What's Your (Story) Problem?

There are so many important components to a successful story. Once we figure all of them out, trying to keep them in their proper place can feel like we're juggling knives and flaming bowling balls, with maybe a watermelon tossed in there, just for fun.

Today, though, we have someone who can help us with one of these pieces: the story problem.

Kris Yankee is an editor, and an author, which gives her an intriguing perspective from both sides of the publishing equation. She's going to share some of her knowledge and experience with us today.

Donna:  Kris, thanks so much for giving us a mini-lesson on something that is so fundamental, the story problem. How do you describe this when you're giving a workshop? 

Kris:  Hi Donna, and thanks so much for having me here at your awesome blog. Story problem is a very essential element to fiction writing – it’s what the character is battling with (and through) the entire storyline. Without a story problem, the main character does not know what their expectations are and how to fulfill them. You can also think of it as the theme throughout the story. But I prefer the term story problem because it really brings it home that the character has a problem to deal with.

Donna:  I hadn't really thought of it like that—the character definitely needs to know what is expected of them! You've mentioned on your blog that the first sentence should set up the story problem. Most of us know that the first sentence should hook the reader, but I hadn't thought of it also letting the reader know where the story is headed. I love that idea. It's harder than it looks though! Any suggestions on how to make it work?

Kris: I agree that writing a hook as well as letting the reader know what’s going to be happening can be hard in the very first sentence. Sometimes it works, and sometimes it doesn’t. My advice is if you can’t create a hook and problem with the first sentence, just focus on your hook. Make sure that within the first paragraph (or at the very least the first page) your story problem is presented to the audience. Sometimes the hook will lead into the story problem.

Here’s the first line from my MG book, Saving Redwind:

“Oh my gosh! You’ve got to see this! Mom!” I yelled. “Mom! Come here, quick!”

Here’s the first line from my MG book, Camp Fail:

As soon as I stepped onto the bus, I knew that this wasn’t gonna be just another hockey trip.

Here’s one from my YA book, Black Ice:

As soon as I opened the door, I knew my fourteenth birthday was turnin’ into crap.

Okay – so some editing needs to be done on the last two since they start out very similarly, but you get the gist.

Is a story problem present or can you figure it out? Maybe for Camp Fail and Black Ice, but definitely not for Saving Redwind. Still, all of them setup some sort of issue within the hook. What that issue will be is defined within that first page.

Donna:  Those are great examples. In Saving Redwind, I know there's a crisis happening, or he wouldn't be yelling for his mom. And in Camp Fail and Black Ice, I want to know what is happening to make this day so different from the character's usual one.

Since I'm a pantser, I don't want to know too much about the story ahead of time. But knowing the story problem helps to keep that mystery aspect intact, while also giving a roadmap. If you start veering off, heading for a metaphorical guardrail, or you get disoriented or lost in the middle of your story, you can refer back to that.  Do you write your story problem at the beginning of your draft, or after you've been working at the story for a bit?

Kris: I usually write out my story problem as soon as I begin. I’m a pantser as well, but my agent Christine has been requesting that I provide detailed chapter descriptions whenever I submit a partial. This is horrible for me because once I’m done with this very detailed chapter outline, I feel like I’ve already written the story! I understand why she wants it, but it sometimes makes me feel trapped to that particular storyline. When I discussed this with her, I reiterated that I would give myself permission to veer away from that outline if the story took me someplace else. That has helped.

Donna:  That does sound like a good solution (so I plan to borrow it!) You've recently self-published Saving Redwind, a middle-grade adventure book. I was enchanted with this story, since it was a fun adventure, and so creatively imagined. Tell us how you came up with the idea.

Kris: The idea of Saving Redwind came to me when I was taking down wallpaper in my older son’s room after we moved into our new house. It was so ugly – huge pink and gray flowers – and all I could think about was what it would be like to live in that room with those huge flowers staring back at you every day. The world of Redwind started to take shape in my head and it percolated for many years before I actually sat down and wrote the story. I like the idea of a young boy making a difference in a world that’s unknown to him.

Donna:  I'm sure you have plenty of other stories too. What else are you working on? Are you planning on self-pubbing any more books?

Kris: I’ve just finished another MG book, Camp Fail, which will be shopped by my uber wonderful agent, Christine Witthohn. I’m also working on finishing up the YA book, Black Ice, that I’m collaborating on with a screenwriter. His part is done, and I need to get mine done now! I’m not sure if I’ll self-pub anymore. I guess if Christine can’t sell any of my stories, I’ll consider it. But she really had to talk me into it. I’m old school – if NYC doesn’t like my writing, I must be doing something wrong. Christine was able to change my mind about that, and so I published Saving Redwind.

Donna:  Can you tell us a little bit more about your editorial duties? I'm intrigued to hear how that might have helped as you wrote Saving Redwind.

Kris: I’m a project manager for a small press in Michigan. What that means is that I serve as their editor and proof/illustrator/layout liaison. Depending upon the author’s writing skills, I may end up spending a lot time with them crafting their story. Many times our publisher will take on a story because of the idea, not necessarily based on the actual writing.

I think humans are natural storytellers, but may not know the mechanics of writing. I help them become better writers. I also conduct Writers’ Workshops, which consists of a five-week, two-hour a session workshop that teaches the mechanics of writing. Many of our authors take the workshop and then publish with us. I think the fact that I spend so much time editing other people’s work, I become a better writer. I notice the issues they have and try not to have them myself!

Donna:  Kris, that's a great point about editing improving your own writing. Thanks so much for all the great information today. I'm feeling incredibly inspired now! And I've got my fingers crossed for you with all your writing endeavors. I know I'll see you on Twitter (@KrisYankee), and you have a fun blog with such useful writing tips called Adventures That Score. Next stop: the bestseller lists!

Kris: Thanks again, Donna! You’re such a supportive friend and wonderful writer. We’ll see each other on the bestseller lists!

Comments

[Sheri Larsen]

Fabulous interview! Loved the questions. Kris, I really enjoyed how you explained coming up with the opening hook/story problem in the first sentence, paragraph, or page. You definitely made me think. And I think you gave me enough direction to finally decide which of the three chapters I've written for my new YA novel to use as the opening chapter. :) I have been undecided for almost three weeks!

[Kris]

Sheri~I'm so happy I was able to help! That's great. Thanks so much for stopping by.

[Donna Cummings]

Sheri, I'm glad you enjoyed the interview. I had almost the same reaction about Kris' explanation of the story problem -- it really helped me clarify a story I was working on. So I had to have her on my blog to explain it some more!

Kris, thanks again for sharing this info. It's inspiring me to get back to the WIP today.

[Kris]

Another element that I didn't touch on is story question. It relates to the story problem, but is presented as a yes or no answer.

For Saving Redwind, the story question is: Will a normal eleven-year-old boy be able to save a world that only exists in his wallpaper.

For Camp Fail, the story question is: Will a Pee Wee hockey team be able to survive a raging forest fire?

For Twilight: Will a young girl be able to stay away and not get involved with a charming and beautiful vampire?

The story question is not clearly stated to the reader - meaning, you don't write it out for the reader to see. But, the writer should know what it is clearly so that by the end of the story, he/she can answer the question.

[Donna Cummings]

Kris, I like this too. Since I write romance, readers already know the couple will get together -- no spoiler there! But there is a question of HOW they will get to that point, since they have internal and external obstacles to overcome.

This will be helpful when I'm thinking about my story, and how I want to get my characters from Point A to Point B.

[Liz Lipperman]

Great interview, you two. Sorry I'm late to the party.

Kris, first off, that is a great picture of you. Okay on to my real comments. I love the idea of the first sentence setting up the story problem. It gives real clarity to knowing you've started in the right place.

As for the outline, as a true plotter, I can tell you I never follow mine exactly, either. So, I guess there is a little plotter/pantser in all of us.

[Donna Cummings]

Liz, you're not late to the party -- it never really ends. :) In fact, we're just getting warmed up to celebrate YOUR book release!

I agree that there's a mix of plotter/pantser in all of us. Even though I'm primarily a pantser, I do plot. . .in spurts, to keep me going. I think the writing process requires flexibility or we'd get bored with it. LOL

[Kris]

Liz~ Don't tell Christine this...but when I write out the detailed chapter outline, it does help if I haven't been writing consistently. But I'm a pantser at heart, so there's a bit of mind games for me to finish the story.

[Donna Cummings]

Kris, I had to laugh about the mind games needed to get you to finish the story. I think that's true of every writer. It's a wonder stories get written sometimes, with all the things we have to do to get our brains in gear!