A Book Group for Writers!

 

Recently I participated in a book club, hosted by Lorin Oberweger and Free Expressions, that was as much a writing group as it was a reading group.  It proved inspirational and informative as any MFA program. The process followed that first the group read and discussed a craft book, in which the author of the book offered further insights into the concepts as well as guided writing exercises. At the next meeting, group members applied these concepts to a work of fiction, in which the author also presented further insights into their writing process.

Below I review some of my favorite craft books, most of which I had not read before. I’ve not included any of the fiction in lieu of space. (Albeit, a couple of my favorites include Henry Neff’s Witchstone and Nina Simon’s Mother-Daughter Murder Night). The key here is to learn how to deep dive into these concepts, apply them to your current read, and by extension, your current WIP.

 

How to Write a Page Turner: Craft a Story Your Readers Can’t Put Down (Jordan Rosenfield, 2019). According to Rosenfield, a “good story is a created, stylized and crafted version of reality.  And tension, with its elements and tools, are essential to the transformation of the ordinary into the extraordinary. Her book explores the four building blocks of tension, including danger, conflict, uncertainty and withholding. This is a must read.

 

Writing Deep Scenes: Plotting Your Story Through Acton, Emotion and Theme (Jordan Rosenfeld, 2015). Albeit not on the reading list, I enjoyed her discussion on page turners so much, I decided to read this one, too. Rosenfeld defines plot as “the events that take the protagonist from the darkness of not knowing what is happening to the light of solving the mystery, exposing the killer, or destroying the villain.” The plot serves to “transport the character from the chaos of the unknown in the beginning of the stry, through the twists and turns of the middle, and all the way to an unexpected outcome at the end.”

With this in mind, Rosenfeld identifies three distinct plotlines included in every good story, and her book takes a deep dive into how each of these movements play out in every pivotal scene:

1. Action is physical and concrete.

2. Emotion is moving and sensory.

3. Theme is cerebral and abstract.

Delve, Pivot, Propel: 350 Writing Secrets to Elevate Your Storytelling and Transform Your Novel  (Steven James, 2024).  At its essence, this book takes a deep dive into those characteristics that define the causal chain, i.e. the spine of the narrative arc. James offers a very easy-to-follow question and answer format, which includes practical tips and charts, that demonstrate how stories aren’t just about action (want) but about desire-infused pursuit (need). The core of the story is intimately tied to some unmet desire – whether it’s for something tangible (the fabled pot of gold), a new identity (self-confidence), an ideal (justice), or  an individual (love). I particularly appreciated his discussion on creating dimensional characters and formidable villains. Another question I appreciated in his collection, how can you tell when you’re done revising your story, and a related question, how many drafts should I write?

The Emotional Craft of Fiction: How to Write the Story Beneath the Surface (Donald Maass, 2016). This is another must have. My copy is full of notes and highlights from Maass’ discussion as well as notes how to apply to my own writing. If fiction can be defined as an emotional exchange, then the language of emotion makes a difference to the readers’ experience. As such, plot can also be defined as a sequence of emotional milestones. Maass delves into the three primary paths that produce an emotional response. Says Maass, 

“Human action is also driven by need. That need is sensed in subtext and revealed through what people say and do. That in turn should stir our own imaginations and churn up our feelings, shouldn’t it?”

Verbalize: Bring Stories to Life and Life to Stories (Damon Suede, 2017). Our next meeting features this gem of a book. Says Suede, “nobody building a house starts by polishing door knobs.) Characters are the power source of all stories.  In other words, characters drive the plot, while the plot molds the character.

In the end, an important take away from this book group: There are no rules, only guidelines. There are many strategies available that helps the story-engineering process. What works for one may not necessarily work for another. But despite the varied paths each strategy represents, ultimately every read – without exception – comes to the same  conclusion: What makes a good story.

For more information about this book group and other excellent webinars, contact Free Expressions at the link above!

Happy reading and writing!

-- Bobbi