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Johne last won the day on January 15

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About Johne

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  • Birthday March 11


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  1. I've been saying I prefer redemption stories to conversion stories because of relatability. This post got my attention. I'm not a fan of Ayn Rand but the author makes the point I've been trying to make - we can be more effective showing the power of changed lives in stories than we can pushing Conversion accounts. https://mjhuckabee.com/blog/2018/9/10/ayn-rand-power-of-story
  2. I don't do any script writing but Scrivener does have a good corkboard function built right in, which I use frequently.
  3. Interesting idea. I didn't use a super cool graphic, but I did give the Prologue and Epilogue names. Here's what it looks like:
  4. I think we're missing the silver lining here–we now know we can safely avoid doing business with the Jennifer DeChiara Literary Agency.
  5. I listen to movie soundtracks and film scores. I love the YouTube Music ability to pick a representative song and use that to create a Radio station based on that vibe and energy.
  6. I'm writing a 1st Person Fantasy / Noir. In March, I turned my manuscript over to a Story Grid Certified Editor. On March 31st she sent it back to me chock full of interesting observations and suggestions, but none as radical as this: rewrite the first and last chapters and Prologue and Epilogue from a 3rd Person POV. This has a practical benefit. When a story is written in the 1st Person, Orson Scott Card notes that it sends a message to the reader that the POV character is alive at the end as they're the one telling the story. Switching to a 3rd Person narrator for the Prologue and Epilogue
  7. Most prologues are done incorrectly, and most can be safely ignored. However, I've seen them done very well in the hands of seasoned authors, and when they're done well, they're brilliant. For instance, here's the Prologue to WISE MAN'S FEAR by Patrick Rothfuss. This single page re-introduces the reader to the Waystone Inn, to unnamed characters, and suggests a deep and powerful magic. It is a completely shameless tease, and practically launches the reader into the second Chapter 1.
  8. https://crimereads.com/john-le-carre-offered-a-piece-of-advice-to-a-struggling-novelist-shell-never-forget-it/
  9. Earlier in another thread, I wrote about how learning about Conventions and Obligatory Moments has changed me from being a pure discovery writer into a Plantser, a Pantser who appreciates underlying story structure. Here's a little along those lines. https://storygrid.com/conventions-and-obligatory-moments-for-genre/
  10. You are in a place of great emotion, equal parts terror, optimism, and self-confidence. You're in the right place. (I nearly wrote an unintentional pun there.)
  11. I totally understand. It's taken me two years of dedicated study to get to this place, and I still vacillate between starting with the 5 Cs or just diving right in. (I usually find out one of two things: if I don't plot it out at least a little I sometimes have to go back and fix things later, or I find out that my instincts are pretty well honed and the 5 Cs are represented organically by this point.) All the Story Grid stuff is designed more as an analysis tool after the first draft has been written to help highlight areas which need work, and I'm just taking those principles and pulling the
  12. Well-met, fellow discovery writer! I was a lifelong Pantser until I studied the Story Grid theory. I now consider myself a PLANtser, a discovery writer who has an appreciation for story structure. How it works for me is this: I start by figuring out my Content Genre (how a story is constructed under-the-hood, as opposed to Marketing Genre, which is what most people think of when they hear 'genre,' where a book appears on a shelf). My novel is a Fantasy / Noir (Marketing genre) built on a Thriller Content Genre under-the-hood. For me, that means my story has Thriller Obligatory scene
  13. Cool. I post articles from David Farland pretty frequently here.
  14. In 2018 I paid for a class from Tim Grahl called Launch A Bestseller. A week later, he sent me an email about the first class from The Story Grid called Level Up Your Craft, which teaches about story structure, the importance of knowing genre before writing, the Five Commandments of fiction, and how nailing your Conventions and Obligatory Moments will inform what you need to have in your novel. I thought all that sounded pretty good. I actually said "I should probably learn how to write my best novel before I spent too much time learning how to sell one." And so I set aside LAB and dove into t
  15. As a Christian, I have no interest in conversion stories (the act of repenting itself, we all know how that works), I'm interested in Redemption stories (the overall arc from wickedness to a changed heart) and usually point to secular films which show this change to normal people, non-Christians who are seeing the repentance of a turned life possibly for the first time. PULP FICTION tells the story of two hitmen who witness what looks like a miracle and shows how they react at the crossoroads—Vincent Vega (John Travolta) laughs it off like nothing's changed, and Jules Winnfield (Samuel L. J
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