The HEA Cafe

I was introduced to the magic that is Michael Hauge in 2006 while attending the RWA National Conference in Atlanta. I didn’t get a chance to see Michael speak in person because I was sick as a dog. But, Maria Geraci, my best friend and critique partner was able to attend his workshop. The Michael Hauge kool-aid was so tasty that she promptly ran upstairs (took the elevator), woke me from my nap and delivered the workshop verbatim to me and my other crit partner, Louisa.

Fast forward to Dallas in 2007. I was not sick as a dog and was able to worship attend Michael Hauge’s workshop. The information he delivered was familiar (thanks to Maria’s delivery the year prior) but I still gained something new from him. Plus he’s just plain entertaining. I love it when he cracks himself up.

Anyway, Michael joined our table and chatted us up on the final night of the conference. He was very warm and friendly and totally enjoyed our company. (I mean, who wouldn’t, right?) I am a huge fan of the man and am still drinking the kool-aid.
So, what’s my point?

Well, I’m a pantser. It’s very difficult for me to plan a story in advance. But in order to make writing my career, I need to sell on proposal…and to do that, well, I need a strong plot up front.

Last week, I ordered Michael’s audio book, Screenwriting for Hollywood from audible.com. I am not a screenwriter, but this lecture really focuses on the necessary elements to have in your story and how to make a story more commercial. Which, in turn, helps me write a stronger proposal.

One thing I’ve always had trouble with is figuring out the real definition of High Concept. Diana Peterfreund defined high concept on the Knight Agency blog back in 2005, and it helped some. But even after Diana’s explanation, I was still somewhat confused. I needed it broken down in a simpler form–because well, I’m just a simpleton sometimes.
But thanks to Michael Hauge, I think I get it now.

To make a story more commercial, to give it a “high concept” feel…a story must be both familiar and original. It’s a bit of an oxymoron, I suppose, but if you think about it, that’s exactly what makes a story commercial. It’s what makes your story salable. If your story is too original, it will be a hard sell–where will they market it?. If your story is too familiar, it will be a hard sell–the market is glutted romantic suspense, how is this different?

What can you do to make your story more commercial? Is your story both familiar and original?

I highly recommend checking out Michael Hauge’s website or listening to his From Identity to Essence workshop from Dallas 2007. He knows how to break down a story in a way that makes sense, even to someone as unanalytical is myself. If he can help me turn into a plotter, he can help anyone.