Of Daughters, Actions and Self-Awareness…

“[D]aughters can model a great deal from a mother who is self-aware herself,” says Juanita Johnson in, Know Thyself First (Part 6 of Our Mothers, Ourselves: Mother-Daughter Relationships)

A storyteller and psychotherapist, who, along with her 27-year-old-daughter gives talks and workshops on the mother-daughter relationship, Johnson adds, “…I observe quite frequently that [a] mother knows so very little about her own self…[and instead] plac[es] way too much emphasis on how her daughter turns out rather than examining, ‘What [what she, the mother] do I know[s] about [her] self and how [she] feel[s] about [her]self…”

After reading this I immediately realized why I have felt such

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Of Actions, Integrity and Trusting Our Choices…

In stating, “…mothers and daughters cannot serve as best friends to the other…,” Linda Perlman Gordon and Susan Morris Shaffer add in an excerpt from Too Close for Comfort: Questioning the Intimacy of Today’s New Mother-Daughter Relationship , that the …basic question… a mother must answer is: “…Do you trust your daughter to be an independent and self-sufficient woman? Can you support her in making choices and doing things differently from how you would do them?”

The answer a mother offers lies within her ability or inability to trust

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Of Sword Fights, The Himalayas, And so on… And so on…

Of Sword Fights, The Himalayas, And so on… And so on…

Posted by Anjuelle Floyd | Filed under Articles and Essays, anjuellefloyd.com

Have you ever watched a scene from a movie where two sword fighters are going at it?

And then they begin to move up the stairs, one sword fighter, moving in reverse up the incline of the steps, danger closing in, his back against the wall of conflict?

Remember how you felt? Your chest growing tighter, you engaged with what was happening rooting for one or the other swordsmen.

It goes the same with writing fiction. Read the rest of this entry…

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Tags: action, causal, cause-and-effect, conflict, dilemma, episodic, fiction, goal, Himalayas, Jeanette Winterson, novel, obstacles, plot, problem, question, rise and fall, roller coaster, sword fight, The Passion, writer

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Of Sword Fights, The Himalayas, And so on… And so on…

Have you ever watched a scene from a movie where two sword fighters are going at it?

And then they begin to move up the stairs, one sword fighter, moving in reverse up the incline of the steps, danger closing in, his back against the wall of conflict?

Remember how you felt? Your chest growing tighter, you engaged with what was happening rooting for one or the other swordsmen.

It goes the same with writing fiction.

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Of Pacing, Tension and the All-Important Artistry of Holding the Reader’s Attention…a

Author, Ken Follett, writes, “There is a rule which says that the story should turn about every four to six pages. A story turn is anything that changes the basic dramatic situation. It can change it in a little way or change it in a big way. …You can’t go longer than about six pages without a story turn, otherwise the reader will get bored. … Jane Austen’s Pride and Prejudice, follows the same rule. In Dickens it’s the same; something happens about every four to six pages.”

The author of at least 20 novels, many of which are thrillers that have achieved international success, this list includes Follett’s well-received historical works, The Pillars of the Earth and World Without End, the latter of which made the New York Times Best Seller List.

Adapted for film, The Pillars of the Earth debuted July 23, 2010 on Starz as a mini-series.

When it comes to pacing, Follett’s admonishments are well taken. But what is he really talking about?

Pacing. Read the rest of this entry…

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Of Reversals, Plausible Endings and the Artistry of Thwarting Expectations…

“A successful resolution thwart the our expectation; it doesn’t (fully) satisfy them.”—-Peter Selgin, 179 Ways to Save a Novel: Matters of Vital Concern to Fiction Writers

Reversals sit at the heart of a successful resolution. And since novels consist of a continual list of crises fostered by a string of obstacles, both physical and human writers must embed our stories with a minefield of reversals.

But what is the true nature of a reversal?

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Of Symbols, Change and Arc of Growth and Transformation…

The display the revelations that take place during the denouement and resolution, end, of a novel must take place in scene, not summary.

End of story revelations work much like the action taking place during the crisis and climax points where the immediacy of the characters’ actions impress upon readers the significance and meaning of the ordeal the central character/characters are undergoing, surviving and ultimately growing stronger by enduring.

Just as the crisis and climax point of a novel provide places of major transition and transformation, so to the revelations presented during denouement and at resolution offer one last stage of growth and change.

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