Travel picture of the day.

I was missing Istanbul this morning. So here is a picture to remind me of that magical place.

This is part of the Sultan's bath in the Topkapi Palace. Water would fill the marble basin, then the bather uses a dipping bowl to pour the water all over himself. That way, the basin and the water remains clean, even after scrubbing.

Other wonderful Turkish things:
A most unusual movie with Peter Ustinov and Melina Mercouri (Love her name!) as part of a jewel heist from the Topkapi Palace.

The Turkish Bath. I firmly believe that it could bring world peace. And Apple Tea is good for everything that ails you.

Another Muse.

Ladies and Gentlemen, Elvis Presley!

Elvis is a Muse because he represents fearlessness to me. He danced in ways that frightened people, but he did it anyway. Even when he was miserable and drugged out, he still tried to be himself.

Viva Las Elvis!

The Muse.

Portrait of me as a Muse, by Michael Baxter

I could pull my History Geek Cred out and talk about the Nine Muses of Classical Greece*, but today I'm going to talk about something more immediate.

Who are your Muses? With whom do you collaborate and attempt to inspire?

I could list all my Muses, but instead, I'm going to talk about just one.

Meet Michael Baxter, the world's foremost photographer of Belly Dance. Michael is, in short, a genius. He is a feminist, a visionary of light, and an old school geek. (He and The Charming Man are also dear friends).

Go ahead, follow the link. I'll be here when you come back from looking at the links.


No, I mean it. Go look at them. :)

Michael's love of dance, music, light, and myth  have inspired me since we met in 2008. I had never seen a photographer able to photograph all shapes, sizes, and colors with such ease and joy. We've since corresponded and shot photos together. He makes us see ourselves as we truly are.

I had truly terrible body image issues until I met him. I knew that I wasn't a hideously scarred Two-Face, but I never knew in what way I was attractive. He showed me my own goofy, playful charm.

Since learning this from Michael, I try to take all my characters on a voyage of self discovery to find their beauty. I try to show all my friends how beautiful they are, what they might not see about themselves. I am inspired to be kinder, more patient (not easy for me), and share the light that Michael has shown me.

I hope he will inspire you, too, with his skill with color, setting, and bringing dreams alive.

*All right, I couldn't help myself.

Calliope: Epic poetry. Emblem: Writing tablet (Too bad such a cool chick got stuck with such a hideous instrument)
Clio: History, Scrolls
Erato: Love_poetry: Cithara
Euterpe:Lyric Poetry, Aulos
Melpomene: Tragedy,Tragic mask<
Polyhymnia: Sacred poetry,Veil
Terpsichore: Choral Dance and song, Lyre
Thalia:Comedy, Comic mask<
Urania: Astronomy, compass

The meat of the matter.

In romance and erotica writing, the men have large penises. I've not read a story about a man's thin or short cock, even though every single heterosexual woman out there knows that they come in all shapes and sizes.  And every single one is capable of bringing great pleasure. Not only that, we also know that too-big cocks can hurt.

So why the obsession?  After reading Nancy Friday for many years, I culled the following theories:

1. Fantasies are symbolic of what someone wants in their life. A dream of a big penis, a huge, giant monster that fills you up and satisfies you - well. Sounds like a shout for MORE MORE MORE, doesn't it?

2.That MORE MORE MORE isn't just about sex. It's about wanting more excitement, more time to relax, more ease and just plain more fun. Nothing represents a really great day better than a big, hard penis.

3. It's also a bit of a boast - "I'm such a powerful woman, it takes something powerful to satiate me and please me."

4. That shout of MORE can also represent frustration with the "Good Girl" role - you know, the one where a woman is shamed if she initiates, shares her fantasies, is experimental, or just plain curious. Talk about a rebellion! Desire for more starts every revolution, even a small one where an individual simply wants the freedom to read what she truly wants.

Those are my theories. What are yours?

The best intentions

I was going to post my next archetype in my series, but it's actually a little sunny out! So instead, I'm going to post something naughty and go enjoy the sun. I hope you enjoy this untitled snippet between two unnamed fantasy people.

****

His cock, not quite fully hard yet, fitted her mouth completely. When he was erect, she couldn’t fit him all the way. She wrapped her fist around the base of his penis.

She had unseemly large hands for a woman, but her fingers still did not meet, his girth was so great. Her jaw stretched to her outermost limit as she gobbled his smooth, hard cock.

She sucked on his head, licked his shaft, teased his balls with her fingers and tongue. His thick body hair scraped her tongue as she barely brushed the tips of the curls with her tongue. He jumped and shivered. She flung her arm across his thighs and drew him deeply in to her mouth, over and over.

“Enough,” he growled. He flipped her over to her back. “Give me this.” He shoved her thighs wide apart, his hands holding her down. He breathed on her pussy, long and deep, as if she were something exquisite to eat. His sweet, sweet tongue descended to her body. Expecting a firm, direct stab to her clit, she squealed when he licked her labia with a flat, wide tongue. He petted her pussy, coaxing her lips to widen for him. Once she was moaning and writhing under him, he finally touched her clitoris.

Her throat pulled tight. Her body curled in, her abdomen pulling her head off the pillow. The sensations coiled in her hyper-sensitized organ. Tighter and tighter she squeezed, her face pulled in a nearly painful rictus. Could she make it? Would he take her there?

With a clever twist of his mouth, everything exploded. Her body uncoiled violently, her back arching. Her hands grasped the headboard. The metal sang in time with her screams as the unending crests over took her.

Merciless, he sucked every drop from her pussy, every moan and cry inflamed him further until his cock skin nearly split.

She lay, panting and heaving, tears sparkling at the corners of her eyes. He put her legs on top of his shoulders. He knelt between her legs and fitted the head of his erection inside her swollen, twitching vagina. He pushed.

She screamed again.

He pumped inside her clinging walls. He licked her smooth legs as they rested against his neck. Her hands flew over his body, touching his nipples, but still too shy to pinch. He kissed her calf.

He met her slack face, had she ever looked so abandoned and relaxed? He had to feel her on top of him.

He tucked his legs and tipped backwards. He rolled them until she was on top of him. A quick leg stretch, and she was riding him.

As he slammed her up and down on him, he wiggled his finger to her no-longer-hidden treasure. Her hair whipped back and forth.

With a huge ripple, she came again. This time, she took him over the edge, too.

Mating rituals.

I love the modern ritual of meeting people for coffee. It's the perfect way to test the waters, to see if you and another person are at least on the same page for relationship interests. As romance writers, we often throw our hero and heroine together under really crazy circumstances. I always like the, "If you want to live, come with me!" sort of introductions in books. Gets the chemistry going in a big way.

But there has to be a way to write the coffee date to be just as wild, crazy, and risky as the high speed run in a growly muscle car.

I sense a writing exercise! If you  write a coffee date that feels high flying, I'll do it, too.

Taking a break.

I've been doing some heavy duty writing about archetypes. Today, I decided to talk about my wonderful day yesterday.

I got to spend an afternoon with a dear girl friend who is always working, so this was a rare treat. We hung out in her hot tub, drank champagne, slathered ourselves with lotion, and talked about everything, including sex. Some people get uncomfortable with such intimate discussions, but I am always fascinated and delighted with them.

It's when people are the most likely to share their deepest emotions. It's when our pasts and our presents come together (no pun intended) to reveal what we most need in our lives.

I always want to honor those brave enough to share their secrets with me. I want to take their bravery and vulnerability into my office to inspire not just my love scenes, but also the limits of human courage - the very soul of what makes fiction important.

I had great writing day today. How about you?

Give-away!

Titled, "Green Flash"

A brand-new hand painted fan, signed and delivered to you.

Today, you get to guess the movie quotes. Be the first person to name the movie, and win this lovely!

Quote 1.
"This is just so shocking. I mean I must just be so monumentally naive."


Was that too hard for you? I'm such a sweetie, I'll give you a second clue!


Quote 2. 
":Shut up, Mr. Burton! You are not brought upon this world to get it!"

Story Basics Part IV: The Threshold Guardian

Fu dogs are an excellent example of Threshold Guardians.

One of my favorite archetypes is the Threshold Guardian. The Guardian serves as a challenge to the hero, a test for her to prove her worthiness and her resolve to continue her course of action.

In both real life and in a story, the Threshold Guardian

represents the ordinary obstacles we all face in the world around us: bad weather, bad luck, prejudice, oppression, or hostile people....But on a deeper psychological level, they stand for our internal demons; the neuroses, emotional scars, vices, dependencies, and self limitations that hold back our growth and progress. It seems that every time you try to make a major change in your life, these inner demons rise up to their full force, not necessarily to stop you, but to test if you are really determined to accept the challenge of change. (Vogler, The Writer's Journey, p. 58)

In a story, the Guardian is the antagonist's head of security, the Sphinx and her riddle, the army of the Wicked Witch in the Wizard of OZ, bouncers, doormen, entrance exams. A hero and a person must learn how to deal with these tests. You can run, attack it head on, use deceit, bribe or appease the Guardian, or make an ally of them.

Again, Vogler:

Successful heroes learn to recognize Threshold Guardians not as threatening enemies, but as useful allies and early indicators that new power of success is coming. (p. 59)

Think of who or what has been a Threshold Guardian for you. How did this energy show you what you had to do?

Story Basics Part IV: Archetypes, not Straightjackets

A note as I go along with this series. The best way to think of an archetype is a role that a character plays, not as a description of who they are.

Some examples:

Obi-Wan Kenobi is considered the classic example of a Mentor. He shows Luke what he could be and how to get there.

But he does not stay in the Mentor all the time. The emotionally powerful scene where he confronts Darth Vader is created when he steps into the Hero role. He is moving the action in that scene, not merely instructing or demonstrating things to Luke. When a character shifts archetypes for a scene, the stakes go up. No matter how many times I see Star Wars, I cry when Obi-Wan is defeated in the light saber scene.  This intense emotional reaction comes from him changing his role in the movie.

A second reason to think of the archetype as a role and not a personal characteristic is this creates a fuller, more interesting character in your story. If your Mentor just sits around dispensing wisdom and pithy comments all the time, well....Ok, let's face it. That is boring.

If your character delves into a new archetype, they are suddenly deeper, truer, more emotionally resonant people. Don't think of archetypes as limiters.

They exist to liberate your creation.

Thought provoking article from New Zealand.

What distinguishes discrimination against women from other forms of such reprehensible behaviour is that it is an integral, deliberate, and entrenched element in cultures and religions around the world and from time immemorial.

The New Zealand Herald.

Story Basics Part IV: The Mentor Archetype

The name Mentor comes from a character in the Odyssey. Telemachus, Odysseus' son, goes on a quest to find his father. The goddess Athena takes the guise of Mentor (a human male) to give Telemachus advice, training, aid, or necessary gifts to finish the search.

The Mentor is a very rich archetype. Joseph Campbell named this role as The Wise Old Man or Woman. The Mentor's job is to represent our highest selves, the part of the heroine who is wise and far seeing.  A mentor decides if the heroine has earned gifts to help her, or can act as her conscience. The Mentor motivates and initiates the heroine, too.

Mentors can be kindly  parental figures or they can be dangerous, teaching the Heroine through hard knocks. A Dark Mentor is one who starts a character on a tragic arc, leading her into danger or destruction. Fallen Mentors have lost their own way, and part of the Hero's story is to make the Mentor pull herself together. There are often multiple Mentors in a story, as well.

After all, James Bond not only has M, he has Moneypenny and Q to help teach him what he needs. Arthur has Merlin, but also his brother Kaye, his father, and even his half-sister to teach him lessons.

Mentors can be funny, mystical, young, old, or even part of the Heroine's inner landscape as a memory or code of honor. They can show up in the beginning, middle, or end of the story. Don't get stuck thinking your Mentor has to be Obi Wan with a beard and a nifty sword. Anyone and anything can teach your Heroine what she needs to know.

Story Basics Part IV: Archetypes and Joseph Campbell

Last year (to the day!), I said I would do a series on various archetypal thought systems that can inspire a writer. Today (and until I get done with it), I'm going to discuss Joseph Campbell's breakdowns according to Christopher Vogler .
Vogler names the most useful, basic archetypes for writers:

• Hero
• Mentor
• Threshold Guardian 
• Herald
• Shapeshifter
• Shadow
• Trickster

First things first. According to Vogler,

The concept of archetypes is an indispensable tool for understanding the purpose or function of characters in a story. If you grasp the function of the archetype which a particular character is expressing, it can help you determine if the character is pulling her full weight in the story. The archetypes are part of the universal language of storytelling, and a command of their energy is as essential to the writer as breathing.  (p. 29, emphasis his)

It's very easy to call character A the Mentor, and that is her only function - to mentor and educate the Hero, then to let her go into the world on her own. But in order to make a story character interesting and three dimensional, the Mentor will most likely play many roles, just like real people. Someone can give you excellent advice one day, then the next tie your shoelaces together. This person has embodied both the Mentor and the Trickster/Shapeshifter archetypes.

For the next few days, I'll breakdown each individual archetype. This is going to be fun!

I has empty brain

I'm deep in the first draft of The New Book, so my brain doesn't have much for my blog. So instead, here is a cute picture of The Charming Man in Paris, instead.

There's always room for The Charming Man. :)

Cross Pollination

Today, I will have an afternoon with my dear friend Kim Sakkara. Kim is a disgustingly talented woman. She is a brilliant clothes designer, a seamstress, an entrepreneur, organizer, dancer, and general genius.

I love visiting Kim. Even though we are creative in different ways, I always feel refreshed and full of ideas after our time together.

Kim lives in a world of color, texture, design, shape, shine, drape, flair, and fit. I live in my head in a world of words and improbable acts. Going into her studio is like descending into Aladdin's magic cave - her colors dazzle me and her gift with texture and layering makes my fingers itch to hit my keyboard. I would descend into mad poetry to describe her space.

I have had the great privilege of owning a Kim Sakkara original design and being a model for her. Here are a few pictures to make you sigh and dream of Kim's beauty.

04/2007 Copyright Kim Sakkara. Location: La Mode Macabre fashion show at the Fez ballroom in Portland. Custom costume design by Kim Sakkara & Magidah with beadwork by Sera Richardson. Model: Magidah. Photo: Circle 23.

All photos c. Kim Sakkara and used with permission. The model is the lovely Grace of Deviant Dance.

My gorgeous custom outfit from Kim.

2006 Copyright/velvet skirt & gauntlets: Kim Sakkara. Bedlah: made in Egypt. Photo: Lenny Gotter. Model: Linda

Tendril pants

2008. Copyright/pants/choli tops Kim Sakkara. Photo:Circle 23. Models: Grace, Linda and Tanya Magdalena.

Kim designs for all sizes and shapes. That's your not-skinny author in front.

Inspiration!

Ideas are everywhere, but my favorite place to get hot images and  thoughts is Filament Magazine.

You want images of skinny men with tattoos, piercings, and letting their freak flag fly?

They have them.

You like more a more traditional, masculine look?

They have that, too.

What they don't have? Diets, celebrity gossip, and fashion. This magazine assumes that women are intelligent, sexual, varied, and curious.

Go over to their Facebook page and check out their hot, hot men. And subscribe!

(all photos from Filament. No copyright infringement intended, nor am I getting any presents for talking about this magazine. I'm posting these because I want every writer and photographer out there to look at this groundbreaking work!)

Research

Some days, you just gotta do some research on blue-eyed men who deliver the cool - Paul Newman and Daniel Craig for today.

Oh, YUM.

Today, The Flaming Chef and I wandered downtown Portland before settling in to write. Quite by impulse, we stopped by Verdun Fine Chocolate & Gifts.

The sweets here were AMAZING. Since I cannot share smell nor taste here on the Web, I can only share my pictures.

This is their drinking chocolate. Unlike other drinking chocolates I have experienced, this is super rich and thick, nearly syrupy, with lovely butter and vanilla undertones. Incredibly fragrant, and highly satisfying. I licked my lips for half an hour after drinking it.

Their classy and stylish displays do not do justice to their smooth, exotic confections.

The Flaming Chef enjoying his drinking chocolate. We bought some of their sweets to take home to our husbands. The Charming Man was thrilled with his treat!

The Houdroge Family owns Verdun Chocolates. Can we talk about classy and talented folks? They were incredibly nice.


I can't recommend this place enough!

Why I fear description.

I do fear description. If I'm going to write a story that actually has plot and action, I tend to scrimp on setting. And I'll show you why. Here's a quick, off the top of my head snippet to show what happens when I describe.

In Champaign, Illinois, the main road through the University of Illinois campus is Green Street. On the north side of the street reside the engineers. To the south are liberal arts, ag, LIS, and the rest. And the cities of Urbana and Champaign had been built over a swamp that had been drained. So when it rains, the water table rises quickly and fiercely. The Boneyard Creek flows fast and hard and the streets flood (along with basements and sewers). On Green Street, when it rains, the water gathers and runs in the gutters, overspilling into the street turning this road into a fountain.

During the brutally hot summers we get here, the summer rains are a blessing and a curse. Sometimes they bring cool relief, sometimes they just bring more steam. But they bring flooding to the cities, too, dangerous, slippery. And they fill the streets with water, warm, inviting, cleansing. I have splashed in puddles as deep as my ankles and waded in ponds up to my hips on Green Street.

One very rainy day, my lover and I had walked to get food at AJ Wingers. This was a very special man. Of course, all of my lovers were wonderful but this one....Ah, words fail me. Skilled, compassionate, loving, passionate, uninhibited, no words can fully explain this one. Someone once tried to pin me down on his most wonderful trait. Stammering, I had replied that he was a good listener.

As we walked, the rain kept coming. We watched the rain fall as we ate and we kissed the sauce off of each other's faces. We began the walk back - giggling over our folly at not driving or taking the bus. The rain kept falling. Our shoes immediately drenched through, no matter how much we tried to avoid the puddles. Our jeans clung to our skin. We took off our shoes and splashed through parking lots, curbs, and streets. Cars would pass and splash water as high as our heads.

We got to his apartment, and shrieking with laughter at ourselves, we peeled our clothes off and draped them over chairs and doors. We wrung out our socks in the bathroom sink, and put our shoes over radiator vents. We eventually showered, embracing the heat and steam of this water as gleefully as we had embraced the rain. We kissed and kissed and kissed under the hissing showerhead. His hands, so large and competent, lathered my back and legs, rubbing circulation back into my feet and neck. I stroked soap into his chest and armpits, playing with his body hair. We kissed some more. For the rest of my life, I will see him like this, his head tilted under the streaming water, his hair slicked back, his eyes closed and his mouth slightly open at the pleasure of taking a shower.

We dried off using his one towel (for all of his wonderful traits, sometimes he was almost a stereotypical single man), still kissing, still giggling. His kisses remain on my mind - so intense that the sensation of his lips blotted out the world and destroyed rational thought. How to describe it? He kissed like my mouth, my pleasure and his, were the only things that existed or ever will exist. He kissed as if kissing alone were the most divine pleasure ever given, not as a prelude or introduction, something perfunctorily done to satisfy protocol. He kissed me like my mouth was his Holy Grail and his True Cross combined. He kissed as though he meant it.

We shimmied under his covers and our bodies entwined, wrapping around each other. Sometimes I felt like our bodies were two pieces of rope, coming together in a knot. We kissed and touched and sucked. We made love.

Even now, my hips curl and my stomach clenches at the memory of that afternoon - at a lovemaking so profound, so powerful, so intense. It was the sum of my universe - it was slow and powerful, it was fast and fierce.

We were falling in love.

In a way we never had before, and never will again.

And our bodies betrayed it.

It's emotional and lovely and nothing happens. There is no plot, there is no conflict, there is no character development.

I was going for a little slice of life with this piece- I wanted to record a beautiful memory. I succeeded at that. Unfortunately, I can't use it anywhere else since it doesn't move any action forward.

Dammit!

Hmmmm.

I think today is a good day to make cheesecake.

Of course, is there a bad day to make cheesecake?

What exactly do I tell people when they ask what I do?

Photo by Michael Baxter

As a pre-published author, I'm not someone who can say, "And X is the title of my new book!" This leaves me a bit at a disadvantage in social settings. When people ask what I do, I bravely say, "I write very very sexy paranormal romances."

Thus far, I have had positive responses to this statement. I wondered why, when I'm straight up admitting to being a freak who writes in a denigrated genre.

I found an answer:

A bad reputation can set you free. After all, if you've already declared yourself to be a pot-smoking, acid-addled slut, your opponents are forced to oppose your ideas on their merits, rather than strategically revealing your hidden depravities. Shame is no weapon against the shameless.
-- John Perry Barlow

(For the record, I am neither pot smoking nor acid-addled.)

As for the slut? Well, in most people's definition of the word, I am one simply by writing sexually adventurous characters. 

Hi. I'm Linda Mercury. I write very very very sexy paranormal romances. I refuse to be shamed by that. I hope my refusal invites you to enjoy life's pleasures.

Whew.

I'm taking the rest of the day off! I've been Butt In Chair, Fingers On Keyboard for the last several days working on the synopsis for a brand new book. The working title is Sister of God. I'm calling it the DaVinci Code meets The Mists of Avalon story.

I hope my agent likes it. :)

Give-away!

Another hand-painted fan!

I call this one Medusa's Haircut. I was inspired by Marvel Inhumans Graphic Novel by Jenkins and Lee.
Be the first to tell me who founded Marvel Comics, and this lovely is yours.

Examples

Here's a quick example of how the nine sentence synopsis works.

1. The trouble starts when.....  Linda wants ice cream.
2. The protagonist makes a plan to cope by... going to the freezer.
3. The trouble gets worse when...there is no ice cream there!
4. The protagonist regroups and presses on harder by...checking her purse for money
5. The protagonist reaches the point of no return when...she gets in her car to go to the store.
6. The protagonist is pushed to the brink when...all the lights are red on the way to the store.
7. She appears to have lost when...there is no Coconut Bliss!
8. She fights on by...looking behind all the other ice cream containers.
9. Everything is on the line and only one will win when...she stands up on tiptoe, drags the last container out by the tips of her fingers, and barely avoids pulling over the display!

Even this little silly story about ice cream has rising and falling action. It also describes my GMC and how it changes. For example:

Goal: Get ice cream (what I want)
Motivation: Hungry (because)
Conflict: None in the freezer (but)

My goal and motivation remain the same, but the conflict changes as the story goes on. In a more complicated story, the protagonist examines if her goal is worth what she thought it was. In a tragedy, the story would go like this:

1. The trouble starts when.....Linda wants ice cream
2. The protagonist makes a plan to cope by...going to the freezer
3. The trouble gets worse when...there is no ice cream !
4. The protagonist regroups and presses on harder by...looking her purse for change
5. The protagonist reaches the point of no return when...she is out of money!
6. The protagonist is pushed to the brink when...she ransacks the sofa cushions for change
7. She appears to have lost when...there is nothing there either.
8. She fights on by...checking her bank account
9. Everything is on the line and only one will win when...she can't afford the ice cream.

This little tool tells you how you want to run your story, and what needs to happen between each section. The writer can add the setting by talking about how blisteringly hot it is out, by what her house looks like, what kind of ice cream is haunting her.

Story Basics, Part III: A quick and dirty introduction to story structure

Some writers love outlines - sailing from island to island in an archipelago to reach the mainland. Some like to sail into the fog, boldly striking out on their own to find their story.

Both ways are correct. Both will make fabulous stories.

For those of us who run aground at the slightest notice, story structure helps keep the boat on track. I love to use this little tool called the nine sentence synopsis. This will help you figure out the turning points of your story, where your characters are going, and what needs to happen next in order for everything to make sense to your reader.

The Nine Sentence Synopsis 

1. The trouble starts when.....
2. The protagonist makes a plan to cope by...
3. The trouble gets worse when...
4. The protagonist regroups and presses on harder by...
5. The protagonist reaches the point of no return when...
6. The protagonist is pushed to the brink when...
7. She appears to have lost when...
8. She fights on by...
9. Everything is on the line and only one will win when...

I know I got this from a genius writer, but I can't find the original handout to give credit. Damn! I'll keep trying to find that.

This quick and dirty tool helps you shape the rising and falling tension of your story. I'll go more into explanations next time!

Why I like writing more than anything.

In what other career can one research the rise of Safavid Persia, the intricacies of the Sophia archetype, and the appeal of extreme SM - all in one day?

Sexy, sexy, sexy.

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Out and about some more!

Cool things can happen even when you don't seek them out. For example, the Oscar Meyer Wienermobile made an appearance today!

Story Basics, Part II

In the endless quest to understand your characters, I'm revisiting a post I did a couple of years ago. One of the most useful tools in a writer's toolbox is an exercise called GMC.
 

For each of your main characters, you determine their Goal, Motivation, and Conflict. You come up with with a basic description of their personality (which for me is incredibly difficult), a Tagline (which could be lessons she needs to learn, or perhaps his personal motto), and then, you start in on determining what they want, what makes them want it, and what is keeping them from achieving their goals.

The amazing Debra Dixon came up with this shorthand in her amazing book called (oddly enough), Goal, Motivation & Conflict: The Building Blocks of Good Fiction.

One hint before you dive in - when you are working on this exercise, make sure your character's external goal is a concrete one. "World Peace" is a nice goal, but it's completely undo-able. Make it something that he can attain. Instead of World Peace, write "Obliterate X Terrorist Cell" or "Get President to sign X Peace Treaty on time and alive". For something less Earth shaking, try, "Buy childhood dream home" or "Open coffee shop in six weeks". What kind of story you have often depends on the antagonist's Goal.

For example, let me show you one of the GMC charts that Ms. Dixon uses in the book - Rick Blaine from Casablanca.

Rick Blaine
Description: Cynical Loner
Tagline: (lessons he needs to learn)
One person can make a difference in this world
Women in war must make desperate choices (think of the newlywed)



Goals: (what he wants)
External

1. Keep bar open
2. Punish Ilsa
3. Get Ilsa and Victor on that plane

Internal

1. Regain the love he had in Paris
2. To do what's right in the world

Motivation: (because)
External

1. Needs money and people depend on him
2. Because she left him in Paris
3. Insure her safety

Internal

1. The pain of losing Ilsa has never gone away
2. Daily, he sees what war is doing to people around him

Conflict (but)
External

1. The French Prefect has all the power
2. Punishing her puts her in more danger
3. Victor has been put in jail

Internal

1. Ilsa is married
2. He must put aside his own happiness

Looks easy, doesn't it?

It's actually a difficult chart to fill out because you are constantly learning more about your characters and your story. The big part of a good character arc is discovering how their GMCs change from the beginning of the story to the end.