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The Story Equation by Susan May Warren (book review)

July 11, 2021 by Karin Beery Leave a Comment

Discover The Story Equation!

One question can unlock your entire story! Are you struggling to build a riveting plot? Layered characters? How about fortify that saggy middle? Create that powerful ending?

You can build an entire book by asking one powerful question, and then plugging it into an “equation” that makes your plot and characters come to life. You’ll learn how to build the external and internal journey of your characters, create a theme, build story and scene tension, create the character change journey and even pitch and market your story. All with one amazing question.

Learn:

The amazing trick to creating unforgettable, compelling characters that epic movies use!
How to create riveting tension to keep the story driving from chapter to chapter
The easy solution to plotting the middle of your novel
The one element every story needs to keep a reader up all night
How to craft an ending that makes your reader say to their friends, “Oh, you have to read this book!”

Using the powerful technique that has created over fifty RITA, Christy and Carol award-winning, best-selling novels, Susan May Warren will show novelists how to utilize The Story Equation to create the best story they’ve ever written.


I’ve heard a lot of good things about this book and have been looking forward to reading it. I was especially excited because of the length — it’s a short read.

Here’s the good about it: lots of great information. I love how Warren breaks everything down and helps you identify so many elements of good fiction. It’s definitely worth reading.

Here’s the not so good: I found this book to be really confusing. As a left-brained lover of math, I actually expected there to be an equation here. You know: A2 + B2 = C2 kind of thing. This is more like, I’ll teach you how to get to C2 with X, Y, and Z, which make up A2, but only after G, H, I (which is part of L) and then B2 comes together and we layer it all with 4, 5, 6, 7. Viola! It’s not so much a story equation as it is a mind map of sorts. If you go into it expecting an equation, it can be frustrating and confusing.

As is, I’m planning on applying everything I’ve read to my next manuscript, but first I need to organize the information (as I did find it hard to follow).

Yes, I recommend this book and will use the info in it, but I did find it hard to follow. This might not be the case for everyone though. Get your copy here!

Filed Under: book reviews Tagged With: book review, characterization, How to Write a Novel, My Book Therapy, novel writing, plot, story structure, Susan May Warren, writing books, writing tips

Top Six Overdone Male Tropes by Gregg Bridgeman

March 30, 2021 by Karin Beery Leave a Comment

Image by <a href="https://pixabay.com/users/clker-free-vector-images-3736/?utm_source=link-attribution&utm_medium=referral&utm_campaign=image&utm_content=42691">Clker-Free-Vector-Images</a> from <a href="https://pixabay.com/?utm_source=link-attribution&utm_medium=referral&utm_campaign=image&utm_content=42691">Pixabay</a>

Romance tropes aren’t the only overdone storylines in novels these days. Some character types are so overused that they’ve become cliche. Today, Gregg Bridgeman — Editor-in-Chief of Olivia Kimbrell Press — shares his thoughts on the overdone heroes of contemporary Christian fiction.

In Christian books, what are, in your opinion, the MOST overused male tropes? Examples:

#1 The “Crazy Vet” trope. Despite the fact that millions of American men have served in the military honorably and courageously, and go home to lead productive lives as husbands, fathers, and godly men — it seems that any time a veteran is written about in the last 30 years he is somehow mentally disabled or suffers from crippling post traumatic stress disorder. (As a combat vet myself, this trope is deeply offensive and dishonors not just me but every man I ever served alongside as well as those who didn’t make it home.)

#2 The “chosen one” trope. The chosen one is a common fantasy trope. His identity typically revolves around a task that’s been set aside for him, which he typically pursues without much hesitation or complication. Like Frodo Baggins, Luke Skywalker, and Harry Potter, the “chosen one” is often, conveniently, an orphan.

#3 The “mad scientist” slash “absent-minded professor” trope. Going back to Dr. Frankenstein (or any number of sorcerer antecedents), the mad scientist is usually a villain, driven by an eccentric, antisocial personality and unrestrained hubris or a desire to play God. The mad scientist’s benign counterpart is the nerdy “absent-minded professor” who’s so engrossed by his work that he struggles to relate to “normal people.”

#4 The “antihero” trope. Antiheroes are typically cynical loners with major personality flaws, often darkly appealing “bad boys.” Like normal heroes, the antihero still drives the story, but often to a more dangerous place. Tony Soprano, Walter White, and the grittier versions of Batman or other vigilantes are all prime examples of modern antiheroes. These days, antiheroes are almost as common as idealized heroes.

#5 The “small town hero comes home” trope. This man is from a small town but moves to the city. Once he has achieved success, he returns to his small home town for some reason. Usually, this is becuse one or more of his parents fall ill or have died. Then (dramatic pause) eye contact with the old high school sweetheart results in magic and they live happily ever after.

#6 The “Male Girlfriend” trope. This is hypothetically a male character, except that every action and every word of dialogue is distinctly NOT male. He could just as easily  be replaced with a female “girlfriend” character and the reader wouldn’t notice. None of his motivations or internal thoughts/feelings are identifiable as “male” character traits.

What would you say are THE MOST overused MALE tropes in books you have read in the  last few years?

It’s Karin again. The guy I’m most tired of is Casual Man. He never takes anything seriously. He never worries about anything. Still, everything works out for him and his lifestyle proves to everyone that being on time and setting boundaries are overrated. I don’t mind Casual Man, but only if his laid-back attitude sometimes bites him in the bum. My hubby is Casual Man. He’s helped me relax a LOT, but he’s also become a more dependable, reliable person since we’ve gotten married. I’d like to see THAT in a book!


Gregg began operating Olivia Kimbrell Press in 2011 acting as Editor-in-Chief. Then as now, he operates the press as a ministry. The primary objective remains that of lifting up and helping ministry-minded Biblical authors fulfill the Great Commission — to bring the Gospel message to the entire world — for every tribe and every nation. Gregg currently serves in the National Guard, is a decorated combat veteran, and is best known for his technical savvy and attention to the smallest detail. Website: www.oliviakimbrellpress.com .

Filed Under: writing Tagged With: characterization, Gregg Bridgeman, Olivia Kimbrell Press, tropes, writing characters, writing fiction, writing tips

The Complete Writer’s Guide to Heroes & Heroines: Sixteen Master Archetypes by Tami D. Cowden, Caro LaFever, and Sue Viders (book review)

June 28, 2019 by Karin Beery Leave a Comment

An invaluable resource for writers working in any genre…. — Prof. Richard Walter, Screenwriting Chairman, UCLA Dept. of Film and Television, letter to author, 5/4/00

Finally! Fiction Archetypes made easy. . . . Stuffed with examples and cleverly organized, [this book] earned a spot on my crowded bookshelf. — Debra Dixon, author GMC: Goal, Motivation & Conflict, 1996; and Sweet Tea and Jesus Shoes, 2000; email to authors 4/00

The Complete Writers Guide to Heroes and Heroines takes the mystery out of creating compelling and memorable characters. Every writer should own a copy. — Deb Stover, award winning author of nine time travel and historical romances, email to authors. 4/00

The authors have developed a clear and usable system for creating memorable characters. — Kevin J. Anderson, best-selling co-author of Dune: House Atreides, email to author, 5/25/00.


This book identifies and analyzes sixteen character archetypes (eight male, eight female) and not only explains them, but also shows how they interact with others. My favorite part, though, was how they took one archetype and showed how it was used in different books/movies in different ways to prevent it from becoming a stereotype. I’m already recommending it to other writers.

One thing worth noting: this book is terribly edited. If you can’t look past incorrect punctuation, formatting issues, and more, you won’t want to read this book. If, however, you can look past the problems and focus on the content, there’s a lot to be learned.

Filed Under: book reviews Tagged With: book review, characterization, writing tips

Novelization or Narrative Retelling?

May 21, 2019 by Karin Beery Leave a Comment

I recently read a book that was described as a novelization of a true story. Based on that description, I had several expectations for the story—a structured plot, some character development, incorporating the senses, etc. Instead, I got some history, some explanations, and several chapters of helpful information, but no story.

Overall, the book disappointed me. I wanted to get pulled into the characters heads; to experience their lives with them; to be transported into their homes and situations—everything I expect from a novel. But that book wasn’t a novel, and it never should have been labeled that way.

But, but … it had dialogue! It was written in third person!

Yes, it was, but that doesn’t make it a novel. A book needs to meet certain requirements before you can call it a novel; without those things, you have a creative or narrative retelling, but you do not have a novel.

What does a book need, then, to be considered a novel? Whether you’ve created everything or are telling someone else’s true story, a novel needs:

  • Plot Structure (three acts work well)
  • Setting
  • Characterization (including GMCs and character arcs)
  • Engaging writing that creates mental pictures

Take all of those, organize them well, and POOF! A novel. If you’re lacking any of these things, you’re probably not writing a novel. How can you tell?

  • The dialogue doesn’t add to the story; it’s just there.
  • You have whole chapters of information without showing the characters do anything.
  • Your book is more about giving information than it is about entertaining the reader.

If the above bullet points describe your book, it doesn’t mean you have a bad book—it just means you’re not writing a novel. These subtleties make a big difference when you’re marketing your book. It’s important to understand the difference, because mislabeling your book (and thereby mis-advertising it) can set you up for failure.

Take the book I recently read: if it had been called a narrative or creative retelling, it would have been a pretty good book. I would have been better prepared for the history lessons and lack of structure. Because I wanted to read a novel, however, it disappointed me. As much as I wanted to leave a good review, I couldn’t because I didn’t have a good experience reading the book (I do still recommend the book, but I tell people it’s not a novel).

Don’t stop writing your book and don’t change your style. Just know what you’re writing so you can get it into the hands of the right audience.

Have you ever read a good book that disappointed you? What happened?

Are you interested in learning more? Would you like to receive tips and special offers sent directly to your inbox? Sign up for my newsletter today, and receive your FREE copy of Simple Tips for Finding the Right Editor!

Filed Under: Uncategorized, writing Tagged With: characterization, fiction, fiction writing, How to Write a Novel, novel writing, plot

What Happened to Act I? 4 Tips for Creating Meaningful Connections with Characters

April 1, 2019 by Karin Beery Leave a Comment

One of the great things about fiction is the opportunity to step into someone else’s head and not only experience a new and different life, but to feel the excitement, anguish, and fear right along with the character. But why do some books elicit such deep emotions from the reader while others fall short? It’s all about connecting with the characters.

Have you ever read a book that you wanted to love, but you just couldn’t make yourself care what happened to the characters? Or maybe you wanted to know what happened, but you never felt any sympathy for or excitement with the characters? Either way, the problem is the same—you never developed a connection with the characters, so you never invested in their lives.

Why does it matter? Because people won’t read about characters they don’t care about.

Yes, you might find some readers who just want to know how the story ends, so they skim pages and skip long paragraphs to get to the last chapter (or, if you’re like me, you read the last chapter to see if you’ll like the ending, then decide if the book’s worth your time). Don’t give readers an excuse to skip pages! Instead, give them the chance to get to know your characters so they’re not merely curious to see what happens, they care about what happens.

How do you create meaningful connections with characters?

Stop skipping Act I.

Perhaps the most traditional (and well known) story structure is the three-act structure—beginning, middle, and end. Another way to understand and discus the three acts is:

  • Act I: Introduction
  • Act II: Body/Story
  • Act III: Conclusion

In a ridiculously short summary, these three parts essentially mean:

  • An introduction of characters, setting, and plot.
  • Watching the characters interact with each other within the setting to advance the plot.
  • When the characters work through the final plot issues to resolve the story with a satisfactory ending.

The part I really want to focus on is Act I, the introduction. It’s becoming more and more common to see that part of the story stripped down (if not completely eliminated) in an effort to jump right into the plot.

Don’t. Do it.

For years now, writers have been told to start their stories with action. Yes, that is absolutely true, but that doesn’t mean you dive right into the plot without first introducing all of the key players and plot elements. Don’t sacrifice Act I for the sake of action. When you do that, your reader doesn’t know whether to root for the woman on the run or hope she gets caught—without an introduction, you throw the reader into a confusing situation, and you never want to confuse the reader.

How, then, do you start your story?

  1. Start with action that’s appropriate for the genre and story. If you’re writing suspense, it’s understandable and often acceptable to open with a woman on the run, then reveal that character to the reader as you go. That’s part of the suspense plot. If, however, you’re writing women’s fiction, the action needs to appropriate: a working woman grocery shopping, a mom pushing a stroller while she jogs, two sisters sorting through their deceased father’s possessions. All of these things are active. It doesn’t have to be a car chase or gun fight, as long as it doesn’t start with the main character thinking for two pages.
  2. Introduce the main characters.Imagine you’re at a barbecue. Your friend brings over a stranger and says, “This is my co-worker, Larry.” Besides what Larry looks like, you only know one thing about him. That’s not a great introduction, but that’s how many authors start their books. Instead, use this introduction: “This is my co-worker, Larry. He just moved to town last month and is looking for a new massage therapist to treat back issues resulting from a car accident. I thought you might be able to help him since you work at a chiropractor’s office and have connections in that industry.” Wow. Now the reader understands Larry. They may not be able to relate to his situation, but they’ll understand why he hires someone to walk his dog and stop thinking he’s lazy. You’ve helped create empathy.
  3. Show the setting. Where and when a story takes place will impact the events of the story. For example, a cruise ship is sinking. How should the reader react to that? It’s hard to know if you don’t know when or where the ship is sinking. If it’s off the coast of Florida in 2005, the Coast Guard will be there with speed boats and helicopters—exciting! If, however, it’s 1912 in the North Atlantic Ocean, it’s tragic. Make sure you show the setting.
  4. Establish normalcy. If the reader doesn’t know what life is like for your characters, they won’t know how to respond when unusual events happen. Say your character is sitting in her car at a red light when two cars plow into the intersection and crash. She calmly calls 9-1-1, gives a statement when the police arrive, then goes home where her husband hugs her and tells her how proud he is of her and how amazing she is. Why? Without establishing her normal—that she’s an army veteran with severe PTSD who curls into a ball and suffers flashbacks when a balloon pops—there’s no way to understand her breakthrough by being able to call for help and drive herself home. Take the time to establish normalcy so the reader can recognize important moments.

By including these four elements, you’ll make it easier for your reader to connect with the characters, which will establish the emotional connection that pulls the reader through the story.

Filed Under: writing Tagged With: characterization, fiction writing, Karin Beery, novel writing, plot, writing tips

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ABOUT ME

Editor. Teacher. Novelist.
A passionate lover of fiction, Karin doesn't just write novels, she helps others write their best stories! A certified substantive editor with the Christian Editor Connection, her goal is to help authors to put her out of business by equipping them with the tools they need to become better writers.

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