Writing

Pack for Where You’re Going: How to Write with Intent

By Jackie Peveto on October 25, 2024 / For Writers, Writing

Sitting down to write a book without a plan is like going on vacation without deciding on a destination. An exciting new idea will tempt you to simply throw things in a bag and run to the airport. But, like a heavy backpack, the farther along you get into your first draft, the more you start to feel the weight of all the decisions you haven’t made. Doubt catches up to you in the terminal. Where is this story going? How do you know if the idea is strong? What should happen, and who should it happen to?

The best way to start writing is by setting intentions. Intent is the why that informs your story, and knowing that will help you with the what and how as you write. Intent will help you make decisions on everything from theme to plot to syntax. It tells you what needs to be in the story and what doesn’t. Put another way, if you know where you want to go, you’ll know exactly what you need to pack.

A traveler sitting on her colorful suitcase at the beach | Setting intent with writing

Photo by Anastasia Nelen on Unsplash.

Using Theme to Set Intent

When you sit down to start a new project, it’s vital to know what you want to say. Theme is a great way to begin. I always recommend approaching theme as a sentence rather than a word or phrase like friendship or coming of age. This way, the theme becomes more dynamic and engaging because it’s expressing what you want to say about that topic. Here are ways you could craft a theme:

Friendship → Friends help you find out who you are.

Coming of age → Growing up means taking responsibility for what you care about.

As you can see, these sentences go a lot farther in helping you decide what the story will be about. To find your own theme, consider the words or phrases you associate with your book. When you have a grasp of the topic, think about what you want to say about it. What perspective would you like to share with your readers?

Using Intent for Plot and Character

Once you’ve got your theme, you’ve set an intention for what you want to say. Now let’s look at the elements of the story itself: the plot and characters that will make it happen. How can you use these elements to support what you want to say? Let’s go back to the examples above to see how intention can help you decide what needs to be in your book.

In the first example, you might be looking at plot elements that touch on identity and the kinds of characters that will emphasize that thread:

Friends help you find out who you are.

→ Your main character is unsure where they fit into a new group, school, or neighborhood.

→ A talent show or contest is coming up, and everyone is expected to participate.

→ Something or someone has changed your main character’s perception of themselves for the worse.

In the second example, you might consider ways to show the difficulties kids face as they start becoming more independent.

Growing up means taking responsibility for what you care about.

→ Your main character is brainstorming ways to raise money.

→ Your character needs to help out with a younger sibling.

→ Maybe they plant a garden, start a club, or practice hard to make a sports team.

These are just a few ideas, but I hope you can see how intent can help you see ways to use your characters and plot to keep working towards your intention.

Using Intent for Tone and Mood

Intention can also help you make decisions on the scene and sentence level. If you want to write a scary story, for instance, you need to think about everything the story needs to make readers bite their fingernails and scooch to the edge of their chairs. That’s where word choice, imagery, and setting come into play. A scary story might emphasize light and dark, creepy noises, unusual smells, or bad tastes. On the other hand, if you’re writing a funny story, you might reach for brighter imagery, more playful narration, and breezier verbs.

Reach Your Destination

When you set your intention, you have everything you need to start writing. Now you can get to work choosing elements that will support the book; everything from characters to plot to the way it’s written. Intention will also help you finish and revise. You simply have to ask yourself, “Did I accomplish what I set out to do?” If the answer is no, you can revisit scenes or chapters that aren’t supporting the intention you set and make changes so the story can get back on track. Remember, only pack what you need for where you’re going!

Interested in how other writers get started? Check out this article from the Mixed-Up Files archives!

Use Four Acts to Get Through the Murky Middle

By Katie Venit on October 21, 2024 / For Writers, Writing

Focus on the Midpoint

When I outline a novel or graphic novel, I love to reference Save the Cat. If you’re not familiar with this plotting method, it’s based on screenplays and breaks a movie into Act 1 (the first 25% of the book), Act 2 (the next 50%), and Act 3 (the last 25%).

I more or less stick to this, except I put even more emphasis on the midpoint.

A strong midpoint not only gives the reader a high-impact scene to break up the long slog of the middle, but it’s a great chance to change up gears. In fact, I try to make this moment so huge that it effectively breaks that long Act 2 into two acts, so each of the four acts is 25% of the book.*

Act=Goal

To do that, I think of each act as a goal for the MC. Act=goal.

So, in a sense, the flow of a novel could look like this:

Act 1: the MC is pursuing a goal, one that makes sense for their ordinary world. Then a catalyst happens to either put that goal in jeopardy or catapult it forward.
Act 2: Reacting to that catalyst, the MC sets forth to achieve a new goal. Then another catalyst happens (the Midpoint) that either puts that goal in jeopardy or catapults it forward.
Act 3: repeat, bringing us to the All is Lost moment, which is the catalyst for the last act.
Act 4: reacting to the All is Lost, the MC makes a final goal.

Sometimes the catalyst in each act is subtle. Sometimes it’s an accumulation of things learned in the act up to that point. Sometimes it’s huge, like a bombshell of information. Whatever it is, each catalyst prevents the MC from continuing to pursue the goal that they are currently on; they have to change gears.

Examples

Star Wars

Let’s look at how this works in Star Wars: A New Hope.

Act 1

Goal: Set up droids on the farm.
Catalyst: Ben Kenobi asks Luke to go with him to Alderaan and Luke’s aunt and uncle are killed, making his Act 1 goal of getting the droids set up on the farm irrelevant.

Act 2

Goal: Get the plans to Alderaan.
Catalyst: The Death Star blows up Alderaan and captures the Millennium Falcon.

image from Star Wars: A New Hope. Standing behind Han Solo, Obi Wan looks tense, gazing at something in front of them, saying "That's no moon."

Our Star Wars heroes are about to discover that they cannot achieve their Act 2 goal.

Act 3

Goal: Rescue the princess from the Death Star
Catalyst: They escape, but the Death Star follows them to the hidden rebel base.

Act 4

Goal: Destroy the Death Star to save the rebel base.
Result: Luke destroys the Death Star.

Other Examples

Movies:

Raiders of the Lost Ark (this goal shift is huge, as Indy’s goal goes from finding the Ark to getting it back from the Nazis; in fact, the entire second half of the movie is Indy trying to get and keep the Ark from the Nazis)
Monsters, Inc. (this is subtle, but Sully switches from wanting to save his career to wanting to save Boo, a goal shift that causes conflict with Mike)
Lion King
Up

Books: The Last Mapmaker and A Wish in the Dark by Christina Soontornvat are great examples of the main character’s goal shifting in at the midpoint.

Does It Really Matter?

I don’t think it matters to the reader whether you outline your story with a goal change in the middle, as long as the story moves along. But as the writer, I find splitting up that long middle to be incredibly helpful for getting through the murky middle. Basically, it’s chunking up a huge task into two more manageably sized tasks.

For example, imagine you’re writing Star Wars. Woud it be easier to plot if you had a list of goals for Luke that were:

Set up droids on the farm
Get plans to the rebel alliance
Destroy the Death Star and save the rebels

Or:

Set up droids on the farm
Get plans to Alderaan
Rescue the rebel princess and escape to the rebel base
Destroy the Death Star and save the rebels

You could interpret Star Wars either way, but personally, I would find the second to be much easier to build a story around. The specificity helps me to keep the middle of the book moving along. It would give me something more concrete to write toward.

I can think of many stories that do not approach the Midpoint this way. (I can think of many that don’t even really have a Midpoint shift). But if you’re stuck in the murky middle, try breaking that long Act 2 into two goals, and give each a catalyst that disrupts that goal.

*For more information on four-act stories, click here to read about Joyce Sweeney’s plot clock.

It’s Freak Out Season! An Interview with Dr. Carla Naumburg

By Chris Low on September 9, 2024 / Articles, Author Interviews, books, For Writers, Nonfiction, Writing

It’s back to school time! For many students, teachers, and parents, this part of the year brings a mixture of excitement and anxiety, so it’s the perfect time to dig into a middle grade selection all about dealing with those “freak out” moments. Dr. Carla Naumburg was kind enough to chat with me about her new book, How to Stop Freaking Out: The Ultimate Guide to Keeping Cool When Life Feels Chaotic. Carla is a clinical social worker and the author of five books, including the bestselling How to Stop Losing Your Sh*t With Your Kids and its middle-grade companion How to Stop Freaking Out. Her writing has appeared in The New York Times, The Washington Post, The Huffington Post, CNN, and Mindful Magazine, among other places.

Her newest book is a fantastic read, with plenty of tips and tricks we’ve already put to good use in my house! Our interview is below, and be sure to check the book out here — its out everywhere tomorrow!

Chris: Thanks so much for taking some time to talk with me! Let’s start with your background as a clinical social worker…how did you make the leap from that career into writing?

Carla: I would actually say I made the leap from writing into clinical social work. I’ve wanted to write books since I was eight years old… or maybe younger! I took a psychology elective in high school, which led to a psychology degree in college, which led to my masters and PhD in clinical social work. But I never stopped thinking about writing books, and when I became a mother, my clinical background and parenting experience led to the publication of my first book in 2014… and I haven’t looked back since!

Chris: I get it! When you have a writer inside you, it always finds its way out eventually! So this book is actually a middle-grade companion to a book you wrote for grown-ups with similar themes. How did this project evolve from that original concept?

Carla: How to Stop Freaking Out explores the same information, ideas, and practices for managing your emotions as the parenting book you linked to above, but without the salty language and with many more illustrations! The idea for this book came from my amazing agent, Gillian MacKenzie. The minute she suggested a middle-grade version, I knew she was right. Kids freak out just as often as adults, and we all need help figuring out how to stay calm when life gets overwhelming.

Chris: Most of us probably have our own personal definition of a “freak out”, but how would you explain freaking out as it relates to the ideas in the book?

Carla: I use the acronym F.A.R.T. to help readers figure out if they’re freaking out. Our explosions are fueled by strong Feelings, they’re Automatic and Reactive, and, perhaps most importantly, our freak outs go Too far. I go into more detail in the book, but hopefully this silly acronym can help readers identify their freak outs and remember not to take themselves too seriously.

Chris: You can never go wrong with fart references in middle grade — love the acronym 🙂 As a lot of our readers know, writing and publishing can sometimes feel chaotic and stressful. Have you ever had to use any the techniques from the book in your life as an author?

Carla: All the time! Some of my favorite habits for preventing freak outs include: doing whatever I can to get enough sleep every night, exercising or moving my body every day, and ending the day by watching a TV show that makes me laugh (our current family favorite is Abbot Elementary!) When I’m trying to stay calm when life gets chaotic, I focus on breathing (and noticing that I’m breathing), going out to the front porch for a few minutes (and breathing some more), dropping my shoulders (which are almost up by my ears when I’m stressing out), and turning on a song that makes me happy.

Chris: Awesome thanks for sharing those tips! I’ve been reading through a really interesting book by Jonathan Haidt about the rise of anxiety in young people since the advent of the smartphone. Are there portions of this book that could be applied specifically to technology and social media?

Carla: I haven’t read that book, but yes, smartphones and social media are definitely related to freakouts! The posts and videos on social media can trigger adults and kids alike in a variety of ways, making us more prone to flipping our lids. In addition, if we pull out our smartphones every time we feel bored, anxious, frustrated, and otherwise unhappy, we’ll never figure out what our feelings really feel like and how to respond to them in skillful ways — rather than just losing ourselves in posts and videos that are likely to trigger us further!

Chris: Good call — I find myself often fighting the temptation to jump to my phone whenever I’m bored…love the idea of figuring out what my feelings really feel like! Okay, so what’s next for you as an author? Can you give us any clues about new projects you’re working on?

Carla: I always have a million books bouncing around in my brain. Currently, I’m considering another self-help book for parents, another non-fiction book for kids, or maybe the ever-elusive novel… who knows?

Chris: We’ll be excited to see what comes next! Okay…as always, I like to do a lightning round of questions, so here we go…

Favorite place to write?

My office, preferably with two cats and a seltzer on my desk and a good police procedural playing on my iPad. (I always write with the TV on!)

Favorite authors?

In no particular order: Larry McMurtry, Kimberly Brubaker Bradley, and Sandra Boynton, but I reserve the right to add to that list!

Best desert?

Coffee ice cream with Oreo chunks.

Do you have any pets?

Yes, two rescue cats: Gertie and Gittel. They are incredibly annoying and I can’t even tell you how much I love them.

Favorite elementary school memory?

Garbage Pail Kids, of course! I collected the cards, and they even had one named Carla. Nobody ever has

anything named Carla (except my parents, I guess)!

Favorite piece of advice for other writers:

It’s impossible to write a book that everyone will love, so don’t worry about that. Write the book you love!

Many thanks to Carla for taking some time to chat with the Mixed up Files! You can learn more about Dr. Naumburg on her website, and of course check out How to Stop Freaking Out when it’s released on September 10th. As always, happy reading!