You Can Find the Creative Sweet Spot to Connect with Your Audience

“The sweet spot of every person lies at the intersection of our greatest strength and greatest passion.” —Ken Coleman

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Image courtesy of Stuart Miles at FreeDigitalPhotos.net

Has your approach to engage an audience gone awry like a shanked golf ball that speeds away from the cup?

If so, finding the creative sweet spot in your activity will propel your desired result forward.

The sweet spot is the point that creates the most power for the least effort. To visualize this, try the following.

Suspend a golf putter between your forefinger and thumb. Then lightly tap the putterhead on either the toe or the heel. The putterhead turns slightly, but the putter doesn’t swing. Now, tap it where the manufacturer has marked the sweet spot between the toe and the heel. The putter swings like a pendulum, ready to send a ball forward.

3 Examples

1. Connecting with a preschool boy.

Image courtesy of Stuart Miles at FreeDigitalPhotos.net
Image courtesy of Stuart Miles at FreeDigitalPhotos.net

At Bible Study Fellowship, a volunteer sat on a chair. She asked a little boy about the car he played with during free play. The boy muttered something as he rolled his car on the rug with pre-printed roads.

She made a connection. But compare it with what I’ve used with preschool boys in several venues. I sit on the floor near the boy. I select another car and a police car. I make my first car speed and then take on the role of the policeman inside my police car. I speak what the policeman thinks and says and sound the police siren as my police car chases my speeding car.

In no time, we’re playing police-chase. Sometimes the boy likes to be the policeman, stopping my speeding car: “You were speeding. Speeding is bad. Here’s a ticket.” I dramatically plead my case, and sometimes I zoom off.

The sweet spot in this case is the dramatic story while entering the boy’s circle of play.

2. Connecting with readers.

inner voiceI wrote four “practice” novels. I received nibbles from editors, but the novels lacked one main thing. When I found it, I had two short stories published and landed a book contract. The sweet spot? Writer’s voice.

Donald Maass says in Writing the Breakout Novel, “By voice, I think they mean not only a unique way of putting words together, but a unique sensibility, a distinctive way of looking at the world, an outlook that enriches an author’s oeuvre.”

After learning other aspects of the craft, I finally had fun and let my inner personality and attitude come through in my writing. Ta-da. My voice.

 3. Connecting with young male prisoners.

nativityWhen I joined a prison ministry, I felt something was missing in the verbal messages.

For the Christmas lesson, I brought in a large nativity scene, and as I told the story of Jesus’ birth, I arranged different scenes from the pieces: Mary, Joseph, an angel, a stable, animals, infant Jesus, and shepherds. After the story, a wide-eyed young man approached me and wanted to know more.

The sweet spot was the drama of my visual scenes.

Like a golfer uses his putterhead’s sweet spot to send his golf ball to the cup, you can find something creative to move your audience.

What have been sweet spots in your activities?

What Your Conference Blunders Teach You About Novel Writing

“There are no mistakes or failures, only lessons.” —Denis Waitley

Oops! Road Sign

Do you need to go to a writers’ conference to learn to write?

Yes. How else will you experience blunders that teach you about conflict; the hero’s greatest fears; obstacles, disasters, and ticking time bombs; and ramping up tension?

In going to the American Christian Fiction Writers Conference in Indianapolis, my goofs showed me in my deep point of view* everything I needed to know about these writing principles.

* Deep Point of View is a writer’s technique to make readers feel they’re living inside a character’s mind.

Ramping Up Tension

Image courtesy of Idea go at FreeDigitalPhotos.net
Image courtesy of Idea go at FreeDigitalPhotos.net

The night before I left for conference, I still had packing to do. I needed to finish my pitch to editors. And I needed a golf glove to complete my costume for the dress-up-like-your-character dinner.

Adding to that, I’d scheduled to attend a board meeting and regular meeting that night. I left for the meetings with barely enough time to stop and purchase a golf glove.

With all I had to do, I sensed a meltdown coming on just short of hives. Now, I knew how to write my characters’ emotions under escalating tension.

Obstacles, Disasters, and Ticking Time Bombs

mage courtesy of Stuart Miles at FreeDigitalPhotos.net
mage courtesy of Stuart Miles at FreeDigitalPhotos.net

On the second leg of our drive from Virginia, my sister and I left with enough time to make it to the Conference’s Early Bird session. While we yakked, something felt wrong. Then realization slammed me. I’d tapped on the wrong hotel address in my GPS. We’d traveled twenty-one minutes back toward home! Panic set in. Could we make up forty-two minutes of lost time?

A second realization hit me when the low-gas light appeared. The trip meter said I had twenty miles of gas left. On all horizons lay miles of Ohio cornfields. My heart jumped to my tonsils. I prayed frantically as the miles of gas kept dropping and we passed exits without gas stations. Would we find a station before stranded with only corn to survive?

I pumped gas with six miles of gas to spare. And we arrived on time for the Early Bird session. Thank you, Lord.

Now, I knew how to write my characters’ emotions while disasters created a ticking time bomb.

The Hero’s Greatest Fears

Image courtesy of hyena reality at FreeDigitalPhotos.net
Image courtesy of hyena reality at FreeDigitalPhotos.net

The conference parking information I received ahead of time was confusing. The info mentioned twelve-hour parking when I needed twenty-four. Rates would increase during the Colt’s game unless I moved my car. But move it to where? I feared I’d have no place to park.

When we arrived, parking was a breeze.

My greatest fears were unrealized. That was good, but how boring for you!

Conflict

Image courtesy of Liz Noffsinger at FreeDigitalPhotos.net
Image courtesy of Liz Noffsinger at FreeDigitalPhotos.net

During the conference, I left an interesting session to attend a mentor appointment. A writer was pitching her story to an editor at the mentor’s table. Bummed, I told a volunteer the mentor hadn’t shown up. The volunteer interrupted the editor and writer, thinking the writer was the mentor.

Embarrassed at her faux pas, the volunteer checked the schedule. My appointment was for the next day. The volunteer was unhappy with me. I could’ve crawled under a rock.

Now, I knew how to write my characters’ emotions when they were in conflict with other characters.

I’m thankful (now) for these events that showed me how to write emotions in deep point of view.

What situations have taught you something you could include in your creative work?