Master Technique Info and Exercise (55)

Maass asks, "What is the truth that you most wish the rest of us would see?"

Honestly after reading through this last chapter of The Fire in Fiction (a couple of times) I am very afraid nothing is 'burning' in my heart anymore.

What have I lost? Too, too much and I've turned the emotions off rather than be bombarded daily. Of course, I've lost nothing compared to so many others I know personally or have heard about.

What 'inner well' will I tap to reach my writing goals and tell my best story?

It's absolutely frightening to think the well might actually be dry. But to compare myself to others is quicksand. Life struggles or career successes, comparison only makes my writing fall flat – with such a resounding thud – on the page.

I am not any other writer. I've not had their experience in publishing or in life. My own stuggles have shaped my ideas, my personal philosophy and I do myself a disservice to think otherwise. It's a mistake to minimize exactly what sets me apart.

Yes, I'm afraid, though I trust that in the practical tools that follow, Maass will have a few steps to reassure me and silence the infernal inner critic that keeps yammering on that I don't have what it takes (drive or conviction -the inner critic can't make up it's mind) to succeed in publishing.

Here is my final exercise for your reading enjoyment:

The Fire In Fiction  – Master Technique!

"How often, when something bad happened to you, did you think to yourself, at least this will be good material for a story some day!"

During the RWA national conference in Washington D.C. Maass shared an eloquent explanation of a long distance breakup – showing us how to incorporate the feelings and emotions we've experienced into our fictional worlds.

This was conveniently reinforced by Eloisa James' speech during lunch about how her own concerns for her husband's health impacted the characters in a recent novel.

Even I am bright enough to realize why there's been a plethora of wise grandmothers in my manuscripts since my own grandma – my hero, idol and inspiration – passed away last year.

But her death and my grief, if I read these exercises right, is merely the tip of the iceberg.

When I got the call – actually I had called to check on her and let her know her great granddaughter had come through surgery just fine – when they told me she'd died.

The sadness, the aching emptiness, the guilt, the relief, and the comedy (her body was 'lost' for several hours) becomes the perfect 'well of experience' to draw from when my characters are subjected to well – anything – but particularly a deep, significant loss or bizarre happening within the story.

Through The Fire in Fiction I've learned that instead of trivializing my grandma and her impact on my life – to tap those emotions actually honors her. Using all I felt in those horrible hours and days to create stronger stories for my readers is the best solution.

It's what I want and it's what she always supported as a savvy reader, editor and accomplished writer herself.

To your best creative writing!

~Regan