B Plot

#1 The grind of learning craft

I’ve spent ten years improving my craft, and there is still so much left to learn. I’ve written thirty-five books of different genres with different characters and plots. I show my work to a professional editor, who still shred it. Not one word was left unscathed from the big red marker.

I still have a lot to learn. And I’ll never be able to learn it all.

#2 The importance of developing a support system

I started an in-person writing group ten years ago. They have been an invaluable source of support and encouragement. I write a lot (see the thirty-five books and counting). I risked burning my support group out. I solved this by actively searching out new writers with whom to collaborate, joining professional associations, and engaging further with the industry. Sure, there are some people I lean on more heavily than others, but I’m mindful not to become a burden to them.

Peer support from other authors is critical. Note, I said authors. You can turn to your friends and family to read and critique your work, but often they will shy away or never get back to you. Focus on developing a network of authors who want to collaborate.

#3 The industry is in flux

Ten years ago, many authors viewed self-publishing as a last resort. Today, many authors choose to self-publish as a first strategy. There has been a rapid development of the e-pub and self-publishing ecosystem. There are more review sites, promotional sites, and other author support sites, and there will be even more in a year from now.

There is always something to learn about handling book promotions, review sites, writing podcasts, author blogs, newsletters, networking, associations, and branding. It’s easy to get overwhelmed.

This is a repeat of #1. I still have a lot to learn, and I focus on continuous learning instead of learning everything at once.

#4 Writing takes time

A lot of time. So much time that I had to make lifestyle changes. I cut out television almost entirely. I stack my time to be more efficient. If I’m driving, I listen to audiobooks. If I’m at the grocery store, I listen to writing podcasts. There are other choices I’ve made to ensure the maximum amount of time possible to write.

Every choice I’ve made has had both positive and negative consequences. I’ve learned to be more mindful of ripple effects because some decisions can’t be unmade.

#5 Writing can be very lonely

If you dedicate too much time to writing, you can lose friends or become depressed. As with many things in life, balance is key. You’re an entire person, not a series of hands that type words. Take care of your mind, body, and spirit. Sometimes, your mind needs more attention. Other times your body needs more attention. Balance the moment with the span of your life.

#6 No matter how hard you try, there’s always someone better

Writing isn’t a sport. There’s no championship series at the end of the year to prove you’re the best writer. Sure, there are awards, but they aren’t global awards from your genre and not every book in your genre was reviewed for the award. You can be an Amazon best-seller or a New York Times best-seller, and still, there will always be someone better at the very moment you’re number one.

I often get harsh comments on my work. Professional editors have dressed me down. I’ve been quoted outrageous rates to review my work (try four times industry standard). It would have been easier on my ego for the editor to have said they didn’t have the time to take on a new client. I’ve received condescending remarks from New York Times best-sellers who have told me I shouldn’t write. I’ve been flat-out ignored by authors who have published several books at in-person conferences. I was feet away from them (pre-pandemic,) looked them square in the eye, and asked a question, and they flat out ignored me.

Still, I sit. Typing.

A harsh comment can cut deeply. However, there’s no point in arguing with someone who has a negative view of my work. I don’t dwell on the negative feelings because it will distract me from the other things I need to do that day. I accept, I seek to improve, and I move on.

It takes twenty-five extremely positive comments to compensate for one brutal comment.

My skin will never be thick enough. Callouses over blisters covered by steel plated armour. I need force fields, asteroid belts, and a galaxy to distance myself. 

It will still never be enough. 

What would I have told myself when I started writing? Learn as many self-esteem improving techniques as possible.   

#7 Writing is expensive

It might seem like a free hobby where all you need is a computer (or a notepad) and time. If you participate in writer’s groups, there’s often a fee. A coffee, a muffin, a rented room at the library. If you go to coffee shops to write in public, you’re paying for a coffee. If I take courses, most carry a fee (sometimes in a different currency). When you attend conferences, there’s a fee. And so on.

I don’t have inherent talent when it comes to writing. Some people can craft a perfect sentence without having taken a course. I cannot.

I took courses, hired writing coaches, joined associations, went to conferences, bought books on craft, and other associated activities (networking events in a restaurant and I bought my lunch, etc.).

There are ways to minimise costs, such as participating in free workshops offered through libraries and borrowing books on craft instead of buying them. However, there’s a trade-off, at least for me. The less money I spend on learning the craft, the slower I’m able to improve because I’m dependent on free courses.

What’s that adage? Nothing in life is free? Pay in money or in time, but you always pay.

#8 Back up

Back everything up using two separate methods. Back up everything because your sanity and emotional well-being depend on it. Horrible things happen in life. Let’s not self-inflict something horrible because we didn’t back up.

I have files on my drive. I have files saved in draft emails. I have a thumbnail drive. I update all three daily. Files on world-building, character notes, drafts of WIPs (including first drafts). I draw maps of my towns and worlds, scan them and back them up.

Back up everything. Daily.

#9 There will be times when you can’t write

Sometimes inspiration doesn’t strike. Other times, a busy work or family schedule takes away your free time. Moving. Illness. Mental illness. Injury. Pandemic brain. Any other things that happen in life that disrupt your ability to write.

Give yourself permission to take a break from writing.

It’s hard. But you need to be kind to yourself because no one else will be kind to you.

#10 Writing should bring you joy

When it becomes a chore, it’s a sign you need to re-evaluate the balance in your life. You’re also at risk of burning out. Some authors can comfortably write and edit four books a year. Other authors write one book a year. Different authors have different production schedules. Find a release schedule that works for you.

Thank you @OldScho94935673 for the topic suggestion.

Readers are encouraged to continue the conversation on Twitter. You can reach me at @reneegendron Readers are also encouraged to suggest topics for my next blog post. 

Character vs Plot-driven stories

All stories are driven by conflict. All great stories have compelling characters and an intriguing plot. You can have a fantastic plot, but you won’t have much of a readership if the character turns off the readers. Conversely, you can have a terrific main character, but if the MC has nothing interesting to do, the reader will put down your book.

Many genres lend themselves to character-driven stories. In a character-driven story, the character experiences internal and external conflict that forces them to change. They might regress and maladapt leading to a tragedy or they might overcome the conflict and lead to a happy ending. Romances tend to lean heavily on character development because the character needs to address a deep hurt or personal trauma to be in the right heart space and headspace to engage in a romantic relationship.

A character-driven story focuses on the emotional and psychological aspects of making a decision. These books don’t need to be heavy on internals, but they show more thought processes and emotional reluctance to try something new or work towards a goal.

An external event will provoke the need for change, and the rest of the book is spent with the character thinking and feeling their way through the change. Many character-driven books have characters that want to change the status quo even if they aren’t aware they want to change. In many romances, the main character is perfectly content with having a new sexual partner every night. There’s an event that provokes an internal change—perhaps their best friend got married or had their first child, perhaps the death of parent instigates some soul-searching, perhaps it’s an illness and the need to confront their mortality. Whatever the provocation, it creates a need for internal reflection. That’s not to say introspection is easy or comes naturally. A great many books have main characters that don’t want to engage in the kind of internal work that will stop them from making the same mistakes over and over. Their journey in improvements of self-awareness is the book.

Character-driven plots need the following items:

• An interesting and rich backstory. When the MC addresses one issue from their past, the story can’t end. They need to dig deeper to find the true root of the problem
• Be presented with obstacles and conflicts that provoke strong emotional responses
• Be active in addressing internal matters (with increasing self-awareness as the story progresses)

Have a past that addresses a Universal Truth to ensure the readers relate to the characters. A Universal Truth is something that all individuals across cultures and periods can identify as part of the human experience. These include: the fear of being left out, grief, falling short of a dream, cultural norms that you disagree with, and so on

Plot-driven stories

A plot-driven story focuses on external events. Plot-driven stories have faster pacing to keep the reader turning pages. Mysteries, thrillers and action-adventure tend to be plot-based. Consider the movie The Edge with Alex Baldwin and Anthony Hopkins. Both characters are compelling, and they are thrust into the harsh Alaskan wilderness. There’s plenty of internal and interpersonal conflict between the men as they brave harsh elements and dangerous wildlife, but it’s external events that drive the plot. The men fly out to hunt bears, but their plane crashes. They test their wits to survive the cold weather, injuries, and hunger while being tracked and stalked by a bear. External events force the characters to respond and adapt.  

In a plot-driven story, the characters didn’t want to change. Circumstances fall on their heads and force change. Consider the beginning of a James Bond film where Bond is perfectly content at a casino, on vacation, or with a woman he’s picked up. A villain commits a crime or is about to commit a crime, and Bond must stop the villain. It’s the same principle with action-hero/heroine movies in which the heroes/heroines are more than happy not to risk their lives protecting others but rise to the occasion every time there is danger.

Excellent plot-driven stories have the following elements:

• challenges that force the MC to increase their skill sets
• a worthy antagonist or villain that outsmarts and outmanoeuvres the MC
• clear external provocations that increase in intensity and complexity of the problems the MC must address

I want to thank @DonnaSagerCowa1 for her suggestion on the topic.

Readers can reach me on Twitter @reneegendron

Please note that Seven Points of Contact is a contemporary sports romance with plenty of humour. Release January 22, 2022. I’m looking for advance readers. Here’s an excerpt.

In many ways, I’ve always been a writer. I wrote a lot in high school—hundreds of stories, poems, and three books. When my teacher asked for a paragraph on what I did during summer vacation, I handed in a three-page report.

Ten years ago, I decided to take up writing again. It was a challenge to define the genre I wanted to write in. I had read a lot of fantasy and thought that would be my genre, but it was always flat writing. I went to the local library and put a notice to local writers for a writers’ group. I had never been in a writers’ group, but I needed regular feedback and criticism of my work to improve. My writers’ group is a small and dedicated group of writers who provide invaluable, honest criticism of each other’s work.

I had (and continue to have) issues with prose. One of the main challenges was finding the right tone for my writing and the right balance between world-building and characterisation. I leaned heavily on the fantasy side. There were too many high action scenes that didn’t string together to form a story.

I read Mary Robinette Kowal’s The Galmourist Series and fell in love with the tone of historical romances. With romances, I discovered tropes.

Tropes saved my writing. Tropes gave me a structure to which to write, play with, and twist. Many sites provide support on tropes, including but not limited to https://tvtropes.org/ . The TV tropes website helped me with clarity. I learned, albeit very slowly, how to stack different genres. For example, my latest release is contemporary romantic suspense (aka a romantic mystery). I aim for a 50% romance plot and a 50% non-romance arc. In studying tropes, I learned how to align the different beats to ensure good pacing and layer conflict.

I wrote an entire fantasy romance series (29 books, 2.5 million words) that is in serious need of re-writing. I had the meta-arc of the series. I made a table of each book, the main characters, which tropes I would use and which genres I would combine (i.e. fantasy romance heist, fantasy romance mystery, fantasy romance adventure/quest, etc.)

I wrote 70-100 page, point-form outlines which I submitted to an editor for critique. The editor’s critiques were invaluable to me to understand tension, where and how to start/stop subplots, where to place key decisions, and how to ensure the story’s premise has enough oomph in it to drive a character for an entire book. The editor also provided excellent comments on the snippets of dialogue and world-building.

During this process, I also submitted a few sample pages to the professional editor to shred. It gave me a good sense of what to improve and how to improve it. I submit a few pages now and then to track my progress. Now the focus (her corrections) are more on flow and pacing. There’s less focus on grammar and syntax and POV issues than before.

I needed to write those 2.5 million words to understand the plot, pacing, and characterisation. I needed to write variations of stories to understand how to manipulate conflict and tension. I need to re-write those words to make them legible to the outside world…

C’est la vie.

Once I had my feet under me (or perhaps my fingers comfortably on the keyboard?), I joined the Ottawa Romance Writers. It is a professional association of romance writers that provides peer support and professional development opportunities.

I participated in writers’ conferences (romance and non-romance writers, in-person and virtual) to network, participate in workshops, and learn about the industry. Some of the conferences I’ve participated in include Romancing the Capital, Northern Hearts, CanCon, and Limestone Expo.

I take writing courses through Margie Lawson’s Academy. Her courses are geared towards romance writers. However, the lessons and techniques used apply to all genres. Through the courses offered in her academy, I’ve learned techniques in showing not telling, how to write humour, how to improve the pacing and structure of my stories, how to review a WIP within 30 days to have it beta-reviewer ready, writing techniques to improve my prose, and among many other valuable techniques. I continue to take courses through her academy because I have so much more to learn.

I also study books related to craft. Including but not limited to:

• Save the Cat! Writes a Novel by Jessica Brody
• How To Write Best-Selling Fiction by James Scott Bell
• Write Your Novel From the Middle by James Scott Bell
• The Last Fifty Pages by James Scott Bell
• Romancing the Beat by Gwen Hayes
• 5,000 Words Per Hour by Chris Fox
• 2k to 10k by Rachel Aaron
• The series by Angela Ackerman and Becca Puglisi. They have several books on how to heighten emotion, describe negative traits, rural settings, and so on. These are writer guides and references.

My craft development journey hasn’t been smooth. I’ve been called amateurish by a NYT-bestselling author. I’ve stared at five pages full of mark-ups a line editor took two-hours to edit (because there were so many problems with it). I’ve interacted with many people who consider romance a non-genre and not worthy of writing.  It took a ridiculous amount of time to show, not tell, find fresh ways of writing things, not have my characters smile every other sentence (they still do if I let them), and write witty dialogue.

I try. I fail. I learn. I try again.

I write boldly.

You can reach out to me on Twitter @reneegendron to share your writing journey. 

Thank you @LouSchlesinger for the topic suggestion. 

A fair number of romances start with the main characters not knowing one another. They can be insta-love, slow-burn, or gradual meeting of the minds and hearts, leading to romance. What happens when two characters have been in love for years, decades even, but the spark between them has faded?

Romances thrive on conflict. For a romance to rekindle (perhaps a second-chance trope, a loveless marriage trope that becomes a loving marriage trope, among other tropes), there needs to be conflict and change.

One or both characters need to experience an internal conflict that provokes a change in the relationship’s status quo. Let’s consider a second chance at love. This trope is often portrayed as two high school sweethearts reuniting after many years. Sometimes the couple dated through university, but their interests diverged, and they broke up. One wanted to pursue a career full-on, the other wanted to start a family or travel or some other interest that pitted them against their love interest. Many years later, they meet again, and things have changed. Perhaps the dream career turned out to be a nightmare, or years of travelling left a character feeling rootless. Whatever the circumstances, they are back together but so much has changed it’s unclear if their feelings are genuine or they remember the good old days.

Here are the beats that need to happen:

• they meet again by chance or through a special event (mutual friends’ marriage, high school reunion, etc.)

• a period of uncertainty as each character perceives the love interest as they were twenty years prior

• an outside event demonstrates a change in the love interest (they are no longer hot-heads, more considerate of others, etc.)

• the love interest notices the change but is unconvinced it is real or permanent

• there’s back and forth between the love interests as to what these changes mean

• an event triggers the love interest, and they revert in full or in part to their old selves

• the love interest experiences an internal conflict as to grow or revert

• a key decision is made to grow

• having embraced growth, both characters believe their relationship can work this time, and things go well

• a black moment that challenges personal growth and the ability of the couple to stay together

• each character leans and transforms into a better person

• the couple tackle the main issue and find their new happily ever after

What’s the spark in that? How is romance rekindled?

There are the superficial changes where one partner was turned off by the other’s weight gain or physical changes as they age. The partner matures and changes their perception of their love interest to appreciate that love isn’t just physical. It’s what the other person represents—kindness, love, good memories, shared values, building a future together, raising a family, etc.

However, the more profound the change in the character, the bigger the spark. A character that has pursued a dream so aggressively as to ignore everyone else in their life may wake up one day in the hospital having suffered a heart attack. That wake-up call provokes introspection and life changes.

The introspection and life changes provide the author ample opportunities to explore internal conflict (the struggle to eat healthier in a character’s mid-40s when they spent a lifetime on coffee and take-out). Internal conflicts also provide unique insights, a strong character voice, and enriching experiences for readers because the character arc is different.

To rekindle a romance, start with the conflict that tore them apart. Explore the conflict and figure out ways to make that conflict pop up again throughout the story until the characters resolve the issue behind the conflict. Determine ways the characters can grow out of the conflict, what they learn, what they experience, how their perceptions change, and what prompts the change. Play around with the push-pull of how the characters figure out their new selves and the new status of their relationship.

It’s romance. The advice is always the same: start with the conflict.

Which stories have you written that involve a rekindling of love? Let me know on Twitter @reneegendron. I’ve written one called the Long Wait for A Muse Bouche Review and you can read it here.

The Game Warden's Match is released on October 14, 2021. Join my newsletter for exclusive extras. 

Thank you @SStaatz for the topic suggestion.

Characters are the foundation of every story. If your readers can’t connect with the characters, they’ll put down your story. Some characters change and grow over time, and other characters remain the same. Howard Tayler of Writing Excuses calls characters that don’t change over time iconic characters. Think of a James Bond or a Conan the Barbarian character where the world changes around them, but not the main character.

Before moving on, let’s establish conceptual clarity between a stereotype and an archetype. A stereotype relies heavily on using widely believed characteristics of a person from a recognisable group. In the case of French Canadians, there’s a stereotype that we are all lumberjacks, spend our time making maple syrup, are farmers or work in menial jobs. Think of a group that is “other” than you, and you’ll come up with an image of how they dress, talk, where they live, and their general vocations. Some of those portrays may be accurate to a degree, but most won’t be.

Stereotypes can be harmful to individuals in that group, and the reader can find them boring to read.

Character archetypes are different. Archetypes are characters that share common characteristics across the human experience. People across cultures and time recognise a leader, healer, or warrior (among other archetypes). Archetypes play a certain role in society.

Archetypes are different from stereotypes because all cultures have healers and warriors (and so on). However, how each culture expresses its “warrior-ness” differs. A Canadian soldier in 2021 has certain equipment, extensive training in specialised fields (paratrooper, infantry, tank commander, etc.), and a certain mentality that draws them to work and that particular position. An Aztec warrior has different equipment, different training, and but likely the same motivation to be a warrior.

I was asked by @LouSchlesinger if and how I use archetypes to build my characters systematically. The simple answer is that I don’t use archetypes. The more in-depth answer is that I build my characters from the trope and setting out. For Novella 2 of Heartened by Sport, I decided to write a second-chance romance in which the sport of choice (remember it’s part of the Heartened by Sport series) would be pickleball. I thought this sport was unique enough to create interesting circumstances for the characters to interact while engaging the reader. From there, I fleshed out the characters to understand their deep hurts (the reason why they aren’t in a romantic relationship {at all} and, more specifically, why they aren’t in a romantic relationship with their counterpart in the book).

I strive to make unique but believable characters. I often pick careers that aren’t top of mind in romances. Even when I write historical romances, I strive to give the women plausible means to sustain themselves that remain in keeping with the time and social constraints. If they are upper class, I aim to give them unique hobbies that make them stand out.

Why? The simple reason is that I work to create unique characters that readers will relate to and cheer for.

I don’t write to archetypes, but I play around with the dynamic between conflict, career/occupation, and setting. I explore ways that certain careers (combinations of his/hers) create problems for the individual and a romantic relationship. Perhaps someone is a salesperson who is always travelling. Long-distance relationships can be tough. Perhaps one is an early childhood educator who always catches colds and cases of flu from their young charges and hampers their social life. Perhaps the characters work opposing shifts, which adds complications if they are parents and trying to keep a strong marriage while coordinating childcare responsibilities and staying in touch with family and friends.

Each occupation has certain benefits and hindrances. Certain personalities (archetypes) are likely to gravitate to certain professions. There’s also a push-pull between the characters, their interests, their professional interests, and the relationship (in a romance) they seek to establish. Map out the conflicts between these layers and have fun with them. You’d be surprised how you can make each character, personal development arc, and romance unique.

Sure, certain themes are common in romances, but how each character and couple overcome them makes them memorable (or not) to readers.

When developing characters, I focus on unique events in their lives, how those events lead to decisions, and the consequences of those decisions on the character as they mature. What happens if a nurse (healer archetype) is also in desperate need of healing because of a chronic illness? What happens if the character who is a teacher (college instructor, corporate trainer, university professor, the most senior person on the team responsible for onboarding new staff, etc.) is the one who needs to learn the world isn’t the same and they need to adapt?

There are many dynamics to explore to add depth to your character. I choose to start with the trope, theme, and setting of the book. I drill down to career and hurts, and from there, I sketch their layers of conflicts, personal goals, deep hurts, character beats, and plot beats.

Archetypes are interesting to expand and explore. Delve deeper into a character’s background and occupation to highlight what makes them unique. They’ll be more interesting characters, and your readers will be more engaged.

How do you use character archetypes in your writing? Reach out on Twitter @reneegendron to continue the conversation.

Thank you, @LouSchlesinger, for the topic suggestion.