How to Find the Story Within

by C. Patrick Schulze

Listen to a PODCAST of this article.

In my recent post, HOW TO OUTLINE A NOVEL, a couple of people mentioned they have trouble moving forward with their manuscript. This post is offered in an effort to help them move their story forward.

There are a number of reasons why the words don't come to us. One reason is the phenomena called Writer's Block, which always goes away. However, I think the one that's more common, but less acknowledged, is writers don't know how to build upon an idea they already have. They don't know where to start.

The good news? The story is there. You only have to find it.

If, by chance, you don't have an idea with which to build your story, here's a good article on HOW TO DEVELOP A STORY IDEA.

If you do have an idea, one method to bring out your story is to make yourself familiar with The Hero's Journey. Basically, The Hero's Journey gives you a twelve-step process for storytelling. It helps you develop your plot, or what happens to your characters. The Hero's Journey fits any genre and will result a compelling storyline if you follow it.

The Hero's Journey creates a framework with which to build your story. In effect, it is your outline. You just fill in the blanks. Here's some additional information on THE HERO'S JOURNEY.

Another method to bring out the story from within an idea is to write your story backwards.

Here's the trick. Try not to think of A to B to C. Think C to B to A, with C being your ending.

To do this, begin with your final scene and then write the scene that immediately precedes your ending. Then write the scene before that again and again until you've got your story. A question to ask yourself is "What had to happen to get me to point C or B or A?"

Think of that in this way, if your story idea tells you the hero gets the girl in the end, think backward to what made her want him in the first place. Then, think back before what convinced her to want him, to what he did to make her think that way. Before he did that, what did he do to make himself known to her. Each of these events is now a scene, or possibly a chapter, in your novel.

Of course, you don't have to write out the scenes as you develop them. Brief descriptions of what is going to happen is all that's necessary at this point.

Once you've got your story written backwards, the next thing you do is add conflict to your scenes. Conflict is the character's emotional reactions to the action they experience. (It's not the explosion, it's the character's emotional reaction to the explosion.) Read more about CONFLICT in this article.

Let's consider the "Boy Gets Girl" story I used as an example above to illustrate this idea.

When you figure out how he made himself known to her, insert some action and conflict to spice up that scene. For example, maybe they were passengers in the same bus when it crashed. The crash is the action. He became known to her when he pulled her from the flaming wreckage. Toss in some emotional reaction to his saving of her and you're on your way.

Regardless how you attack this problem, until you have your story, ignore everything else. Don't worry about dialogue, setting or whatever. Don't even flesh out your characters. Focus only on the story. Once you have that, the rest should fall in place.

What suggestions do you have to create a story from an idea?

Until we meet again, know I wish for you only best-sellers.

C. Patrick Schulze

Author of the emerging novel, "Born to be Brothers"

Don't Write a Novel, Write a Story

by C. Patrick Schulze

Listen to a PODCAST of this article.

A reader of this blog asked if I might help get her NOVEL started. She said she had the idea and the research completed, but was uncertain as to how to get on track. This article is for her.

When I first began to WRITE, I joined a writer's group and sat in on a few meetings. I hoped the group could tell me how to write a novel, but found I had my proverbial horse way ahead of my cart. I didn't need to learn how to write a novel. I needed to learn how to tell a story. That little piece of information changed my life.

The next thing I learned was the difference between a story and a novel. A story is the plot, that succession of incidents within the novel. It's what happens in your novel. The novel is the narrative by which the story is presented.

That means you first write a story, then convert it into your novel.

All you need to get your story started is a plan. And with novels, the classic plan is called The Hero's Journey. It's been around since the days of Mythology and is still used by the best writers today. The Hero's Journey is nothing more than a structured string of the events your hero needs to endure.

The Hero's Journey has twelve situations your hero must face. This generates a plot and forces a story to pop out as if by osmosis. The novel is much more difficult, but the story, well, that's easy.

Here are the twelve steps to the Hero's Journey.

1. Ordinary World: You show your hero's life at the start of your story.

2. Call to Adventure: Something, whether the hero realizes it or not, calls him toward some grand quest.

3. Refusal of the Call: The hero first says he can't undertake this quest.

4. Meeting the Mentor: Your hero meets someone important to help him on his quest.

5. Crossing the Threshold: This represents that event that ensures your hero can not go back to his Ordinary World until he finishes his quest.

6. Tests, Allies and Enemies: These are people or events that help or hinder the hero.

7. Approach to the Innermost Cave: He closes in on the big bad villain.

8. Ordeal: He fights the bad guy.

9. Seizing the Sword: Your hero takes what it is he needed to complete his quest. It's what he's gained by his Ordeal.

10. The Road Back: The trials he may face to get back to his Ordinary World.

11. Resurrection: This is the time when your hero proves he's gained the right to use the "sword" he's won.

12. Return with the Elixir: This is where your hero reaches his Ordinary World once again and shares his "sword" with others.

If you think about these twelve steps, it makes perfect sense a story will be the natural outcome. You've got good guys, bad guys, conflict, excitement, rewards and all the rest.

Better yet, it works regardless your genre. For example, think about a story of an abused wife. Her ordeal may be the beatings she underwent and her "sword" may be her freedom. In the same light, in a war story the ordeal may be a battle and the "sword" the death of the enemy general. There is no genre for which The Hero's Journey does not work.

Now, a short article cannot teach you everything you need to know about how to write a story. However, further information is all over the Web and in countless books at any library or bookstore. Take some time to study The Hero's Journey and if you take it to heart, your story will emerge.

Is this all there is to The Hero's Journey? Of course not. Entire literature courses cover each of these twelve aspects. However, it worked for authors then and it works for authors now. It will get you started. It's step one.

Are they other ways to write a story? Of course, but until you've got some work under your belt, use it. As they say on television, "It works!"

Now, some say The Hero's Journey is outdated or incomplete. Maybe, maybe not, but here's a clue. That little black dress and a string of pearls still work, don't they? They work because they're classic. That is, they brought out a woman's beauty then and they do so to this day. Here's another way to look at this idea. If they can write "Star Wars," "The Lion King," "Pulp Fiction" and even "The Full Monty" by way of The Hero's Journey, you and I can use it for our story, too.

Now, are there any specific articles I can write to assist you on your path to publication? If so, let me know.

Until we speak again, know I wish for you only best-sellers.

C. Patrick Schulze

Author of the emerging novel "Born to be Brothers"

Storytelling in 12 Easy Steps

I’ve read untold articles on what writers need to accomplish to move from the ranks of the unpublished and into that select stratosphere of publication. Though you need to learn a great deal to succeed, no amount of work will bear fruit if you do not master the art of storyteller. In fiction, your workmanship is for naught if you can’t spin that proverbial yarn.

With that said, I thought today's post would focus on how to develop that skill. How is it one insures their novel is written in such a fashion as to appeal to their readers regardless the audience? The answer, as is so often the case, is simple, though the application is difficult.

When someone wishes to write a novel, there is a time-proven formula to telling a story. This blueprint is known as The Hero’s Journey. In fact, it is the framework around which most any novel can be built and is comprised of twelve events your hero must face. This storytelling technique has been around since before the time of mythology and will last until men stop telling stories. Once you’ve learned this technique, you’ll be well on your way to mastering the art of storytelling and I recommend all new writers follow this outline.

Many will tell you some of these “rules” can be introduced at varying points in your novel or even ignored. The truth? They’re right. However, as an aspiring author, stick to what works. As you gain confidence and knowledge, then do your experimenting.

The Hero’s Journey is defined by different authorities in different ways. They’ll incorporate additional steps, different terminology, whatever. But if studied, most of them will filter down to the following twelve steps your hero must traverse to create a good story:

1. Ordinary Life
2. Call to Adventure
3. Refusal of the Call
4. Meeting the Mentor
5. Crossing the Threshold
6. Enemies, Allies and Tests
7. Point of No Return
8. Supreme Ordeal
9. Reward
10. Journey Home
11. Resurrection
12. Return Home

I may go into each one of these steps in more detail, but for now they are somewhat self-explanatory. In general, if the hero in your story finds himself involved in these twelve situations, your story will be well-defined and should appeal to almost any reader. (Please note I said your story will be well-defined. Having it well-written is another entire series of blog posts.)

To get started, think about one of your favorite movies. Now follow the storyline and see if the primary character is placed generally in the situations listed above. I'll bet you will. Once you can identify the steps of The Hero's Journey in a movie, you'll begin to understand how to apply it to your novel writing.

Star Wars is always a good example for any aspiring writer. Think of the first of the six episodes where Luke's parents are killed. Remember it? If you recall the beginning of the story, Luke is working the farm but asks permission to strike out on his own. This scene is Luke’s Ordinary Life which is step one of The Hero’s Journey.

Step two? Luke Skywalker finds the message from Princess Leia embedded in R2D2 and gets all excited. This is his Call to Adventure. Did he accept his call? Of course not. Had he, Mr. Lucas would’ve missed step three, the Refusal of the Call.

Considering step three in The Hero’s Journey, let’s look at Luke’s reaction to Obi Wan’s entreaty that the young man become a Jedi. The boy found a dozen excuses why he could not do as his future mentor suggested. His excuses included such things as his uncle Owen, the coming harvest and, well, I don’t remember what else, but you understand. This scene was the third step in Luke’s immersion into The Hero’s Journey, his Refusal of the Call.

Now I could step you through each aspect of The Hero’s Journey, but it’s getting late and I don’t care to right now. (So there!) However, as you follow the first Star Wars movie, you’ll see the storyline follows The Hero’s Journey quite well. And, (here’s your sign), if Mr. Lucas can use this formula for storytelling, so can you.

Of course, Star Wars is within the genre of Science Fiction, but to show how The Hero’s Journey works with all novel genres, I’ve taken five minutes and outlined a romance for you. I’ll give this story the working title “The Disillusionment of Mindy.” Ready?

The Ordinary World

Joe and Mindy are in love, married with two children, living in a home in the suburbs of Richmond, VA. The children are Mike, twelve, and Mary fourteen. Mike loves baseball and Mary is just finding out about boys. Joe is a stockbroker and Mindy spends her time raising the children. She’s the president of the PTA and is as content with life as she has ever been.

The Call to Adventure

At a PTA meeting Mindy overhears two women talking about Joe. They suddenly quiet when Mindy approaches and act embarrassed at her arrival. They walk away without saying much to her, but they glance at Mindy from over their shoulders and whisper to each other as they depart. Mindy is surprised by their actions but thinks little else of it.

Refusal of the Call

Joe, usually home around 7 PM, starts to call every now and again saying he must work late. This has never happened before but Mindy ignores her intuition which tells her something is wrong in her life.

Mentor (often termed The Wise Old Man or Woman)

As Joe’s late returns increase and after another odd encounter with friends, Mindy speaks with her best friend, Margaret, about her concerns. Margaret tells her not to worry until Joe comes home late and the first thing he does in take a shower - a sure sign of infidelity.

Crossing the Threshold (often known as the Point of No Return)

The next night Joe comes home and takes a shower as soon as he enters the house.

Tests, Allies and Enemies

Mindy and Margaret talk to their friends when watching Mike playing baseball and then again at the following PTA meeting but most know nothing. Those who seem to be in the know won’t talk. Mindy hires a detective to follow Joe. He takes photos of Joe’s nefarious liaisons and passes them to Mindy.

Point of No Return, (aka Approach to the Innermost Cave)

Mindy is distraught but refuses to believe her marriage cannot be saved. She confronts Joe with the photos and he admits everything, saying he still loves Mindy and was swayed by a young woman who threw herself at him. He promises never to see the woman again. Though suspicious of his pledge, Mindy accepts him at his word and they work at patching the holes in their marriage.

The Supreme Ordeal

Things are fine for a time, but soon, Joe is again coming home from work late.

Reward (often termed Seizing the Sword)

When Joe returns home, Mindy confronts Joe about his continued infidelity. He denies everything until she produces new photos she had taken of him and yet another woman. Mindy forces Joe to leave.

The Road Back

Mindy and Joe go through a trying divorce. She gets the children and the house, and the money, and the furniture and he gets the clothes on his back. (They live in Virginia, you remember.)

Resurrection

Mindy must now learn to live without a husband and is forced to find work. She is now faced with raising her children on her own. She finds her new life difficult, but she and her children do survive, though without much of their earlier wealth.

Return with the Elixir

Mindy meets a guy at work who sweeps her off her feet and they live happily ever after.

The End.

There ya go, a full story outline in five minutes using The Hero’s Journey.

By employing The Hero’s Journey, your story will have plot, adventure and the time-tested avenue to effective storytelling. From here you fill in the details and, voila, you’re an novelist!

Depending on the response I receive to this post, I’ll move forward with a more detailed explanation or not.

In the mean time, I wish you best-sellers.

C. Patrick Schulze

Return with the Elixir

Hello, writers.

We’ve finally come to the end of The Hero’s Journey, The Return with the Elixir. Our hero is on his way home to his now not so Ordinary World, having defeated every imaginary bad guy in creation. There will be no more conflicts to resolve, no more challenges to face and no more evil-doers with which to contend. In this portion of your manuscript he is the acknowledged hero in both his Ordinary World and the world from which he is emerging. This is where your reader shouts, “Wow! That was great!” and talks to all his friends about your book. (We hope they do anyway, for if they don’t this book is DIW - dead in the water.)

Considering our now familiar Luke Skywalker, think about the celebration after the destruction of the Death Star. He and Han Solo walk up to Princess Leia to receive their medals amidst the adulation of all the rebellion. Everybody smiles and the guy in the white hat rides off into the sunset to great fanfare. Yipee!

We know what happens here, but why does it need to happen this way? Some say it is to wrap things up, finish the circle of your story. (Blah…) Others say it is the representation of life where one must learn to lick their wounds, if you will, and carry on with life. (Give me a break! This is a story!) Some have even said it is to show us how to live our own lives with a sense of responsibility. (Not my fiction…)

We’re writing fiction, right? In my mind, the Return with the Elixir is all about entertaining our reader. Nothing more. It is a reward to your readers for their time spent in reading your story. They deserve to sit back, close the book and feel good. Everything is right with the world and your reader feels the satisfaction of a book well written and enjoyed.

What is this elixir, by the way? It can be anything you wish it to be. Your protagonist may return home with a physical treasure, or knowledge, or love, or wisdom, or whatever he needed to succeed in his quest. It can be anything, as long as it is necessary for your hero to become what he needs to become.

Without doubt, however, what is necessary is for the reader to sit back having enjoyed your work. That is what it’s all about anyway, isn’t it?

Okay, boys and girls, in these twelve postings, we seen how your hero traverses from his Ordinary World into the depths and back. I hope you see how this will make for a good story every time. (Which is what fiction is all about anyway - a good story.)

If you’ll take the time to learn how to use The Hero’s Journey in your fiction, you’ll become a good storyteller and have the primary step under your belt in having people want to read your work.

In subsequent postings I plan to do two things: one is to show how The Hero’s Journey will apply to any type of fiction and, two, to show you how you can ignore large parts of The Hero’s Journey in your writing. (Bet you weren’t expecting that!)

Until my next posting, good writing.

Patrick
Author of “Born to be Brothers”
Twitter.com/CPatrickSchulze

The Resurrection

Good day, Writers,

We’re almost home with our study of The Hero’s Journey and find ourselves facing The Resurrection, which many think is the uplifting section of a story. Of course, that isn’t true. The Resurrection is one last another opportunity for action and suspense within your story. This part of your novel is the last life-or-death struggle for your hero, yet another confrontation with the evil ones. In fact, it is often the protagonists’ most dangerous meeting with death, or whatever it is he faces.

In many stories, this section takes place just before he returns home. It’s often considered a cleansing or purification to which your hero must submit before returning to his Ordinary World. However, the hero now has an additional arrow in his quiver, so to speak, for he is now armed with the hard-won knowledge gained from earlier encounters. It is here your hero pulls out that new arrow and smites this final aggressor, thus proving his acceptance of The Reward and his worthiness of ownership.

Sometimes the hero is pushed toward The Resurrection or even pulled, but regardless, the enemy has one last attempt to undo your hero, a final exam, if you will. One in which he proves he has learned and can apply the lessons of The Supreme Ordeal.

It is similar to The Supreme Ordeal faced earlier. Often more than just the hero is involved in this ordeal. Maybe his entire village is in danger, for one final challenger arises and he is forced to use the knowledge he gained during his trial to save more than just himself.

To me as a writer, it is one last opportunity to excite your readers when they least expect it.

Although we are using Luke and The Last Hope of the Star Wars saga as our model, I’ve always liked The Resurrection in Under the Tuscan Sun. The heroine does not hear from THE man in her life for a while so she travels to see him. It is in this part of that story where she finds she is not THE woman in his life, but merely A woman. (Talk about a trial!) So what does she do? She marshals all she has learned and falls in love with another man. Great Resurrection, don’t you think?

In Luke’s case, he’s already accomplished his mission of saving Princess Leia, but his final test is defeating the Death Star. In this scene, Luke is attacking in his X-Wing fighter and Obi Wan speaks to him from the afterlife. He tells Luke to, “Trust the Force.” Luke does, thus employing all his learning and experience, and destroys the Death Star and the Emperor to boot.

You see in this scene, Luke has garnered all he has learned, proved himself worthy of The Reward, destroys the REALLY BIG enemy and saves untold thousands in the process. (Explosions of a planetary scale! Now that is a dramatic Resurrection!)

In doing my research for this posting, one person said this was a time of peace and tranquility before he returns to his doorstep. Don’t believe it! This is a time of great, often ultimate, challenges. It’s a wonderful opportunity to again engage your readers and prove your hero worthy. Take advantage of this. You want your readers to be surprised by this and so entwined in your hero’s trial they almost lose heart for him. Use this time to ramp up the intensity of your work and have your readers sweat one last time.

Okay, we again have the bad guys’ defeat and our hero rises even higher in status and proves he is worthy of The Reward. Now, after your reader has caught his breath, you let them relax and feel good about everything. This is accomplished by way of The Return. We’ll get into that next week.

My plan is to finish with these lessons of The Hero’s Journey then outline a couple quick stories showing how to put this entire concept in use. (Wish me luck on that one…)
Until then, my friends, good writing.

C. Patrick Schulze
Author of Born to be Brothers

CPatrickSchulze.blogspot.com
Twitter.com/CPatrickSchulze

The Road Back

Good day, Writers.

We’re continuing with our discussion, one-sided though it may be, of The Hero’s Journey where we’ve reached that part of the story where your hero decides to head on home.

This may sound somewhat simple in concept, but as with everything about The Hero’s Journey, there is more here than it seems.

Remember, your hero has fought the great battle, defeated the ultimate enemy, (or has he?), and now holds the great elixir in hand. You’d think things would get simple now, wouldn’t you? A bus ride home and back to everyday living, right?

Wrong.

Your hero is not out of the woods just yet. He knows it is time to return home, but he has yet to navigate that treacherous road for no telling what might happen on the way! He’s carries this great reward with him at all times but there might still be others who want it for themselves. Did the big bad wolf really die? Might your hero encounter others who, now that the big Cahoonah is gone, think they can attain the treasure for themselves? Anything can happen as he tries to return home.

A few things are certain. This is the time when your hero must grow into a better person than he was before his quest began. He needs to realize the value of what he has won and how this great boon should be shared with those in his Ordinary World. He must somehow grow to accept the element of sacrifice he needs to make.

Also, this part of your story often has the best chase scenes, for those who still wish to take the prize from your hero now come after him. Your protagonist might be prime pickings and here come everyone else who wants to wrest the prize from him! (See the chase scene now?) A good scene might go like this, the hero inadvertently brings those stalking him into his Ordinary World and he must again fight to save his home and family. (Good stuff!)

Finally, the hero might not want to return home. What if the locals crowned him king and we all know being king is good. You can see where The Road Home needs some sort of event to push your hero on his homeward path. All of a sudden, The Road Home turns into a conflict between the hero’s head and his heart. He might want to stay, but some force or event forces him on the way.

Keep in mind, like any strong turning point, the action found within The Road Back might alter the direction of your entire story. You, as author, must decide if and how all this happens.

Okay now, we’ve got your hero haven been pushed toward home, more people are chasing him and he’s come to understand he has to fight his way home and share his prize.

Now what?

The Resurrection, what else? More on that next time.

Until then, good writing.

C. Patrick Schulze
Author of "Born to be Brothers"

Twitter.com/CPatrickSchulze
CPatrickSchulze.blogspot.com

The Supreme Ordeal

Good day, Writers,

We are continuing with our explanation of The Hero’s Journey as a method of storytelling.

Today we’ll discuss The Supreme Ordeal, which should be the most exciting part of your story for your hero and your reader. It is where the hero faces that most difficult of tasks around which your story revolves. Here he meets the great beast and slays it. Your readers should not be able to set your book aside until this section of your novel is complete, after which they should sit back, take a deep breath and scream, “Wow!” (And then tell everyone they know!)

This beast need not be a creature with horns and blood-soaked fur. Neither need it be an alien with thrashing tentacles and/or menacing, retractable teeth. (Although we all know those creatures work quite well.) The beast can be anything that causes your hero extreme fear.

Could an honorable man who loves his family be the beast? You bet! He can be If he dies leaving his family penniless and hungry. (And as long that situation has the same fear for your readers!) Can a loving daughter who goes away to university be the beast? Sure, if her mother is left alone in the world. So, don’t think of your hero only as a muscle bound warrior that crushes some mythological creature from the underworld. The beast is anything that is supremely fearsome to your hero and, more importantly, your readers.

Now that we know what The Supreme Ordeal needs to be, what is its purpose? First and foremost in my mind, The Supreme Ordeal changes your hero. It takes the flawed person he was and transforms him to the person he needs to be.

For example, we’ll again call on Luke of Star Wars to enlighten us. Where in that story did Luke experience his supreme ordeal? It is when he rescues Princess Leia.

How did all the excitement involved with rescuing her change Luke? He went from an orphaned farmer to a masterful Jedi. Pretty serious change, don’t you think?

Why else might you, as a storyteller, need an effective ordeal for your hero? One of the most important aspects is to engage your reader. Have you ever stopped watching a movie or set down a book and never finished it? Why would you do that? Because, for whatever reason, you were not engaged with the story or the hero. The instant your reader decides not to continue with your novel, you’ll lose your word of mouth advertising - your buzz. Your novel will almost never go viral with poor buzz.

Are there other goals to accomplish with The Supreme Ordeal? Of course. It can’t be that simple, now can it?

As a writer, you need to give your audience a feeling of exhilaration upon conclusion of The Supreme Ordeal. They’ve come accustomed to that feeling and are expectant of it. They want to think he will not succeed, in fact, may even die! They want your hero to slip and fall. They want him to get up, too, but first, they need to be convinced he will fail. That emotion is what they want, and you must give it to them. If you do not engage your audience emotionally, your buzz, and your book, are dead in the water. An old maxim in business, (and you are in the business of writing), is to give them what they want to buy. I recommend you do just that.

In my next post, we’ll discuss what happens after your hero survives. That part of the story is called, “The Reward.” Until then, good writing.

Patrick
Author of Born to be Brothers
CPatrickSchulze.blogspot.com
Twitter.com/CPatrickSchulze

The Approach

Good day, Writers,

We’ve traveled quite a way toward our goal of learning how to utilize The Hero’s Journey to craft your manuscript. In this posting, we’re going to see how The Approach plays into your story.

The Approach is the part of your manuscript where your hero prepares whatever it is he must do to come to the entrance of the greatest danger he will face. It is here your hero must ready himself to face his primeval fear. He is about to “disappear” into the Belly of the Beast and must be ready or he will surely die. During The Approach is when he defeats the lesser villains and readies himself for the Big Enchilada!

It ends when he stands on the precipice into which he must descend to locate and take hold of the item of his quest. Classical representations of the end of The Approach, as you might imagine, are the mouth of caves, dungeon doors, and the like. Wherever it is, it’s ominous!

Keep in mind your hero need not approach a place. It can be a mental state or even something as innocuous as a party. It’s simply anything that causes ultimate anguish for your hero. However, your reader must be convinced your hero will surely die. (At least figuratively.) Without this ultimate danger, the next step in your story won’t fly.

The Approach is another interesting part of your novel and may be approached, if you will, from a number of different prospective. Here you can work in some appropriate humor, for example. Have you ever heard of people laughing before battle? It’s just another way to handle one’s nervousness. You might even work in some romance, if you’d like. We’ve all heard the line, “We may not survive!” This is usually spoken by the man as he readies for battle or in another form by a character before the meteor strikes. Regardless, it’s a fun part of writing with endless possibilities.

In our example of Luke in Star Wars, A New Hope, can you envision a scene where Luke was on the precipice of some unholy situation? How about when he and his compatriots fret as the trash masher’s walls close in on them? (Being crushed into goo is, by law, a primeval fear which causes ultimate anguish.) Of course, your hero needs to escape and rescue the princess, as literally happens in A New Hope.

Okay, Writers, if you’ve been following along, your novel is at the point where the world is about to explode. Getting exciting, isn’t it?

My next posting will cover the following step your hero obviously must take – The Supreme Ordeal! (This is gonna’ be fun!)

Till then, good writing.

Patrick

C. Patrick Schulze

Twitter.com/CPatrickSchulze

Author of “Born to be Brothers”