Mo Fanning - British writer and comic

Story

The shape of a story

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STORY PLANNING TOOL

There are two types of story writer. Those who just go where the words take them (sometimes known as flying by the seat of their pants – pantsers) and those whose planning efforts make Covid vaccination deployment look like the Teddy Bear’s Picnic (planners). I was a pantser, now I’m a dedicated planner.

With NaNoWriMo just around the corner, why not take a minute to plan the story you plan to tell?

I’ve seen too many would-be books collapse at the 30,000 word mark as I either lost interest or found I couldn’t really work out how to get to the ending I had in mind because I’ve gone in every kind of weird direction. It’s all too easy to say ‘the characters made me do it’. They didn’t. You made you do it. Characters don’t suddenly take on a life of their own and do what they want. You decide to let them.

If the idea of planning has you feeling you’d lose creative control, ask yourself how many drafts you’ve done of that book you’re still working on and how many times you’ve edited those brilliant first three chapters knowing that what follows isn’t AS good. Or run a stock take on abandoned novels or those where everything happens at the start or end in a rush and there’s a saggy middle (like a saggy bottom, but harder to disguise with cream and a load of strawberries).

The three-act story structure

The three-act structure is a classic way to plan your story. Act one sets up the status quo – it tells the reader where they are and who does what and establishes motivations.

Act two kicks in after an inciting incident (a decision made or something that happens after which there is no going back to the status quo). This is the meat of your story and goes on a while. Because pace matters, you need to build in drama along the way, spacing it out, each time creating higher stakes for your main character. Each time, having something they do inspire what follows. Each time, creating a stage from which there is no easy return. And then … just as everything looks to be working out, grab the rug and pull. Bring things crashing down and let your character find a way through. It may not be to where they first wanted to go, but everything they learned along the way comes into play now as we start …

Act three – the resolution, where you might again feature a dramatic flourish, but your aim is to land that plane. To take the character to one side and ask “what did you want to do/achieve?” and then “What did you achieve?”. The story ends all neat and tidy and tied up in a pace-maintained bow.

Jack and Jill plot

Download my planning tool

Download in PowerpointI’ve created a FREE planning tool you can open in PowerPoint to use with your own screenplays or stories.

Let me know if it’s helpful.

Rebuilding Alexandra Small by Mo Fanning

 

Writing: How to decide on the story I want to tell

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In the middle of promoting my recent book – Rebuilding Alexandra Small – (99p for the month of July at most eBook sellers) I’m also writing something new. It’s the weird way of the writing world that you truly want to put all your energy into a new project, but need to set a decent chunk of time aside to sell something that’s over a year old in your head.

I’m midway through the third draft of what I hope to share either later this year or early next and the story continues to twist and turn and bend into all kinds of new shapes. I was sure I knew what I wanted to say with this next novel, but it turns out I want to say more thing. With rebuilding Alexandra Small, I wanted to address recovery and making amends – and what happens when someone you forgot about sticks their head up and says ‘what about me?’ The central storyline deals with paying the price for not saying sorry.

For my (as yet untitled) work in progress, I have three key storylines. An older couple, a younger couple. A gay couple, a straight couple. Something nefarious involving the church. And it’s all set on a Christmas cruise to the Bahamas. I started with the focus firmly on one of the key players, allowing others occasional goes at speaking to the reader. Then I switched in the second draft, dividing time equally. It’s just dawned on me in the third draft, that my previous favourite character is actually quite safe. She takes few risks. She could even be called dull (but only by a close friend). And I wanted to explore why. It’s helped me focus the theme for the new book. One of the other key characters suffers from the weight of meeting expectations and feeling inadequate. Another struggles to make good for an impulsive argument that split his family. I thought I might have many things to say with this one, but now I see I have just one: being true to yourself comes with a cost, but it’s worth paying.

Pitching your writing

As a writer, it’s vital to distil your story into one or two lines. This lets you stay focussed on the end-game and kill any non-helpful darlings in the edit – taking out each and every fabulously written chunk of prose that fails to advance the story. Having this essence bottled makes it so much easier to talk about your book when you reach the marketing or pitch stage. It’s a way to be sure of meeting the expectations of your genre, your readers and that demanding inner critic – the one who keeps bleating on about imposter syndrome. For me, everything starts with one (or more) character(s). You might work differently.

I’ll aim to share some pages with my mailing list subscribers in the coming weeks. In the meantime, enjoy the sun. If you’ve never tried placing a bottle of frozen water in front of a table fan, do it now. You’ll thank me.

And if you can spare a pound/buck/yoyo, please buy an e-book this month. It’ll help make paying my mortgage that little bit easier.

Low cost ebooks

Difficult to put down …

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Rebuilding Alexandra Small

This is a review for Rebuilding Alexandra Small from Ceri’s Lil Blog, as part of my book launch blog tour.

I was drawn to this book as I was intrigued by the emoji style cover and the title. I wondered how each fitted into the plot, and how Alexandra Small goes about rebuilding her life as this was something I had to do, to a certain extent, a couple of years ago.

My thoughts:

I do love a revenge story, so I was taken in by the blurb. However this revenge story focuses almost solely on the experiences and difficulties faced by the victim, and this definitely helped me build a connection with the character of Alexandra, or “Allie” as she is known to her friends.

I definitely identified with Alexandra and in some ways I admired her as well. She is brave and hopeful following the upheaval in her life, and she is extremely strong when it comes to facing her demons and remaining on the right path.

However, I am aware that that description makes it sound like a far more serious book than it is. It does cover some sensitive subjects including suicide, alcoholism and infertility, but I think it is definitely accurate to describe it as laugh out loud and humorous at times too, as well as being dramatic and serious.

I really enjoyed this book and found it difficult to put down. I think Alexandra is a character that will stay with me for quite some time. I enjoyed following her journey and meeting the wonderful support network she finds around her. I would recommend this book to fans of Jessica Redland, Lucy Diamond and Milly Johnson.

Buy my latest book here

Write what you know … and other myths exploded

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Write what you know - and other myths exploded

I’d like to dig into (and explode) a writing myth. It’s one of those ‘golden rules’ held in awe by many: WRITE WHAT YOU KNOW. On one hand, the advice is solid: how can you tell any story if you don’t understand its setting? On the other, it’s often responsible for threadbare writing.

The Armchair Bride by Mo Fanning‘The Armchair Bride’ was my go at writing what I knew. In a past life – just like my heroine Lisa Doyle – I managed a Manchester theatre box office. Except I was in my 20s and a raging alcoholic with addiction issues and low self-esteem. 39-year-old Lisa is a far nicer person. Her only crime was that she invented a husband and was too proud to ‘fess up to the fantasy.

I spent my Manchester years stumbling from one bar and bed to another. If I’d written only of familiar things, my debut novel would have told a very different story. Not the romantic and heart-warming comedy I wanted. And if I’d written a feckless, unpleasant addict, there’s a fair bet it wouldn’t have sold its way into the bestselling lists (or earned a nomination as Arts Council ‘Book of the Year’). Not that I’m one to brag, but yay me.

Personal experience

Every crime writer doesn’t draw on personal experience as their characters slash open a body or flog their victim’s kidneys on the dark web. If they did, it would turn South of France writer’s retreats into far bloodier affairs.

Rebuilding Alexandra Small by Mo FanningA good story-teller takes a pinch of what he or she knows about the world and sprinkles in a pinch of what they don’t. Put another way: take what you know about yourself, rather than what you know about the world. Spin your story from the characters, rather than the other way around.

In ‘Rebuilding Alexandra Small’, I address my drinking years. These days, I drink very rarely, making me an incredibly cheap date. Allie is almost seven years sober and living what looks to the outside world like the perfect life. And then everything crumbles, shaking awake her inner demons.

Spin bigger stories

I drank because to disguise the shy, standoffish me, believing I could only make friends with a slur in my smile. Allie comes to realise the life she built isn’t one she wants.

Friends and family always try to see themselves in my stories. They couldn’t be more wrong. Every character is a little of me and a lot of my imagination.

Write what you know by all means, but spin bigger stories that go beyond the small world around your front door.

Rebuilding Alexandra Small will be published in 2021. The Armchair Bride is now available now from all good websites and bookstores. If you’d like to support my work, consider using Patreon.

Six ways for a writer to handle the Covid pandemic

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COVID-19

I can’t be the only writer unsure how (or if) to deal with an unpredictable global pandemic. COVID-19 didn’t exist when I started work on my upcoming novel – and given a whole chunk of the action hangs off events at a seaside cafe, I could have done without it hitting. I don’t mean to demean people who lost loved ones or suffered through lockdown, just for now, this is all about me.

There’s a sound argument that books are where the reader goes to escape. The world is ugly, so why drag misery to the table? I thought the same a few months ago.  Now, I watch films, drama, and comedy on TV, and flinch as characters get too close or hug greetings. The rational me knows this isn’t an issue, but I feel like I need to make my story resonate more and mirror the time in which it’s set. And that time is ‘tomorrow’ – the immediate tomorrow, not the sci-fi future.

After scrolling many a blog and social media site, it seems there are six ways for writers to handle Coronavirus.

Ignore it

Pretend COVID never happened. Write the story you always aimed to write as if nothing in the world changed. Tell your story in a parallel universe. Most books reaching the shops were written long before the pandemic hit, so they make limited or no reference. They work. Why wouldn’t yours?

Predict how it might be

Soap operas have come back to UK TV screens. They’re filmed months in advance and handed the onerous job of having to appear current. The writers make their best guess at how things might be. And given our government’s hobby of confusing the Holy Bajesus out of everyone, that’s no straightforward task. Assuming your book comes out in six months, might there be a vaccine, might it be on ration, might more be dead, might there be an even bigger lockdown, or could everything go away … like Trump insists?

Sunny uplands

If you are as crazy as a coot and Trump’s predictions resonate, you could set your book in a time when the characters are ‘back to normal’ with the odd snippet of dialogue talking of how hard COVID life used to be. Things might be better. Lessons learnt by everybody. It might be a gentler world. I’m a natural cynic, so this isn’t the path I ever plan on taking. It sounds too much like science fiction.

Dark and desperate

I’m more prone to take this (total opposite) approach and force my characters to grapple with a post-COVID world where air is in limited supply and everybody lives in bubbles. There’s a place for this – and many TV commissioning editors are crying out for this kind of trite nonsense, but what if we move out of the shade in six months? It’s going to date your story – like that entire chapter I set in an Internet cafe in The Armchair Bride. That’s egg on my face.

Change your time

Most of us tell our stories in the here and now. With the here and now being just a tad weird, maybe we should change the timeline. If jumping into the future isn’t safe, why not skip back a year and set it in the recent past? To be fair, this is the safest bet. Although … if you gravitate towards present tense, a ‘find and replace’ exercise won’t change every ‘is’ into a ‘was’.

Write in the now

Perhaps the most straightforward way to write our stories is to react as if it’s unfolding now. Keep the references to lockdown light and universal. Stay out of places you know will be closed – don’t write scenes in nightclubs. Your characters can still meet in pubs or coffee shops by all means, but sit them at a table, not jostling for service at a bar. Romantic fiction suffers most here – how would two strangers overcome social distancing?

Whatever you choose, I wish you writing wonder.