Friday, July 15, 2016

Tweets from RWA and Michael Hauge's great workshop

I'm not at RWA 2016 (sob!) but I have followed Twitter closely. There's a great person who tweeted detailed notes from Michael Hauge's workshop. I retweeted all her notes and presented them below for those of you who are interested. The notes are very helpful when you are starting a new book, like me, or revamping a WIP.

And follow https://twitter.com/ArtWellPub  on Twitter. Best conference workshop notes ever! Thank you!



The secondary characters should be introduced before the MC begins pursuing their goal. @michael_hauge #RWA16
Once the MC is living in their essence, they develop the strength to overcome the nemesis. @michael_hauge #RWA16

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At the end of the story, show the h/h not only living happily ever after, but leading transformed, courageous lives. @michael_hauge #RWA16

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Before the midpoint, the h/h connect at the essence level, but then retreat back into their essence. @michael_hauge #RWA16
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The h/h come together because they connect at the level of their essence. Their conflict is at the identity level. @michael_hauge #RWA16

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The love interest must be the object of the MC's active pursuit. @michael_hauge #RWA16

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At the end of the story, the MC is forced to choose between the outer goal and the love interest. @michael_hauge #RWA16

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In a love story, the heroine should have a goal other than the love story at the beginning. @michael_hauge #RWA16

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The rival is often the nemesis in a love story. @michael_hauge #RWA16

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The nemesis character is the MC's opponent and must be stronger than the MC. The nemesis embodies the inner conflict. @michael_hauge #RWA16

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10.   You Retweeted

A secondary reflection character might be an enabler who discourages the MC from achieving the goal. @michael_hauge #RWA16

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11.   You Retweeted

The reflection character may be a sidekick, a spouse, a mentor, a guardian, or a wise child. @michael_hauge #RWA16
12.   You Retweeted

The reflection character is closest to the MC, helping her reach her outer goal and pushing her toward her essence. @michael_hauge #RWA16

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13.   You Retweeted

Secondary characters may also have their own arc. Usually the nemesis doesn't. @michael_hauge #RWA16
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14.   You Retweeted
The secondary characters are defined by the outer conflict but illuminate the inner conflict. @michael_hauge #RWA16
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15.   You Retweeted
When the MC initially starts pursuing the goal, they believe it will allow them to stay in their identity. @michael_hauge #RWA16
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16.   You Retweeted
"Story tells us how to live better." ~Will Smith @michael_hauge #RWA16
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17.   You Retweeted
The character's choice is to be safe and stuck or to be fulfilled and terrified. @michael_hauge #RWA16
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18.   You Retweeted
The only way the heroine can win the hero is through the death of her identity (and vice versa). @michael_hauge #RWA16
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20.   You Retweeted
The character believes that their identity is who they truly are. That's why they can't let it go. @michael_hauge #RWA16
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In the story, the MC can't achieve the goal without stripping off their armor and living in their essence. @michael_hauge #RWA16

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22.   You Retweeted
The character's essence is the true self beneath their identity - the person they have the potential to become. @michael_hauge #RWA16

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23.   You Retweeted
The identity keeps the character safe, but it also keeps them stuck. @michael_hauge #RWA16

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24.   You Retweeted
The character's identity is the mask or false self she presents to the world to protect her from her fear. @michael_hauge #RWA16
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25.   You Retweeted
What the character fears is experiencing the wound again. @michael_hauge #RWA16

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26.   You Retweeted
False beliefs become so ingrained that the character ignores all evidence to the contrary. @michael_hauge #RWA16


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27.   You Retweeted
Beliefs that grow from wounds are never true but always logical. @michael_hauge #RWA16
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28.   You Retweeted
Identify the MC's belief: the false understanding of the world that developed from the wound. @michael_hauge #RWA16


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29.   You Retweeted
Identify your MC's wound: an unhealed source of continuing pain from before the action begins, usually adolescence. @michael_hauge #RWA16
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30.   You Retweeted
Every story has four basic elements: character, desire, conflict, and change. @michael_hauge #RWA16
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31.   You Retweeted
By the end of the story, the main characters have changed, as have the other characters, story world, reader & author. @michael_hauge #RWA16


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Open your story in the MC's ordinary world. Reveal two familiar characteristics and one unique one. @michael_hauge #RWA16

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When the story opens, create empathy for the MC before you reveal their flaws. @michael_hauge #RWA16
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There are several ways to create empathy for the MC: 1. Show your MC experiencing an undeserved misfortune. @michael_hauge #RWA16

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You can create empathy by 2) placing your MC in jeopardy or 3) making you MC likeable. @michael_hauge #RWA16

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You can create empathy by 4) showing your MC's expertise or 5) making your MC funny. @michael_hauge #RWA16

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37.   You Retweeted

In the setup, your MC should be stuck: in some state of inertia that stops her from living her authentic life. @michael_hauge #RWA16

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The other journey, the inner journey, is one of transformation from living in fear to living in courage. @michael_hauge #RWA16

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39.   You Retweeted

Ask what your character's longing is. A longing is something they say they want but take no action to get. @michael_hauge #RWA16

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Most characters are so shut down they won't even admit that something is missing. This is the character's need. @michael_hauge #RWA16

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The hero or heroine in a story is not heroic in the beginning, but has the potential to become heroic. @michael_hauge #RWA16

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By the end, the MC stops asking, what can I do to not be afraid, and starts asking, am I willing to be afraid.  

Once the MC is living in their essence, they develop the strength to overcome the nemesis.  


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