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by Sarah Sally Hamer @SarahSallyHamer Isn�t that what we all strive for? We all want the ability to write a scene that engulfs our reader with cathartic emotion, one that makes them laugh or cry, and hopefully, read the next one, right? A scene that is so powerful that we want to run to the top of Rocky�s steps and hold our arms up in jubilation? Of course we do!  So, how does it work? I�m standing on the shoulders of giants here. Dwight Swain, who wrote  Techniques of the Selling Writer , and Jack Bickham,  Scene and Structure, almost invented the method, and I sat at their feet. Well, I actually met Swain and talked to Bickham on the phone, but I�ve read every word of their books. These two men really understood the structure of powerful scenes and break it down for us in a way that can be duplicated with a little hard work and a lot of practice. But once you get used to it, it�s an amazing tool for powering up that weak-kneed scene. There are two basic parts of a great...

by Sarah Sally Hamer @SarahSallyHamer   Characters lie. To each other, to the reader, to the writer, and most of all, to themselves. Why? Because they have to, if they�re �real� characters. When writers create characters, we base them on people we know, or on people we imagine we know. But predominately, we base them on ourselves. And, at some level, we all lie. Please hang on a second before you start throwing tomatoes at me! Let me explain. We are the sum of our experiences. Over our lifetime, things happen to us. Death of a loved one (even a dog or cat!), traumatic accidents, childhood wounds, failures, betrayals. These all leave scars which can cause us to lie to ourselves. Maybe a better term than lying is �a deeply-held misconception�. Regardless, we create an excellent coping mechanism for when reality seems too harsh. Examples: If we have a baby, it will save our marriage. My child (spouse, parents) are better off without me. I can�t (fill in blank) because (fill ...

by Sarah Greene Hamer  @SarahSallyHamer In Part One, we discussed the natural, normal way that humans express intimacy. But fiction is a little different, not because we don�t follow the same steps in our writing, but because we show it differently on the page. And also in fiction, it�s not only about physical intimacy. It�s about how characters are introduced to each other and how they feel about it. So, imagine a target with concentric circles. The one farthest out is red, with orange, yellow, green, blue as you go towards the middle. Purple is in the exact center. Each one has a specific �intimacy value� as a story progresses. 1. First awareness (Red) When two characters meet, no matter which two, there is always an awareness of the other person. Of course, in fiction, we work very hard to eliminate superfluous characters, so these two (or more) should have a good reason to be in the story. But this step starts as simply an introduction. And, it doesn�t have to be sight only. It...

by Sarah Sally Hamer @SarahSallyHamer Intimacy. What a suggestive word. It immediately brings up images of satin sheets, steamy love songs and sweaty bodies. But that�s not all of it. In fact, love-making is only one aspect of intimacy and may even have nothing to do with it. http://www.thefreedictionary.com/intimacy  gives three descriptions of intimacy: 1. A close or warm friendship, familiarity, closeness, friendliness�a friendly disposition 2. A usually secretive or illicit sexual relationship; affaire, amour, liaison, affair, involvement, sexual relationship�a relationship involving sexual intimacy 3. A feeling of being intimate and belonging together,  closeness ,  belonging Sex is only included in one of the three descriptions, for a very good reason.  Intimacy is not about sex!  Sex is just one of many diverse expressions of intimacy As you can see, other expressions are friendship, closeness, togetherness, a feeling of belonging. Ano...

by Sarah Sally Hamer @SarahSallyHamer Part Three - the Black Moment The Black Moment is the third and final structural element of our Triangle. It�s also called the crisis or the emotional climax. I like to call it the 'all is lost' moment, since it's where the protagonist has the absolutely toughest decision in the world to make. How will he decide between what he wants and what's right? Will she hold onto her original goal if it causes her to lose what she now wants? This last decision has to hurt and has to matter. Be mean! Even if you don't want to torture your character! I love   The Prince of Persia  's black moment�Dastan has to watch Tamina, his new-found love, sacrifice herself by falling to her death because he can't both save her and stop his evil uncle. His reward is that, by saving the world, he also reverses the spell and is able to meet her again, this time as a reborn, and more mature, man.     Another great Black Moment is in  The...