EXERCISE: A Rainbow in the Grocery?

[mbarker.livejournal.com]

original posting: Fri, 30 May 2003 22:45:58 -0400

Something you can play most anywhere...

First, allow me to introduce Roy G. Biv.  Those of you who have already met him may want to skip ahead to second.

For those of you who are still here, Roy's a bit of a mnemonic (did I spell that correctly?  A memory aid, intended to make it easier to remember something or another).  Otherwise, perhaps not the most entertaining bloke you might meet.  Here's what the name stands for:

Red
Orange
Yellow
Green
Blue
Indigo
Violet

So Roy G. Biv is one way to remember (and order) the colors of the rainbow.  I often wonder about white (all the colors), black (none such), and my friend brown, which never seems to appear in these complementary color thingies, but let's proceed to...

Second (all together again?  comfy?) take a look around you.  I'll assume you are in a grocery, for the sake of the argument.  Here's your task.  Simply find a (fruit, vegetable, bread, juice, whatever) that has that fine color.  So you might start with red apples, orange carrots, yellow... lemons?... green peppers, blue...

Feel free to spice things up with a few extra colors or shades.  For example, there's that grey (or is it gray?  I can never remember) extra large shrimp, with its funky legs and bifurcated tail, settling on the shiny shards of ice in the deli shelves.

Third, consider how you might use these items of produce to add color to scene without ever coming right out and mentioning the color.  For example, perhaps we (ye characters most elusive) are coming home, and putting away today's groceries while talking.  If you want the scene to be red, you could mention the apples, the tomato paste, the hamburger, etc.  Or perhaps the grapes, the eggplant, and the... ketchup?  Didn't I see someone talking about blue ketchup?  Shudder...  Or toss and cross the unseen colors, maybe even with a mention of the contrast between the uncooked shrimp in the bright kitchen.

Okay?  Whenever you want, match up colors with objects in your environment.  Then consider how you might use those objects as visual metaphors for the colors.  And put your crayons to work, lighting up the scene.

(the poetically inclined may want to elaborate roy g. biv with an ode full of products, if they wish.  A veritable cornucopia of visual stimuli for the verbally persuaded :-)

EXERCISE: What's in it for them?

[mbarker.livejournal.com]

Original Posting: Fri, 28 Mar 2003 11:25:59 -0500

So let's think about how you let your reader know what's in it for them...

(not forgetting the little questions of who you are and why you are there, master narrator, but let's consider how the tale being told tells the reader what they will get out of it)

What's in it for them?  Why should they read this piece?  Something you, the writer, can use to check what you include or leave out of your piece?

The Vision Story or What's in It For the Reader

"If your listener(s) are comfortable with who you are and why you are here, then they are ready to listen to what you think is in it for them.  I don't think anyone sets out to influence others without the understanding that we need to demonstrate some benefit of compliance  some 'what's in it for them.'  However, many people do a lousy job of painting a moving picture of benefits...."

"You have to take the time to find a story of your vision in a way that connects  a story that people can see.  The secret of a moving story is to tell it from a place of complete authenticity. … vision stories are very easily taken out of context.  One of the difficulties in telling an authentic vision story is the fear that detractors can take it out of context and make it sound sappy, or 'out there.'  Vision takes courage."

"... A real vision story connects with people in a way that shrinks today's frustrations in light of the promise of tomorrow."

"... A vision story weaves all the pieces together particularly the struggles and frustrations  so that they make sense.  A vision story is the antidote to meaningless frustration.  To live in this world with purpose and meaning we must tell ourselves some story of vision that gives our struggle meaning."

From The Story Factor by Annette Simmons, p. 14-16

Okay?  So letting the reader know what is in it for them is important.  Now, how do we do that in a story?

Seems like this is one of those places where genre, series, and even just author recognition help out.  If you pick up a book in a certain genre, you expect certain elements to be about the same as usual.  So you know what's in it, even if it is a new book.  The mystery reader can expect a mental puzzle, the western reader can expect some sunshine and horse manure, and so forth.  Most series do the same thing.  And when you pick up a book by a favorite author, they usually deliver something that has the same characteristics -- if today's action-thriller author comes out with a romance, or a book of poetry, it may be a bit of a shock to his/her loyal fans.

What if you don't have a readership?  That's where you need to consider using some of the tired, but well-known, staples of your trade to let the reader know what they are getting into.  I.e., do some things right in the beginning to hint at what's to come.

TV shows, and especially made-for-TV movies, often have this kind of "preview."  Something short and quick to suggest what is coming for the rest of the time.  It may even be a little story in itself, that reflects on the larger story.  E.g., the mystery might start with the master detective shaking hands and saying, "I perceive that you've been in Afghanistan recently," or some such.

So -- who are you?  Why are you here?  And what's the vision, what are the benefits or payoffs for the reader?

(psst?  You know that question about what's the point?  I kind of think vision is like that, something that you, the writer, may need to know to guide your decisions and structuring, but not necessarily bluntly state in the old "the moral of the story is..." format.  Let the reader pontificate it themselves, they'll like it better in their own words.)

So what is your vision?  Why should a reader invest the time and energy to meander through your work?  Whether you are blatant about it -- in this piece you will learn how to stay awake for 6 years, one extra minute every day! -- or work it into the hidden background of your work, you need to know the answers.

"It is eternity now.  I am in the midst of it.  It is about me in the sunshine; I am in it, as the butterfly in the light-laden air.  Nothing has to come; it is now.  Now is eternity; now is the immortal life."  Richard Jefferies