How Low Can You Go? The Important All Is Lost Moment by Sierra Godfrey

It's guest post Monday! Today the lovely and infinitely wise Sierra Godfrey leads us through that dark black part of our manuscript where we go all sadistic on our characters. Fun times!


Over to you, Sierra...

How Low Can You Go? The Important All Is Lost Moment
by Sierra Godfrey

In women’s fiction, one of the main story features is the transformative journey our main characters usually go through, which ultimately ends in self-realization and a life change by the end of the story. But getting to that resolution first requires our gals to go through some tough times and situations. And it’s our job to put them through the literary wringer.

 In plot structure, one of the hardest moments in a character’s transformative process is the All is Lost point—also called the Dark Moment, or the point about ¾ of the way through the story when after everything our girl has been through, she’s lost. She’s defeated, broken, and there’s nothing left. The All is Lost point comes after the midpoint, and is the point at which our girl will fall, and then ultimately gather herself up and head into the finale where she’ll (ideally) take back the day and win. (The All is Lost moment really applies for any genre of fiction--must apply, really--but in women's fic, it's especially important in our heroine's journey.)

In the movie Bridesmaids, the midpoint of the story comes when main character Annie snaps spectacularly at the bridal shower. She throws things, swears a lot, and makes a massive scene--all in public. Her behavior is the culmination of lots of tension, and she lets it all out. After Annie storms out of the shower, her car’s pesky broken taillight (the one she was told to fix repeatedly) causes an accident and she gets stranded (which is bad). Worse, she calls the only person she can think of, the smarmy guy she was dating/sleeping with, who greets her with possibly the most insulting greeting ever—“Hi F- Buddy!” Worse, he does this right in front of the nice Irish cop Annie’s been sort of dating. Oooh. Ouch.

Cop leaves Annie, and Annie has no choice but to go with smarmy F- Buddy guy. He continues to be obnoxious, and she gets out of his car and has to walk home. It’s the movie’s All is Lost point. Annie has lost her friends, her place in the bridal party (let alone maid of honor position), her car, her Irish cop, even her smarmy her F-Buddy. The next few scenes see Annie really take in the despair of this moment by lying on the couch in misery and watching TV.You need this All is Lost point in a story so your heroine can sink as low as she can go before she can rise again. It’s a natural story dip. Your job is to make this moment as low as possible. Take everything away from your character that you can—everything that matters.


Your All is Lost moment should:

• Feel like the heroine’s lowest emotional point in the whole story—she should die inside a little.
• Be a huge blow to every goal the heroine’s been trying to achieve.
• Happen after the character has resisted hard against every obstacle.
• Take away things from the heroine and leave her bereft.

In general, the lower you go, the better the high of the bounce back up will be, and the more satisfying the story’s conclusion.Let’s look at a few more All is Lost moments:

• In the movie Tangled, Rapunzel and Flynn finally come together and are sharing a loving moment out on a boat. But then Rapunzel’s evil mother tricks her, and takes Rapunzel back in (in a great display of maternal guilt tripping) and Rapunzel is heartbroken and bitter, and has lost her freedom and her love. Flynn is also captured by the mother’s henchmen and tied up in a boat so palace guards will capture him. For both Rapunzel and Flynn, all they’ve fought for has been lost.

• In Pride and Prejudice, the All is Lost point can be hard to pick out. It initially looks like the point after Elizabeth hears the news that her naughty sister Lydia ran off with the equally naughty Mr. Wickham, wreaking general disgrace and havoc on the Bennett family. Elizabeth thinks Lydia’s disgrace will cause Elizabeth to end her acquaintance with Mr. Darcy. But in fact the real All is Lost moment comes when Mr. Darcy’s stink-face aunt, Lady Catherine, visit Elizabeth and tells her to renounce Mr. Darcy and that he’s engaged to her own daughter, Anne. Elizabeth goes for a walk, unable to sleep. Of course, she meets Darcy on that walk, but that walk is your moment. (Austen clearly knew about modern plot structure way back in 1813!)

In the story I'm working on now, I just took away my girl's house, fiance, and job--and for good measure, I let her see that someone had been tricking her for most of the book. And I loved doing it.

What are some of the low All is Lost moments you've put your character through?

About Sierra:
Sierra has enjoyed crafting stories for as long as she can remember. She especially likes stories that feature women who grow from the choices they face—and get the guy at the end. She’s a member of RWA and lives in the San Francisco Bay Area with her husband, two little boys, and two annoying cats. In her spare time she works as a freelance graphic designer and technical writer. To the untrained eye she can appear somewhat sassy, but at heart she loves a good story and is really quite sweet, especially when the lighting is right. Visit Sierra at her blog or on Twitter.

Is It Chick Lit or Women's Fiction? An Agent Answers by Sierra Godfrey

Welcome to genre Monday! Ever wonder what kind of books fall under women's fiction? Have questions about chick lit? Today guest contributor, Sierra Godfrey, interviews my lovely agent Sara Megibow and gets us some answers.

Chick Lit vs. Women’sFiction
by Sierra Godfrey

I write women’s fiction—or what I think of aswomen’s fiction—even though most people, including my husband, think of it aschick lit. Many women’s fiction writers are particular about what people calltheir genre, because it matters to the publishing industry. We have heard chicklist no longer sells. We’ve heard editors are looking for upmarket women’sfiction. We think what you call it in a query matters. Or does it?

In my RWAWomen’s Fiction special interest chapter, one of our members definedwomen’s fiction as the story of a woman on a journey. But if my protagonist isa 22 year old woman who is searching for her sense of self, would it beclassified as chick lit? What if upped her age to 36? What if the storyfeatures none of the stereotypical elements of chick lit like martinis, a city,and shoes? Similarly, if I write a story about a 32 year old woman on a journeythat leads her to save herself, that might be women's fiction--but is it stillwomen’s fic if I nudge her age to 21? How much does age have to do with genre?

I asked Roni’s agent, Sara Megibow at Nelson Lit, whorepresents women’s fiction. She had some great—and surprising answers.

Chicklit is selling Sara says not only is chick list selling, but thatshe would never discount a submission based on concept. Sara’s method involvesreading and evaluating submissions based on quality of writing—and looking atthe elements of a book and choose editors whose imprints are producing similarkinds of works. She said, “To that end, Ballantine Bantam Dell produces booksby Sarah Addison Allen, which I would consider solidly women's fiction.Meanwhile, Broadway - another imprint of Random House -produces THE DEVIL WEARSPRADA which I would consider chick lit.”

Knowwhere your book rests The job of the author, Sara said, is towrite the best book possible.

But you should have a general understanding of where theirbook would rest on the bookshelf in a store. But that’s it. The agent is theone who should really be familiar with the different editors, imprints, andhouses.

There isan age-range, but… Sara clarified something I saw her say in asummer issue of my RWA women’s fic chapter newsletter (RWA is a fantasticresource!). Ages do influence genre, but story elements matter. Sara said thata submission about a woman who is learning about life after college, whose daysare filled with the first job, dating, money, apartments, martinis, clothes andboys is a chick lit story. “These submissions are almost entirely ones in whichthe heroine is 22-35ish and she has the only POV (or maybe an alternating POVwith the hero). There can be a happy ending, although there doesn't have tobe.”

Meanwhile, for Sara a submission about a woman who is 35to 55ish is women's fiction. “These stories are about family, marriage, midlife crises, divorce, health and health problems (life REAL LIFE AND LIARS byKristina Riggle). Similarly, the story is in the heroine's POV or maybealternating POVs and the ending can be happy but doesn't have to be.”

But, Sara, said, “If the book is about a mature womandealing with life issues - marriage, health, career, family, children, but thatwoman is,

24 years old, I would still shop it as women's fiction.Then, I would troll through my database and choose editors looking forcommercial women's fiction. If, however, that 24 year old woman is spendingmost of the narrative talking martinis and dating, I would choose chick liteditors.”

Justwrite the book of your heart As Sara pointed out, trying to writeto genre is tough. I certainly have discovered this with a story about a 32year old woman who is learning about life – a late bloomer. I struggled a longtime with whether it would be chick lit or women’s fiction and finally decidedit fell more on the women’s fiction side. I questioned whether I should bewriting it at all. In the end, I came to the conclusion that echoes what Sarasays:

“Honestly, the only thing for a writer to do is write thebook of their heart….If the book is about a mature 24 year old and it's women'sfiction, then it's women's fiction regardless of age. Likewise I could see a 40year old woman partying, dating and etc and sell it as chick lit. A savvyauthor will look at titles on the shelves and see where their book might fit.If that author imagines a pretty pink cover with cutesy pictures on the front,then it's chick lit. If the author imagines a more complex, deeper cover indarker tones and maybe even in trade paperback or hard cover it's likelywomen's fiction.”

Thanks so much to Sara Megibow for taking the time toanswer my questions.

So what would YOU classify as chick lit and women'sfiction? If you write either, how do you feel about the the aboveclassifications? Does genre matter to you?

My recommended read for this month is Samuel Park’s" This Burns My Heart, which is probably commercial fiction, but easilywomen’s fiction. It deals with a protagonist who starts young and grows throughlife into her 30s and 40s. It deals with marriage, love, duty, and sacrifice.It’s a gorgeous story with a wonderful female protagonist who will stay with mefor a long time.

Sierra Godfrey writes stories about women who grow fromthe choices they face—and get the guy at the end. She's amember of RWA and RWA-WF, the women's fiction special interest chapter andworks as a freelance writer and designer. Visit Sierra at her blogor on Twitter.

Tweet

---

“...a sexy, sizzling tale that is sure to have readers begging for more!" –Jo Davis, author of I SPY A DARK OBSESSION CRASH INTO YOU is now available for pre-order! Read an excerpt here.

---

All content copyright of the author. Please ask permission before re-printing or re-posting. Fair use quotations and links do no require prior consent of the author. ©Roni Loren 2009-2011 |Copyright Statement|

Creating Strong Female Characters by Sierra Godfrey

 

Welcome again to genre Monday! Today I have the funny and talented Sierra Godfrey who will be sharing posts every 5th Monday of the month on topics related to women's fiction and/or marketing and promotion. Though today her post can definitely be helpful across all genres because none of us want to create a wimpy heroine. Ick.

So over to you Sierra...

Creating Strong Female Characters by Sierra Godfrey

In April, I had a baby boy. I also have a four year old son, which means I’ve become very much outnumbered by males in my house. Sometimes I have to work to understand them, I admit. My four year old is at the stage where he’s exploring and playing with his parts almost nonstop, and my infant son uncannily pees on me at diaper changing time with an arc of urine that boggles the mind in its reach. (In fact, right after I birthed him, he celebrated our post-utero bond by soaking me with pee. Kind of the same way you break a champagne bottle on a newly commissioned boat.)

Anyway, with all that male in my house, I found myself recently pondering strong female characters. Well, to be honest, I’ve always been interested in them. Some of the greats that come to mind:

• Katniss Everdeen from The Hunger Games


• Lisbeth Salander from The Girl With the Dragon Tattoo


• Elizabeth Bennett from Pride and Prejudice


• Claire from the Outlander series by Diana Gabaldon

Because I write women’s fiction, creating a strong female character is of particular interest to me. Strong leading ladies are independent, smart, and plucky. But there are some other key elements to strong female characters:

She’s got it hard
Create sympathy with your character, but don’t overdo it. Put her harm’s way, trot her through hardship, or dump a heap of bad circumstances on her. She’ll come through it swimmingly and without feeling sorry for herself if she’s strong.

She’s relatable
Strong women are also normal ones--and we want to see that we can identify with her. Then when she doesn’t cave under pressure, or she takes high road, it’s particularly satisfying because we know that could be us, too.

She’s witty
Funny ladies are also usually smart ones. We like a sense of humor and a good attitude. There are notable exceptions to this rule--Scarlett O’Hara is one. She’s got a terrible attitude and is super selfish, but she also nails the sympathy vote.

She has great inner conflict
She’s fearless, she’s sure, and she takes action. Great! Strong character, right? Well, no. We want some inner conflict that shows she’s also human, that she struggles with the same doubts that we do, that she works her way through life figuring things out as she does, just like us. But she does these things with grace and with ultimate success. She doesn’t hurt people on the way toward solving her conflict, either. She’s a fighter--and we love her because we know she’ll fight her way to solve her conflict.

The above traits don’t just apply for strong female characters, but serve as a good blueprint for all characters.

What are some of your favorite strong female characters? What are some of the things you've done to make your ladies strong?

Sierra's recommended read for August:

Major Pettigrew's Last Stand by Helen Simonson
In the small village of Edgecombe St. Mary in  the English countryside lives Major Ernest Pettigrew (retired), the  unlikely hero of Helen Simonson’s wondrous debut. Wry, courtly,  opinionated, and completely endearing, the Major leads a quiet life  valuing the proper things that Englishmen have lived by for generations:  honor, duty, decorum, and a properly brewed cup of tea. But then his  brother’s death sparks an unexpected friendship with Mrs. Jasmina Ali,  the Pakistani shopkeeper from the village. Drawn together by their  shared love of literature and the loss of their spouses, the Major and  Mrs. Ali soon find their friendship blossoming into something more. But  village society insists on embracing him as the quintessential local and  regarding her as the permanent foreigner. Can their relationship  survive the risks one takes when pursuing happiness in the face of  culture and tradition?

The character of Mrs. Jasmina Ali is a fantastic example of a strong woman. She has a wonderful dignity, she's resolved, she's smart and funny, and she has great inner conflict.

Sierra  has enjoyed crafting stories for as long as she can remember. She  especially likes stories that feature women who grow from the choices  they face—and get the guy at the end. She's a member of RWA and RWA-WF, the women's fiction special interest  chapter, and lives in the San Francisco Bay Area with her husband, two  little boys, and two annoying cats. She is always working on a story. When she's not writing stories, she works as a freelance technical writer and designer.

Find Sierra at her blog or on Twitter.

Thanks, Sierra! And remember that all of our guest contributors have their own blogs, so if you like what they have to say here, be sure to check them out on their own blogs as well. :)

Tweet

    All content copyright of the author. Please ask permission before re-printing or re-posting. Fair use quotations and links do no require prior consent of the author. ©Roni Loren 2009-2011 |Copyright Statement|

The Beta Club: Parachute Jump (Women's Fic) - Agree with my Crit?

 

It's Beta Club Tuesday!  Women's Fiction is on the agenda today.  Read on and let the author know what you think!  Remember, this will be the only Beta Club of the week, so give it all you got.  ;)

For newbies:  If you haven't been here on beta club day yet, don't be afraid to jump in with your comments.  All feedback is welcome as long as it's constructive.  And if anyone has an itch to be critiqued, the rules for submitting to the Beta Club are under the "Free Critiques" heading at the top of the page.

Alright, please read through the author's excerpt, then provide your feedback in the comments.  My detailed critique is below. 

Author: Michelle S. (check out her blog!)
Title: Parachute Jump
Genre: Women's Fiction

Excerpt:

 
 
 

I should have known that when the grandmother I had never met showed up, banging on the door like she was the police in pursuit of a criminal, that things would never be the same. I actually knew before she showed up. He had been gone for close to ten days and our mother hadn’t gotten out of the bed at all that entire week and a half.

We didn’t know where she had come from or how she had known to come. Curtis guessed that mom had probably called her as a last resort. We all knew that she hated her mother and where she had come from back in North Carolina.

“She’s a wreck,” Curtis had said after he had come from her room, his hands empty of the bowl of chicken noodle soup he had entered with.

Claude was quiet, his analytical demeanor sizing up the situation. Dad was gone and mom was quickly deteriorating into a useless heap. He glanced at the small pile of mail that sat on the coffee table. Bills would be due. So would the rent. It wasn’t looking good. He wouldn’t tell us for years that he had been the one to call Grandma.

I had never seen a picture of her. She was a myth. Resembling the fairy godmother from Cinderella, in my mind. She would float in, not on wings, but something like wings, smelling of cinnamon and peppermint and sprinkle us with her sweet hugs and kisses. So when Claude finally opened the door to her, I was taken aback. She was tall, which none of us were expecting since our mother stood at a measly five feet and four inches. At twelve, I already towered over her.

Besides her height, I couldn’t help but to notice how pale she was. She looked like the sun was her enemy. I could see the blue lines of her veins through the skin in her arms, which were clutching a brown bag close to her chest. Atop her head was a mass of curly brunette hair with sprinklings of gray, the front that she had pinned back with gold bobby pins.

“Curtis?” she asked apprehensively looking back and forth between Curtis and Claude.

“Claude,” he corrected her and stepped back from the door to allow her inside.

“Right. Claude,” she said as if she were committing his features to memory.

She would need to in order to tell the difference between him and Curtis. They were twins; fraternal, but still similar enough in looks that sometimes it took a second glance to confirm whom was who.

“And Imogene?” she said, turning her attention to me as she stepped through the threshold and into our living room.

I nodded. Not sure what was appropriate. A “nice to meet you” or a hug. I didn’t offer either and neither did she.

She glanced around the living room, taking in the pale yellow on the walls, the English ivy plants that hung from the corners looking thirsty, and the brown leather couches that had been discolored and sunken in over the years. In our mother’s absence, only Claude straightened up regularly, placing our dirty dishes into the dishwasher and picking up our discarded snack containers. The floors had gone with out vacuuming and dust had settled onto the surfaces.

“Where is your mother?” she asked, finally looking back to the three of us huddled together near the door, unsure of what we should be doing.

“She’s in her bedroom. Last door on the right,” Claude volunteered.

She nodded and gazed down the hallway to the left taking a few steps. She stopped momentarily and looked back at Claude as if to confirm that she was going in the right direction.

Claude nodded. “Last door on the right,” he repeated.

Curtis waited until Grandma knocked and entered our mother’s bedroom before he headed down the hallway.

“Where you going?” Claude whispered loudly from behind him.

“To listen,” he said, not bothering to whisper.

Below is my detailed critique.  Please select FULL SCREEN to view, then once the document is open RIGHT CLICK to ZOOM and view the comments.

Alright, so what do you think?  Are you hooked?  What did the author do well?  What things could  be improved?  Agree or disagree with my crit?

Thanks ahead of time to all of you who comment and thanks to the author for volunteering!

**Also, quick PSA...For anyone looking for a critique group, the ladies over at Critique this WIP are holding a contest to find new members.  Stop by and see if you may fit the bill! ** 

**Today's Theme Song**

"Uninvited" -  Alanis Morrissette

(player in sidebar, take a listen)