When she gets home at first she hates it and faces some clumsy but cute setbacks like missing her bus or falling into the snow. Then she runs into her old high school boyfriend and/or high school crush who now runs a bakery or small coffee shop. They have some sarcastic banter because she only respects business and he’s a humble small-town baker so he doesn’t respect business, of course.

She starts to warm up to the town, and in turn baker boy, and starts to feel the magic of Christmas. Sometimes real magic is involved, but not always. Then, surprise, business boyfriend shows up and she’s forced to then choose between the two sides of herself. Spoiler alert: she 100% of the time stays in the small town and becomes the accountant slash helper at the baker boy’s shop.

Needless to say, Hallmark movies can be cliche and predictable. But for those who love them, they are also addictive. There’s a sort of comfort to the predictability as well as the colorful, bright, and cheery overall tone. They’re full of happy accidents, totally unrealistic turns of fate, and lots of bed and breakfast inns, local bakeries, and gazebos.

Now, picture putting your protagonist in the midst of this cliche and cheery town that we see in Hallmark movies, where there is an almost magical level of holiday spirit. Would they blend right into the plot, seamlessly fitting the role of the lead? Would they be confused, thinking they’ve stumbled into another dimension? Or would they just be downright angry and annoyed when a local inn owner told them they were the only one who could save their business (even though they’ve never met before)?

Writing Prompt: Put your protagonist or one of your characters in the midst of your favorite Hallmark Christmas movie. Because you won’t really have to think about the plot structure, focus on how your character would react differently to circumstances than a typical Hallmark movie protagonist. Don’t be afraid to have some fun with the juxtaposition and add some humor or even darker undertones, let your protagonist take the reigns!

The post Writing Prompt: Hallmark Movie appeared first on Dorrance Publishing Company.

Even explaining the term Psychic Distance can be difficult because it’s a very specific concept. Think of your book like you’re making a movie. In a movie, your POV would be the perspective of the main character and tense would be the setting (I.E. time, date, location, etc). If your book was a movie, Psychic Distance would be how close and far away your ‘camera’ is from your protagonist.

Still confused? Let me give you an example. In a movie, it would be very jarring to go from an aerial shot of a city directly to a shot of a character’s eyes opening. Because of this, filmmakers use transition shots. They’ll show a specific building, followed by the inside of an apartment,  a wide shot of a character asleep in bed, and then the character’s eyes opening.

We’re meant to do this with writing as well.  Some writers will make the mistake of writing something along the lines of “The moon was full and yellow, looming over the dark green trees in the forest. Oh no. What did you get yourself into this time, Jules?”

See the problem? The transition from describing a scene to a strongly voiced character thought is extremely jarring. Readers need the same type of transition you would find in a film. Otherwise, you leave a reader confused and wondering, “Where is Jules? What is she doing? Why is she thinking this?” You need a transition to give purpose to the thought.

Try using these transition steps:

1) The moon was full and yellow, looming over the dark green trees in the forest.
2) The young woman finally stopped running and leaned over a nearby tree. Julie’s hands were shaking and she could taste the blood in her mouth.
3) She closed her eyes and rested her hand on her forehead, contemplating her own stupidity.
4) It was actually almost impressive that someone could be this incredibly stupid.
5) Oh no. What did you get yourself into this time, Jules?

Could you feel yourself zooming in on Jules that time? First, we have a wide shot of the scene. Next, we have an action shot to establish what Julie is doing and to even give the reader a hint of the current conflict. Then we get a little closer with an action leading us to the summation of a thought she’s having from a distant third person POV.

Possibly most importantly, we have the sentence, “It was actually almost impressive that someone could be this incredibly stupid.” This is the most important transition to have here because of the language. The language, “incredibly stupid,” is no longer information that the narrator is giving us about Julie. The narrator of the story doesn’t think Julie is incredibly stupid- Julie thinks this of herself. The narrator uses language coming directly from Julie (that isn’t quite a direct thought) as a tool to brace the reader to go into the mind of the character. And, finally, we’re physically in the mind of the protagonist. The transition is even smoother when you begin each sentence with what the previous ended with (I.E. a wide shot, an action, a thought). Then, transition to the next step by the end of that sentence.

Here’s a cheat on how to do it:

1) Wide shot of the scene.
1) Begin with a slightly closer shot of the character, end with a character action.
2) Begin with a character action, end with a distant third person thought.
3) Begin with a distant third person thought, end with an almost voiced thought.
4) Directly voiced thought.

Similar to a film, these transition shots in books are crucial. It’s the difference between leaving your readers engaged and leaving them scratching their heads. Psychic Distance is a crucial part of writing consistency, even if it does sound like your college roommate’s cover band.

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