How to write a book readers can't put down: Using scenes and sequels

I've been working on revisions of my current WIP, The Unhappening of Genesis Lee, for a month and a half now. Because I did so much plotting ahead of time, I haven't needed as many large-scale changes to this book plot-wise, which is awesome. Of course, that doesn't mean the plot is perfect. My individual scenes, especially, need to be tighter, more focused, and to lead naturally from one to the other. I tried out a new method to make this work, and it has been one of the most helpful revision tools ever.

Have you ever heard scenes referred to as action/reaction types, or scene/sequel types (same thing, different terms)? I had, but I never knew how it really worked. Basically, every scene in your book will be either an ACTION (scene) or REACTION (sequel), and the scenes should always alternate. (Action -->reaction-->action, etc.) There are some handy graphics here so you can get the big picture.

An ACTION scene has the following components: a goal, a conflict, and a disaster. The goal, obviously, is your character's need/want/objective for that specific scene. The conflict is what gets in your character's way. The disaster doesn't always have to be a disaster. Either your character doesn't get what they want (if they do, the book is over), or they DO get what they want, but something else happens-- they learn they need something else, or the thing they get isn't what they really wanted, etc.

After the disaster, of course, your character needs to react-- hence the REACTION scene. This is made up of the reaction, the dilemma, and the decision. The reaction is your character's immediate response to the disaster. It starts with the emotional response or feeling, then a reflexive action, followed by a rational thought/speech/action. These three elements don't ALL have to be there, but they should ALWAYS be in that order.

After the initial reaction in the reaction scene (I know, confusing), comes the dilemma-- the disaster in the last scene created a problem, so now what? Your character needs to make a decision, which leads to an action. Wait, an action? As in an action scene? Fancy that! We've come full circle.

My approach to this was to take out a notebook and go through my chapters one by one, making sure the cycle flowed, and writing out each part of the action/reaction sequence for each chapter. I found that each chapter isn't necessarily its own action or reaction scene. Sometimes, a single chapter was a full action/reaction sequence (or even 1.5 or 2 of them), with either the action or the reaction being quite short. Sometimes, a scene would stretch for more than one chapter. But ALWAYS, I made sure they cycled from one to the other.

If done right, the cycle of action/reaction should flow seamlessly throughout your book. And, if done right, it will make it almost impossible for readers to put your book down! After each disaster, they'll need to know how the character deals with it...and after each decision, they'll want to see what action the character will take next...and soon it's 3 a.m. and they've read your book all night.

So, my friends, have you ever used the action/reaction/scene/sequel process before? Do you have other tips that make it impossible to put your book down? What book have you read recently that you just couldn't stop reading?

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Teen Tales Guest Post: Michelle Merrill on Making Mistakes

Teen Tales is a weekly feature connecting the YA experience with YA literature. Today we have a guest post from Michelle Merrill! I actually went to high school with Michelle, who is now also my awesome critique partner. Here's a bit about her:

"I'm a wife to the best husband, a mother to the cutest kids, an aspiring author, an avid reader, a friend, and a daughter of God. I absolutely love to watch old movies, eat anything sweet, and play my music way too loud."

And now, to her post!

Teens make mistakes. They do funny things. It happens to everyone. And sometimes those funny things come with boys. Let's face it, boys are funny. And weird. And, yes, hot. And lots of other things. We like some and we dislike others.

So what happens when one that we dislike asks us on a date?

Say no, right?

Well, if you did, you were/are much better than me. See, that would've been the nice way to avoid the date.

After multiple excuses of why I couldn't go on a date with Bob (not real name. Duh!) I finally caved. Yeah, what was I thinking? I couldn't stand the kid. Mostly because I thought he was a sly flirt that thought he could get any girl. Nuh uh. He wasn't getting me.

Then why did I say yes? Who knows? My friends drilled me about it. My guy friends!And initially it was those same friends that helped me sabotage the date. Yes, I just admitted it. And I can't believe I did that! Me. Innocent, nice, blah blah blah. Me.

So for the two hours before the date, we planned.

The date was a movie and dessert. I wore an ugly outfit, put on too much blue eye shadow (which I NEVER wore), and added a giant puffy coat to keep personal contact to a minimum.
And what does Bob's friend drive? An old two door (TWO DOOR) sports car. And where am I sitting? In the back seat with Bob. Gross.

Bob tries to tickle me. I give a fake giggle and move away. FAR away. Well, as far as you can go in the tiny backseat of a two door sports car.

At the movie I share the popcorn, but my hand went in and out fast. In the bowl, in my mouth, in my pocket. Fast. No contact. I don't even remember the movie, but it was long.

Then after the date we went to Wendy's for dessert. High class, I know but it's high school. Don't judge the poor kid. I would've chosen the same place. On our way there, Bob scoots closer. Too close! Breathing is hard at this point. So I make up some excuse to call my dad on his cell phone (yeah, the one time I actually got to take it). My dad knew that if I were to call, it was his cue to save me. So he had me repeat each word. It went something like this.

"Oh no, Dad. Are you serious? I have to come home already? Can I just stop for a quick dessert at Wendy's? Yeah? Awesome. I'll be home right after."

Thank. You. Dad.

And what could be worse than your sisters and friends "showing up" at Wendy's to have dessert at the same time? Ha. Nothing, it was awesome. And then they left right before us and waited on the porch for Bob to bring me home. It was a great drop off. Literally drop off. I think there was a quick hug at the car.

So the plan worked. Beautifully.

But why do I still feel bad about it? Not just bad, horrible. I think I even felt bad before I actually went on the date.

Because it was mean. Downright dirty. Rude and insensitive.

But that's what teens do. They make mistakes and learn. I can honestly say I NEVER sabotaged another date.

What mistakes are your character's making? More importantly, what are they learning from them?

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Researching your Setting

So the wonderful thing about my family vacation this year (from a writing standpoint, anyway) was that it served the dual purpose of being a research trip for my book.

I like to do a little on-site research for my settings whenever possible, such as the trip to Dugway military base I took for Devolutionaries. (If you want more details on how to conduct effective on-site research, that post has some pointers.) In The Unhappening of Genesis Lee, there is a red-rock canyon that serves as an important place for several scenes. I'd been to canyons like this before, but I wanted a little refresher. And boy, was it refreshing.

My canyon isn't quite as magnificent as Zion National Park, but you get the idea. :)

AND not only did I get in some family fun time and some research, I also finished my second draft. Woot! I gave the story a few day's rest, and I'm now plugging away at revision number three. Yay for progress.

So, my friends, have you ever done on-site research for your writing? Do you like to base your settings on real places, or make them up completely? How are your own writing projects coming?

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Teen Tales: Freedom and the failure it opens you up to

Teen Tales is a weekly feature connecting the YA experience with YA literature.

I was a young 'un in high school-- my birthday was in the summer, so sophomore year I had to sit and sigh while all my friends got their driver's licenses before I did. But come July 17th, I was in the DMV, baby! Keys! Freedom! A sporty little...er, gigantic tank of a suburban my parents wouldn't let me drive friends in.

They did, however, let me drive it to the local gym for a job interview two weeks after my birthday (Job! Money! Freedom!). As I pulled the tank/suburban into a parking space, there was a horrible, jolting crunch.

Yeah. I crashed into a parked car. One so new, it still had the little paper thingy instead of a license plate. #UltimateShalleeFail

I had no idea what to do when a guy climbed out of that car looking ready to pummel me. He took pity on me when he saw the abject fear on my face, and kindly called the cops and my parents on his cell phone. It was a good thing he knew what to do, because all I could do was grip the steering wheel and gasp "yes" and "no" through my tears.

Because here's the thing about freedom when you're a teenager. It's new and exciting and...new. And you don't always know what to do with it, so it's as scary as it is exciting-- especially when something goes wrong and you don't know how to handle it because it's new. And it leads to extreme frustration when your dad then refuses to let you drive the suburban and tries to teach you to drive his stick-shift and you get stuck at a stop sign and have to switch him places and a guy driving past is LAUGHING HIS $*&# HEAD OFF at you.

The simple fact of the matter is, freedom opens you up to failure, which is both frightening and frustrating. And it's one thing I love about YA fiction. The characters try things with their freedom. Sometimes they fail. But if it's done right, you have ultimate sympathy for that failure, even when it's their own darn fault, because you've been there. Maybe you're still there. You get it, and you still love them even when they do completely idiotic things because you know that failure just opens the door for another opportunity for success.

So, my friends, do your YA characters find fear, frustration, and failure along with their freedom? Did you, as a teenager?

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What dreams have you fulfilled?

This week, I talked a lot about how fiction can help fulfill those dreams we knew were a bit far-fetched. But what about dreams we've actually achieved in the real world?

I mentioned that one of my dreams as a teenager was to to live in Africa. When I was in college, I decided that was one I was going to fulfill. I'd saved up a ton of money for a study abroad, but in the end I didn't go with a school program. I picked a volunteer organization that set me up with a host family, a project, and I bought a plane ticket and flew to Africa alone.

Not going to lie, I kind of freaked out when I got there.

But it was the best four months of my life. I spent my days teaching English to the nursery class at New Life International Orphanage and School. I'd grind my teeth in frustration when the kids chattered in their native language through the lessons, then exclaim in joy when one boy managed to actually sit his little hiney on a bench and trace the letter A. After school, I'd spend a few hours in the afternoon wandering the streets to make friends, reading at the beach, or washing my laundry by hand. I'd spend my evenings playing games with my host siblings or talking politics and herbal medicine with my host parents. I'd spend my weekends crossing bridges set hundreds of feet high in the rain forest canopy or following a trail guide to find elephants.

I fulfilled that dream, and it was one of the most amazing experiences of my life.

So, my friends, what dreams have you fulfilled? What adventures, big or small, have you had that you look back on with fondness? What dreams are you still hoping to fulfill?

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3 Keys to Promoting a Willing Suspension of Disbelief for your Readers

On Monday, I talked about how fiction helped me have some of my teenage dreams. So today, let's talk about how to keep somebody immersed enough in your fictional world that they can feel it's real.

I was an English major in college, which basically means I spent five years of my life reading until my eyes shriveled up, and writing until my fingers cramped. And yes, I loved (almost) every minute of it.

One thing we talked about very early on was what's called "a willing suspension of disbelief." It's a term in fiction used to explain a reader picking up a book and willingly suspending their disbelief that dragons/spaceships/a handsome English gentleman named Mr. Darcy don't actually exist. We know it's all outrageous, but we are willing to hang up that knowledge and pretend for a little while that it's all real.

But have you ever read a book where you WANTED to suspend your disbelief, you WANTED to imagine it was all real, and you just couldn't? For me, those are the most disappointing books. It might not even be an outrageous premise, but maybe I just didn't buy that the character was real, or that events would actually happen that way. I'd start to sink into the story, and BAM, something would happen that would jolt me out, thinking, "Not buying it."

That's the last thing anyone wants to make a reader think when they write a book. So how do you make sure that you construct a premise, setting, plot, and characters that somebody will willingly suspend their disbelief for? Here are a few things that come to mind.

1. Make sure your setup is relatable.

The key to making someone believe the unbelievable is to include "human interest and a semblance of truth" (as per Samuel Taylor Coleridge). Depending on what you're writing, the world you create might be some fantastical place or it might be in our contemporary world. It doesn't really matter. What DOES matter is that the places, history, culture, people, etc. relate to the human condition. It needs to seem like it could be true, even if it isn't. If people in your story are awarded commendations for committing heinous crimes, you have to explain to the reader how the society came to be that way-- and it has to be something that the reader, as a member of the human race, can understand.

I once read a book with a fascinating premise that I hated because I just couldn't buy the backstory. The history of how society had come to be the way it was went completely against human nature. The vast majority of a society had agreed to do something that I could NEVER see the vast majority doing. It ruined the whole book for me. So make sure that your world, characters, and story have a setup that is relatable.

2. Include specific and meaningful details.

Incorporating small but meaningful details into your story is what makes it real to readers. You can describe the most outrageous two-headed, toothless, six-armed, tailless furry bird that exists in the Amazon jungle, and nobody will buy it. But if you mention the bird sheds like a German Shepherd and your characters track it by following the fur clumps...well, that suddenly makes it a little more believable. (Or not, in this example. But you get my point.)

In re-reading Harry Potter, I've found the magical system is easy to believe because of small details we get about it. The way words are pronounced matters (WinGARdium LeviOsa), certain spells require specific wand movements, and there is theory behind it all (in book 4, Harry has to write a report on how transfiguration must be modified for trans-species changes). All of those small, specific, meaningful details make me believe this magic could be totally real.

3. Don't step outside your world.

Stepping outside the world you created is one of the quickest ways to prompt any reader to pick up their disbelief from where they hung it by the door. This can be done in any number of ways. Remember the whole "show, don't tell" rule? There's a reason for that. When you TELL the reader something, that's you as the author stepping in, just a little, to explain. When you SHOW the reader something, they're seeing it through the character's eyes, so it stays within the world.

Point of view slips (such as describing something your POV character wouldn't know/see/understand) are another way you might accidentally kick the reader out of the world. If you want to keep the reader in the book, make sure that every single word happens within that world so that you, as the author, are invisible.

So, my friends, have you ever read a book that really suspended your disbelief, and became real to you? Have you ever read a book where you absolutely COULDN'T suspend your disbelief? Do you have any tips of your own that help you keep readers believing in your story world?

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Teen Tales: Dreams, Desires and How Books Help Fulfill them

Time for Teen Tales round two! This is a weekly feature connecting the YA experience to YA literature.

Today I wanted to talk about dreams and desires. One thing that I remember well about being a teenager is how much I wanted things. I wanted a boy to love me. I wanted to drive. I wanted to be a scientist so I could discover the cure for diabetes, the disease that killed my grandfather when I was 14. I wanted to live in the jungles of Africa and study gorillas. I wanted to be a marine biologist and live on the ocean. I wanted those freakin' awesome new shoes I saw at the mall.

Some of those dreams were small, and some of them were huge. A part of me knew I couldn't have them all (I mean, some of them were flatly contradictory), but I could still dream about it. I could still want it, and I knew I could have whatever dream won out. I had confidence in my own dreams.

I think it was all that wanting and dreaming that drove me to love books so much. I might not be able to have all those dreams right now, or even in the future, but if I could read about them, I could sort of have them anyway. This may be the reason that teens in general are so drawn to entertainment. They're still young enough to dream about all the things they want, a little too young to have some of them, and (sometimes) old enough to know they can't have everything. Movies, songs, and books help bridge the gap between what they want and what they can't quite get.

For example, I once watched The Man from Snowy River with my friends at a slumber party in a cabin. I knew I would never wrangle horses in the Australian outback and fall in love with a handsome, backwoods boy. But I still wanted it, still dreamed about it. So the next day, my friends and I proceeded to traipse around the meadow talking in Australian accents and laughing as we made up romantic adventure stories.

Silly? Yes. Fun? Absolutely. Fulfillment of a dream? Sure. I got to pretend for a while that I was who I wanted to be. I got to try on a dream, have fun with it, and keep it as a memory while I tried on other dreams through other forms of entertainment. Then, after trying on enough of them, I found the dreams I really wanted and worked until I got them. I'm still working on a few.

This is why I love books. This is why I love YA, especially. Because I still get to dream. And in writing YA, I get to help somebody else dream, to try on a life through fiction, to explore the things they want until they find the dreams that make them who they are.

So, my friends, what did you want as a teenager? What were your dreams and desires? What fictional worlds helped you live them?

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