Serendipity

Apologies for my absence, I took a break from historical fiction to write the second novella in my contemporary series set in Polvellan, a Cornish village not a million miles from the one where I live.  Writing something completely different in length and genre was exhilarating.  Fortunately it pleased the Boss and I’ve signed a contract to write more. 

Now I’m back in the C19th writing a sequel to ‘The Consul’s Daughter’ which is due out in July, called ‘The Master’s Wife.’ 

Because the first book ended after drama and upheaval with the couple finally recognising their love for each other, the challenge with this new one was to decide when it would begin and what precipitating event would turn their lives upside down.

Once I had chosen both, I still needed something more, something that would broaden and deepen the story.  It came via  one of those wonderful ‘serendipity’ moments.

Thirty-five years ago I attended a seminar by Screenwriting & Story guru, Robert McKee.  It was fascinating, exhausting and packed with useful information.  I made masses of notes and typed them all up when I got home.  But I had three young children and was writing for Mills & Boon where trying to apply what I had learned conflicted with the specific requirements of the genre.  So my notes got put aside. They went missing during a house move.

Then three days ago I received an email notifying me of the latest series of Story Seminars by Robert McKee. One is taking place in London from May 8^th -10^th.  I’ve shortened the email slightly. It began with:

‘Less than 1% of writers sell their scripts.’   (Shouldn’t that be ‘Fewer’?)

75% of your effort should go into designing the story. Only 1% of writers realise this.

Invest the time. Do the Work. Write the Truth. The Results Will Follow.

Story Seminar Content springs from these premises:

Story is about principles not rules

about archetypes not stereotypes

about eternal, universal forms, not formulas

about thoroughness not shortcuts

about the realities not the mysteries of writing

about mastering the art, not second-guessing the marketplace

about respect, not disdain for the audience

about originality, not chasing trends.

It goes well beyond the essential mechanics of screenwriting, and will elevate your writing from an intellectual exercise to an emotional one; transforming the craft into an art.’

I was seriously tempted.   The cost of the seminar plus rail fare plus at least two nights in London would be eye-wateringly expensive, even so...

Then I remembered that many years ago I bought a book called  ‘45 Master Characters.’  It describes in depth mythic models and shows how you can use and adapt them to create original characters. I read it when I bought it and it has been sitting on my ‘Books on Writing’ shelf ever since. 

I got it down and began reading. It covered much of the ground promised by the Story Seminar. Even better, I didn’t have to travel anywhere.

As I read I had a ‘light-bulb’ moment. Things that had felt stuck suddenly shifted and ideas started flowing. While I scribbled notes, I could feel that lovely bubbling excitement that comes when your gut tells you you’re on the right track.  All because of a marketing email. 

The crocuses?  Simply to celebrate spring. 

Jane Jackson.    www.janejackson.net