction, and have appeared on Oprah!, The Today Show, The Tonight Show, and in the most prestigious journals in their respective fields.

Stuart's approach is a synthesis of academic theories of narrative structure and his hands-on experience as an independent editor, book coach and ghostwriter. He has written three highly acclaimed books which together comprise the Book Architecture trilogy (affiliate links):

• Blueprint Your Bestseller: Organize and Revise any Manuscript with the Book Architecture Method
• Book Architecture: How to Plot and Outline Without Using a Formula
• Finish Your Book in Three Drafts: How to Write a Book, Revise a Book, and Complete a Book While You Still Love It

Stuart is an award-winning essayist and poet, who has toured the Book Architecture Method through over seventy venues in North America and taught writing at Grub Street of Boston and Brown University. He holds two master's degrees—one in Literary Aesthetics from NYU, which helps him a lot with this work—and one in East Asian Studies from Harvard with a concentration in Medieval Japanese Buddhism, which helps him get out of bed in the morning. To learn more about Stuart and his work, visit his website, or follow him on Facebook, Twitter, LinkedIn, and Instagram.

About Dave Stebenne

Dave is a 23-year veteran of the creative business, as an art director, editor and animator. Dave is responsible for the stop-motion shorts featuring action figures that are hands-down the best part of the Book Architecture 5-year tour. Having worked in broadcast media, the toy industry, advertising, publishing, and the corporate design world, he has a wide base of expertise to draw from in his work with Chick 'n Coop Pictures. He and his wife, the photographer Kristin Stebenne, live in Lincoln, RI with their two incredibly cool, sweet and adorable kids. Dave is responsible for the stop-motion shorts featuring action figures that are hands-down the best part of the Book Architecture 5-year tour.

For more info and show notes: DIYMFA.com/102

Hey there Word Nerds!

Today I’m delighted to welcome back the founder and principal of Book Architecture, Stuart Horwitz, and his collaborator Dave Stebenne. You can listen to my previous interview with Stuart here.

Stuart has spent over fifteen years helping writers become authors and his clients have reached wow-worthy levels of success. You can read the details in his bio below. More personally, though, Stuart is also a trusted colleague of mine and a good friend. When we first met over drinks at a Writer’s Digest Conference back in 2013, I knew right away that I had met a fellow writer and writing teacher whose perspective both aligns with and complemented my own.

Stuart’s books are among my top go-to resources, both ones that I recommend to my students and that I use for my own writing. The newest installment of the Book Architecture trilogy–Finish Your Book in Three Drafts: How to Write a Book, Revise a Book, and Complete a Book While You Still Love It–just might be my favorite one yet.

For this book, he teamed up with Dave Stebenne who created the stop-motion shorts to accompany the Book Architecture 5-year tour to create a cross between a non-fiction how-to guide and graphic novel. The result is nothing short of awesome.

 

In this episode Stuart, Dave, and I discuss:

• How the idea for this book came about
• The importance of both spontaneity and planning in writing
• Form, function, and continuity in the development of an idea
• Creating something that has a life beyond you

Plus, Stuart’s and Dave’s #1 tips for writers. About Stuart Horwitz

Stuart has spent over fifteen years helping writers become authors. His clients have signed with top literary agencies, sealed deals with coveted publishing houses, or forged a successful path as indie authors. Book Architecture’s clients have reached the New York Times best-seller list in both fiction and nonfiction, and have appeared on Oprah!, The Today Show, The Tonight Show, and in the most prestigious journals in their respective fields.

Stuart’s approach is a synthesis of academic theories of narrative structure and his hands-on experience as an independent editor, book coach and ghostwriter. He has written three highly acclaimed books which together comprise the Book Architecture trilogy (affiliate links):

• Blueprint Your Bestseller: Organize and Revise any Manuscript with the Book Architecture Method
• Book Architecture: How to Plot and Outline Without Using a Formula
• Finish Your Book in Three Drafts: How to Write a Book, Revise a Book, and Complete a Book While You Still Love It

Stuart is an award-winning essayist and poet, who has toured the Book Architecture Method through over seventy venues in North America and taught writing at Grub Street of Boston and Brown University. He holds two master's degrees—one in Literary Aesthetics from NYU, which helps him a lot with this work—and one in East Asian Studies from Harvard with a concentration in Medieval Japanese Buddhism, which helps him get out of bed in the morning. To learn more about Stuart and his work, visit his website, or follow him on Facebook, Twitter, LinkedIn, and Instagram.

About Dave Stebenne

Dave is a 23-year veteran of the creative business, as an art director, editor and animator. Dave is responsible for the stop-motion shorts featuring action figures that are hands-down the best part of the Book Architecture 5-year tour. Having worked in broadcast media, the toy industry, advertising, publishing, and the corporate design world, he has a wide base of expertise to draw from in his work with Chick ’n Coop Pictures. He and his wife, the photographer Kristin Stebenne, live in Lincoln, RI with their two incredibly cool, sweet and adorable kids. Dave is responsible for the stop-motion shorts featuring action figures that are hands-down the best part of the Book Architecture 5-year tour.

For more info and show notes: DIYMFA.com/102

 

 

Hey there Word Nerds!

I'm so glad you've stopped by today because I've got a great DIY MFA Radio interview for you.

In this episode, I interview thriller author Steve Hamilton about his new book: The Second Life of Nick Mason. This book is a fascinating study on what happens when a fundamentally decent character makes some very bad choices.

In this episode Steve and I discuss:

• Significant experiences for writers that inform your fiction
• Building stories around situations versus characters
• Projecting characters' arcs through a series

Plus, Steve's #1 tip for writers. About the Author

Steve Hamilton is the two-time Edgar Award-winning author of the New York Times bestselling Alex McKnight series and two standalone novels. His debut, novel A Cold Day in Paradise, won both an Edgar and a Shamus Award for Best First Novel, and his standalone novel The Lock Artist won an Edgar for Best Novel of the Year, a CWA Ian Fleming Steel Dagger for Best Thriller, and an Alex Award, given out by the American Library Association to those books that successfully cross over to the Young Adult market. He has either won or been nominated for every other major crime fiction award in America and the UK, and his books are now translated into twenty languages.

His new book The Second Life of Nick Mason is the first in a new series and it's out now.

To learn more about Steve Hamilton, visit his website or follow him on Twitter or Facebook.

About the Book

A career criminal from Chicago's South Side, Nick Mason got his start stealing cars and quickly graduated to safe cracking and armed robbery. But he left that life behind when he got married and settled down with his wife and their young daughter–until an old friend offered him a job he couldn't refuse. That fateful night at the harbor landed him in prison with a 25-to-life sentence and little hope of seeing his wife or daughter ever again. When Nick is offered a deal securing his release twenty years early, he takes it without hesitation and without fully realizing the consequences.

Once outside, Nick steps into a glamorous life with a five-million-dollar condo, a new car, ten grand in cash every month, and a beautiful roommate. But while he's returned to society, he's still a prisoner bound to the promise he made behind bars: whenever his cell phone rings, day or night, nick must answer it and follow whatever order he is given. It's the deal he made with Darius Cole, a criminal mastermind serving a double-life term who still runs an empire from his prison cell. Whatever Darius Cole needs him to be–a problem solver, bodyguard, thief, or assassin– Nick Mason must be that man.

Forced to commit increasingly more dangerous crimes and relentlessly hunted by the detective who brought him to justice in the past, Nick finds himself in a secret war between Cole and an elite force of Chicago's dirty cops. Desperate to go straight and rebuild his life with his daughter and ex-wire, Nick will ultimately have to risk everything–his family, his sanity, and even his life–to finally break free.

Elmore Leonard's 10 Rules for Good Writing

Check out the original article from Elmore Leonard in the New York Times. The last rule (after #10) is what inspired Steve Hamilton's writing tip.

For more info and show notes: DIYMFA.com/101

Hey there Word Nerds!

I'm so glad you've stopped by today because I've got a great DIY MFA Radio interview for you.

In this episode, I interview thriller author Steve Hamilton about his new book: The Second Life of Nick Mason. This book is a fascinating study on what happens when a fundamentally decent character makes some very bad choices.

In this episode Steve and I discuss:

• Significant experiences for writers that inform your fiction
• Building stories around situations versus characters
• Projecting characters' arcs through a series

Plus, Steve’s #1 tip for writers. About the Author

Steve Hamilton is the two-time Edgar Award-winning author of the New York Times bestselling Alex McKnight series and two standalone novels. His debut, novel  A Cold Day in Paradise, won both an Edgar and a Shamus Award for Best First Novel, and his standalone novel The Lock Artist won an Edgar for Best Novel of the Year, a CWA Ian Fleming Steel Dagger for Best Thriller, and an Alex Award, given out by the American Library Association to those books that successfully cross over to the Young Adult market. He has either won or been nominated for every other major crime fiction award in America and the UK, and his books are now translated into twenty languages.

His new book The Second Life of Nick Mason is the first in a new series and it's out now. 

To learn more about Steve Hamilton, visit his website or follow him on Twitter or Facebook.

About the Book

A career criminal from Chicago’s South Side, Nick Mason got his start stealing cars and quickly graduated to safe cracking and armed robbery. But he left that life behind when he got married and settled down with his wife and their young daughter–until an old friend offered him a job he couldn’t refuse. That fateful night at the harbor landed him in prison with a 25-to-life sentence and little hope of seeing his wife or daughter ever again. When Nick is offered a deal securing his release twenty years early, he takes it without hesitation and without fully realizing the consequences.

Once outside, Nick steps into a glamorous life with a five-million-dollar condo, a new car, ten grand in cash every month, and a beautiful roommate. But while he’s returned to society, he’s still a prisoner bound to the promise he made behind bars: whenever his cell phone rings, day or night, nick must answer it and follow whatever order he is given. It’s the deal he made with Darius Cole, a criminal mastermind serving a double-life term who still runs an empire from his prison cell. Whatever Darius Cole needs him to be–a problem solver, bodyguard, thief, or assassin– Nick Mason must be that man.

Forced to commit increasingly more dangerous crimes and relentlessly hunted by the detective who brought him to justice in the past, Nick finds himself in a secret war between Cole and an elite force of Chicago’s dirty cops. Desperate to go straight and rebuild his life with his daughter and ex-wire, Nick will ultimately have to risk everything–his family, his sanity, and even his life–to finally break free.

Elmore Leonard's 10 Rules for Good Writing

Check out the original article from Elmore Leonard in the New York Times. The last rule (after #10) is what inspired Steve Hamilton's writing tip.

For more info and show notes: DIYMFA.com/101

Hello hello Word Nerds! Welcome back to DIY MFA Radio.

OMG, you guys! It's episode 100! I can't even believe how excited I am that we've come this far.

Today's show is special because not only is it episode 100 and the first solo show I've done in quite a while, today I'm going to introduce a concept to you. I've been kicking this around for a long time, and I think it's a direction that I'm going to be taking DIY MFA, so you get a sneak peek as to where DIY MFA is going.

As you've probably already noticed, if you follow the website or the show, a few months ago I released the Storytelling Superpower quiz, a personality quiz like you see on Buzzfeed that will tell you your storytelling personality. Head on over and take the quiz if you haven't already. When you finish the quiz, you'll be prompted to sign up a video series. This video series is a mini master class that I put together to celebrate the launch of the DIY MFA book!

In this episode I'm going to give you an overview of where the Storytelling Superpower concept came from, what it is, and where it might be going in the next few months.

Embed Episode Here

The Birth of an Idea

I had this idea over the winter holidays. I started sketching out some ideas in my brainstorming notebook. I like to break things into categories, to put order to very complex concepts. For a while I had been asking myself how you really know what you're good at as a writer. This is a fundamental piece to DIY MFA. I don't believe in copying and pasting someone else's success plan onto your own life. You never know if that thing that worked for someone else will work for you. This is where that iteration concept comes from. It's so important that you figure out what you're already good at as a writer, how you behave under natural circumstances and then you improve on the things that are working well instead of overhauling your whole process all the time.

I started wondering how can a writer figure out what they're good at? Wouldn't it be great if we had a writer's personality test that would help you figure out who you are when you're on the page? I'm also a huge fan of personality tests. I have a masters in psychology from Cornell, and one of the things I loved studying was personality. I started thinking about what this assessment would look like.

The Myers-Briggs test, you know the E/I N/S F/T J/P one, is basically a bunch of binary spectrums. People answer yes or no questions based on those four binary spectrums that then determine whether you're introverted or extroverted, whether you're a thinker or a feeler. Once you figure out where you fall on those spectrums, you get your personality composite, lumping together the parameters and synthesizing who you are based on your scores on the test.

The Heart and Soul of Your Story

I wanted to adapt that concept for writers, to take the framework and adapt it to the way writing works. What I came up with were the different types of factors that now make up the Storytelling Superpower quiz. I decided to focus on the character component because characters are the heart and soul of your story. You can have no plot whatsoever, you can have the most mundane world for your story, you can have really messy dialogue or description, you have something. If you don't have solid characters, even if everything else is perfect, you're not going to be able to get that book past square one.

So that's where we start.

How do we determine what the character piece of the puzzle would be? I've mentioned the everyman versus larger-than-life heroic character. In a previous episode, I talked about the Opposite-is-Possible Theory, the idea that you need to show that the everyman character can do something grand, and that the heroic character can be vulnerable. But I started thinking that there had to be more than just those two elements to character.

The other thing that drives character is what they want. That can be kind of hard to boil down to a binary thing. The character could want to go out on an adventure and see the world, or to find the love of their life, or to not be beat up by the bully at school. So I started looking at books that I loved to see if I could discover anything in common with the characters and their wants. At first it looked like they were all over the place. And then it hit me, people (and characters) want one of two things in their life. They either want to change something or they want to preserve something.

This might seem really basic, but if you think about it, every single motivation that is at the crux of a book boils down to either change or preserve. In the Wizard of Oz, Dorothy wants to go home, to go back to the way things were. In the Hunger Games, Katniss wants to get her family out of the horrible situation they are in and she wants to survive the games. At the beginning of the series, Katniss wants to preserve her own life, but by the end she wants systemic change.

I talk in the video series about how the character's want changes and how you can use that to modulate a character from one archetype to another. Even if you find that one archetype speaks to you more than the others, you can shift things around and adapt characters by shifting their wants.

Four Character Archetypes

You can have a regular joe character who just wants to change or preserve something, or you can have a larger-than-life character who wants to change or preserve something. That gave us four archetypes.

So why are these archetypes important? The key isn't to box characters in. You don't have to shove your character into a particular category and then stick to that category come hell or high water. Instead, you can use these frameworks to understand what your characters are about at their most basic level. Then you can break the rules, shake things up. But if you don't know what the rules are in the first place you can't break them.

Underdog

The underdog is an ordinary Joe or Jane who wants to change something. This character doesn't have a whole lot of amazing superpowers or skills or assets, but they want to move up, to change their life and the status-quo. You can play this dynamic out in any number of circumstances, like the classic "rags-to-riches" makeover story or a comeback story where a powerful character has a major setback and has to pick themselves back up. So even though the underdog character happens to be an everyman who wants to change, you can make that story play out in a lot of different ways depending on the situation you put that character in.

Disruptor

The disruptor is my favorite. It's a larger-than-life character who wants to change something, whether that's something small in their life or something large in the world around them. Usually the disruptor is the revolutionary, the character that wants to change the world. What I find interesting is that, when I look at the data for of all the archetypes in the quiz, the disruptor is the smallest slice of the pie. Why that is, I think, is because disruptors are very hard to like. So if you're writing a disruptor character, help the reader find something in that character that they can relate to.

Survivor

The survivor is the same everyman character as the underdog, except that instead of wanting to change something, they want things to stay the same. The classic survivor stories are battles against nature, where some big disaster happens and the character has to struggle to survive. What makes this archetype so relatable is the everyman-ness of the survivor character. If the survivor can get through this, then so can we. Survivors are characters that have hope woven into them. No matter how bad things get, survivors believe that they can get back to when things were good. They don't just give up, and that makes them compelling.

Protector

The protector is your typical superhero, larger-than-life, using their superpowers to protect the world, to protect others. What's so great about these characters is that they're noble and heroic, out there saving the world. They don't have to be superheroes, either. It could be a doctor or a lawyer, someone who wants to save those that can't save themselves. The thing you have to watch out for is that, because they are protective, they can sometimes overstep their bounds. Like the disruptor, the protector is larger-than-life, so the key is to show some vulnerability. With the protector it's a little easier to do, though, because their goal is to protect those around them.

Putting it all together

The storytelling superpower goes way beyond just the character piece of the puzzle. When I had originally sketched out this idea, I had 32 or 64 possible archetypes because of how many different factors you can consider in connection with the character element, like the type of story structure, or the way the character's want plays out throughout the story. In the future this could go into a lot of different directions!

At some point I'd like to create a full assessment to see how writers perceive themselves based on these factors versus how their stories play out when you feed stories into a computer. Later this summer I interview a professor who is doing exactly that, so listen out for that!

I could get really geeky with the stats and we could get all down in the weeds about this project. But then I remind myself of what the purpose is behind the Storytelling Superpower project. It's about helping writers find their focus. The Storytelling Superpower is a tool to help you figure out what you are uniquely good at, what characters speak to you, and how you can implement these characters on the page and adjust them so that you can make your story even better. It can also help you choose which projects to work on, and which to put aside for now.

The only way to improve as a writer is to dig into your own process and understand the way you operate as a writer. Then improve on that.

So go, take the quiz. Then sign up for the video series. Or if you've already taken the quiz, you can sign up for the video series here. The course will be available until the big book launch event in NYC this August.

For more info and show notes: DIYMFA.com/100

Hello hello Word Nerds! Welcome back to DIY MFA Radio.

OMG, you guys! It’s episode 100! I can’t even believe how excited I am that we’ve come this far.

Today’s show is special because not only is it episode 100 and the first solo show I’ve done in quite a while, today I’m going to introduce a concept to you. I’ve been kicking this around for a long time, and I think it’s a direction that I’m going to be taking DIY MFA, so you get a sneak peek as to where DIY MFA is going.

As you’ve probably already noticed, if you follow the website or the show, a few months ago I released the Storytelling Superpower quiz, a personality quiz like you see on Buzzfeed that will tell you your storytelling personality. Head on over and take the quiz if you haven’t already. When you finish the quiz, you’ll be prompted to sign up a video series. This video series is a mini master class that I put together to celebrate the launch of the DIY MFA book!

In this episode I’m going to give you an overview of where the Storytelling Superpower concept came from, what it is, and where it might be going in the next few months.

Embed Episode Here

The Birth of an Idea

I had this idea over the winter holidays. I started sketching out some ideas in my brainstorming notebook. I like to break things into categories, to put order to very complex concepts. For a while I had been asking myself how you really know what you’re good at as a writer. This is a fundamental piece to DIY MFA. I don’t believe in copying and pasting someone else’s success plan onto your own life. You never know if that thing that worked for someone else will work for you. This is where that iteration concept comes from. It’s so important that you figure out what you’re already good at as a writer, how you behave under natural circumstances and then you improve on the things that are working well instead of overhauling your whole process all the time.

I started wondering how can a writer figure out what they’re good at? Wouldn’t it be great if we had a writer’s personality test that would help you figure out who you are when you’re on the page? I’m also a huge fan of personality tests. I have a masters in psychology from Cornell, and one of the things I loved studying was personality. I started thinking about what this assessment would look like.

The Myers-Briggs test, you know the E/I N/S F/T J/P one, is basically a bunch of binary spectrums. People answer yes or no questions based on those four binary spectrums that then determine whether you’re introverted or extroverted, whether you’re a thinker or a feeler. Once you figure out where you fall on those spectrums, you get your personality composite, lumping together the parameters and synthesizing who you are based on your scores on the test.

The Heart and Soul of Your Story

I wanted to adapt that concept for writers, to take the framework and adapt it to the way writing works. What I came up with were the different types of factors that now make up the Storytelling Superpower quiz. I decided to focus on the character component because characters are the heart and soul of your story. You can have no plot whatsoever, you can have the most mundane world for your story, you can have really messy dialogue or description, you have something. If you don’t have solid characters, even if everything else is perfect, you’re not going to be able to get that book past square one.

So that’s where we start.

How do we determine what the character piece of the puzzle would be? I’ve mentioned the everyman versus larger-than-life heroic character. In a previous episode, I talked about the Opposite-is-Possible Theory, the idea that you need to show that the everyman character can do something grand, and that the heroic character can be vulnerable. But I started thinking that there had to be more than just those two elements to character.

The other thing that drives character is what they want. That can be kind of hard to boil down to a binary thing. The character could want to go out on an adventure and see the world, or to find the love of their life, or to not be beat up by the bully at school. So I started looking at books that I loved to see if I could discover anything in common with the characters and their wants. At first it looked like they were all over the place. And then it hit me, people (and characters) want one of two things in their life. They either want to change something or they want to preserve something.

This might seem really basic, but if you think about it, every single motivation that is at the crux of a book boils down to either change or preserve. In the Wizard of Oz, Dorothy wants to go home, to go back to the way things were. In the Hunger Games, Katniss wants to get her family out of the horrible situation they are in and she wants to survive the games. At the beginning of the series, Katniss wants to preserve her own life, but by the end she wants systemic change.

I talk in the video series about how the character’s want changes and how you can use that to modulate a character from one archetype to another. Even if you find that one archetype speaks to you more than the others, you can shift things around and adapt characters by shifting their wants.

Four Character Archetypes

You can have a regular joe character who just wants to change or preserve something, or you can have a larger-than-life character who wants to change or preserve something. That gave us four archetypes.

So why are these archetypes important? The key isn’t to box characters in. You don’t have to shove your character into a particular category and then stick to that category come hell or high water. Instead, you can use these frameworks to understand what your characters are about at their most basic level. Then you can break the rules, shake things up. But if you don’t know what the rules are in the first place you can’t break them.

Underdog

The underdog is an ordinary Joe or Jane who wants to change something. This character doesn’t have a whole lot of amazing superpowers or skills or assets, but they want to move up, to change their life and the status-quo. You can play this dynamic out in any number of circumstances, like the classic “rags-to-riches” makeover story or a comeback story where a powerful character has a major setback and has to pick themselves back up. So even though the underdog character happens to be an everyman who wants to change, you can make that story play out in a lot of different ways depending on the situation you put that character in.

Disruptor

The disruptor is my favorite. It’s a larger-than-life character who wants to change something, whether that’s something small in their life or something large in the world around them. Usually the disruptor is the revolutionary, the character that wants to change the world. What I find interesting is that, when I look at the data for of all the archetypes in the quiz, the disruptor is the smallest slice of the pie. Why that is, I think, is because disruptors are very hard to like. So if you’re writing a disruptor character, help the reader find something in that character that they can relate to.

Survivor

The survivor is the same everyman character as the underdog, except that instead of wanting to change something, they want things to stay the same. The classic survivor stories are battles against nature, where some big disaster happens and the character has to struggle to survive. What makes this archetype so relatable is the everyman-ness of the survivor character. If the survivor can get through this, then so can we. Survivors are characters that have hope woven into them. No matter how bad things get, survivors believe that they can get back to when things were good. They don’t just give up, and that makes them compelling.

Protector

The protector is your typical superhero, larger-than-life, using their superpowers to protect the world, to protect others. What’s so great about these characters is that they’re noble and heroic, out there saving the world. They don’t have to be superheroes, either. It could be a doctor or a lawyer, someone who wants to save those that can’t save themselves. The thing you have to watch out for is that, because they are protective, they can sometimes overstep their bounds. Like the disruptor, the protector is larger-than-life, so the key is to show some vulnerability. With the protector it’s a little easier to do, though, because their goal is to protect those around them.

Putting it all together

The storytelling superpower goes way beyond just the character piece of the puzzle. When I had originally sketched out this idea, I had 32 or 64 possible archetypes because of how many different factors you can consider in connection with the character element, like the type of story structure, or the way the character’s want plays out throughout the story. In the future this could go into a lot of different directions!

At some point I’d like to create a full assessment to see how writers perceive themselves based on these factors versus how their stories play out when you feed stories into a computer. Later this summer I interview a professor who is doing exactly that, so listen out for that!

I could get really geeky with the stats and we could get all down in the weeds about this project. But then I remind myself of what the purpose is behind the Storytelling Superpower project. It’s about helping writers find their focus. The Storytelling Superpower is a tool to help you figure out what you are uniquely good at, what characters speak to you, and how you can implement these characters on the page and adjust them so that you can make your story even better. It can also help you choose which projects to work on, and which to put aside for now.

The only way to improve as a writer is to dig into your own process and understand the way you operate as a writer. Then improve on that.

So go, take the quiz. Then sign up for the video series. Or if you’ve already taken the quiz, you can sign up for the video series here. The course will be available until the big book launch event in NYC this August.

For more info and show notes: DIYMFA.com/100

 

Hey there Word Nerds! I'm so excited to share this week's DIY MFA Radio episode with you.

But first, some news. OMG word nerds, our next episode will be number 100 and I have something really exciting planned so make sure to watch your iTunes for that release. That episode will kick-off our weeklong Storytelling Superpower video series designed to help you figure out what stories and what characters you're BEST at writing.

To access the video series and download our cheat sheet describing all the Storytelling Superpower archetypes, sign up with your email at DIYMFA.com/STSPvideo. and get all those materials. You an also take Storytelling Superpower QUIZ to discover your unique superpower as a writer.

Now onto today's episode.

Today I'm delighted to interview Susan Breen. In addition to being the author of the new Maggie Dove mystery series, Susan is also a wonderful writing teacher and one of my very first mentors. Many listeners have heard me tell the story about how I took a horrendous writing workshop in college. By the end of that semester I was so shaken to my core that I did touch pen to page for seven (yes, seven!) years. Susan was the wonderful teacher who coaxed me back in to writing, and she's very likely the one responsible for my wanting to be a writing teacher myself.

In this episode, Susan and I talk about one of my favorite writing topics (and likely a favorite of hers too, I suspect): Characters.

Embed Episode Here

In this episode Susan and I discuss:

• Where characters come from.
• Navigating stereotypes while writing characters.
• Character flaws as character development
• Making sure your characters think and using description to convey emotion
• Naming characters

Plus, Susan's #1 tip for writers. About Susan Breen:

Susan Breen is the author of a new mystery series about Maggie Dove, a Sunday School teacher turned detective. The first book of this series–titled Maggie Dove–came out yesterday and the second will be out on October 4, 2016

Susan also teaches creative writing at Gotham Writers in Manhattan, where I took my very first writing class post-college. Her first book, The Fiction Class, was published by Penguin in 2008 and it's a fabulous read. She's also published stories and articles in places like Best American Non-Required Reading, ComposeJournal.com, and Ellery Queen's Mystery Magazine. Mother of three children who are now grown up and flourishing, Susan lives with her husband, two dogs and one cat in the Hudson Valley.

To learn more about Susan, you can visit her website, or follow her on Twitter, Facebook, or Goodreads.

For more info and show notes: DIYMFA.com/099

Hey there Word Nerds! I’m so excited to share this week’s DIY MFA Radio episode with you.

But first, some news. OMG word nerds, our next episode will be number 100 and I have something really exciting planned so make sure to watch your iTunes for that release. That episode will kick-off our weeklong Storytelling Superpower video series designed to help you figure out what stories and what characters you’re BEST at writing.

To access the video series and download our cheat sheet describing all the Storytelling Superpower archetypes, sign up with your email at DIYMFA.com/STSPvideo. and get all those materials. You an also take Storytelling Superpower QUIZ to discover your unique superpower as a writer.

Now onto today's episode.

Today I'm delighted to interview Susan Breen. In addition to being the author of the new Maggie Dove mystery series, Susan is also a wonderful writing teacher and one of my very first mentors. Many listeners have heard me tell the story about how I took a horrendous writing workshop in college. By the end of that semester I was so shaken to my core that I did touch pen to page for seven (yes, seven!) years. Susan was the wonderful teacher who coaxed me back in to writing, and she's very likely the one responsible for my wanting to be a writing teacher myself.

In this episode, Susan and I talk about one of my favorite writing topics (and likely a favorite of hers too, I suspect): Characters.

Embed Episode Here

In this episode Susan and I discuss:

• Where characters come from.
• Navigating stereotypes while writing characters.
• Character flaws as character development
• Making sure your characters think and using description to convey emotion
• Naming characters

Plus, Susan’s #1 tip for writers. About Susan Breen:

Susan Breen is the author of a new mystery series about Maggie Dove, a Sunday School teacher turned detective. The first book of this series–titled Maggie Dove–came out yesterday and the second will be out on October 4, 2016

Susan also teaches creative writing at Gotham Writers in Manhattan, where I took my very first writing class post-college. Her first book, The Fiction Class, was published by Penguin in 2008 and it’s a fabulous read. She’s also published stories and articles in places like Best American Non-Required Reading, ComposeJournal.com, and Ellery Queen's Mystery Magazine. Mother of three children who are now grown up and flourishing, Susan lives with her husband, two dogs and one cat in the Hudson Valley.

To learn more about Susan, you can visit her website, or follow her on Twitter, Facebook, or Goodreads.

For more info and show notes: DIYMFA.com/099