EXERCISE: Five Things I've Learned about Writing

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Original posting 30 November 2007

Ha, ha, ho, ho, a meme indeed.

Over here at
http://jamesmaxey.blogspot.com/2007/11/five-things-ive-learned-about-writing.html James Maxey ponders the question of five things he's learned about writing.

And in a show of comradery, he's asked some friends to write up the same notion. One, Andy Remic, has posted his five points already over at http://andyremic.blogspot.com/2007/11/5-things-ive-learned-about-writing.html

Another, Lisa Shearin (with a new book at http://www.lisashearin.com/ ) seems to be doing it in five parts. Part one is up at http://www.lisashearin.com/2007/11/5-things-ive-learned-about-writing-part.html

It strikes me that this is an interesting exercise. Imagine, if you will, that you have been asked to formulate what you have learned about writing in five easy pieces (wasn't that a movie?). Or five steps to the novel? Or five somethings, leastwise.

Let me think - and you do the same, then we can compare notes!

write?
tink
(Let's see, five? That's one hand worth, eh? So the sound of one hand clapping?)

EXERCISE: four nouns and a surprise!

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Original posting 1 December 2007

Oh, that looks like it could be fun.

I was reading James Maxey's essay at http://jamesmaxey.blogspot.com/2007/11/stories-are-made-out-of-scenes-scenes.html (first of five about his five things he's learned about writing). A good thoughtful piece about scenes and nouns, which you might want to peruse in your spare time. But . . .

Down near the end, he's got an exercise. First, take four "generic" nouns and punch them up. The four he suggests are "man, woman, building, city." Replace with more specific, evocative knowns, and then see what kind of scene or story they suggest. E.g., "Cop, nurse, Superdome, New Orleans" hints at something. Or perhaps "Shuttle pilot, astronaut, launch pad, Cape Canaveral" light your rockets? (Isn't that Cape Kennedy now?)

I also thought his list of starting surprises was interesting. E.g. there was a shark in the kitchen, a skull on the coffee table, a lion in the laundromat, or a giant lizard reading to a kindergarten class - any one of those juxtapositions of the sinister or strange with the mundane gets the brain going and makes the reader want to find out what's going on.

I'm going to be at a conference this week - general chair for the first day's thisworkshop, then attending, so may be a bit quiet. But this gives me something to do during those long conference meetings this week, perhaps? Specify nouns or surprise contrasts, then sketch the results - and smile, that's the end of his talk?

So - write, write, write!

TECH: Stumbling toward Plot and Structure (26)

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Original posting 10 December 2007

Stumbling toward Plot and Structure (26)

And here we go again! Sorry about last week, I was at a conference and didn't have my book. What book? Ah, Plot & Structure by James Scott Bell, of course. Where we now find ourselves about to plunge into Chapter 13, a discussion of common plot problems and cures. Or at the very least, some calamine lotion to help with the itches.

So let's get to it!

Problem: Scenes Fall Flat

Every scene needs some tension, some edge to it. Might be action - external stuff - or internal tension such as the characters worrying, but you need that spark. So what can you do if it isn't there?

Bell suggests looking for the "hot spot" -- the moment or exchange that is the focus of the scene. If there isn't one, you might consider dropping the whole scene. But if there is one, highlight it. Then back up. Is the paragraph before it necessary? What about each sentence, or each phrase? Keep moving backward, clearing out (cutting) anything that doesn't lead the reader right to the hot spot.

Problem: Flashback Blockages

Watch out for flashbacks that kill the momentum and frustrate your reader. Some hints are:

Is this flashback necessary? Is this really the best way to present the info? Could you drop it in some other way?

Is this flashback a scene? It should be just as immediate, confrontational, and a unified dramatic action as any other scene you write.

Did you trigger the flashback? Introducing and getting back from a flashback can be stumbling points. One way to keep it smooth is to provide a strong sensory detail that triggers the flashback for the character - something they see, hear, smell. Then write the flashback. Then go back to the sensory detail again to get back.

Don 't get tense in your flashback. You can use one or two "had" verbs to start, but then just use plain old past tense.

Consider the alternatives such as a backflash in dialogue or thought. A bit of dialogue can convey important background. Or a character can think about it.

Problem: The Tangent!

My favorite digression. But when you thought the story was going thataway and suddenly there's this other path, what do you do? Couple of obvious possibilities are to forge ahead ignoring the allure of the byways, confident that sticking to the plan is best . . . or swerve and take a trip into another place!

Bell suggests a blockbuster approach. Set aside your mainline effort for a moment, and in a new file (or a blank sheet) do a little free-form outlining of the next few scenes as if you had no idea what was next. Let your "inner players" free to stage what they think should happen. Summarize this, and ask yourself: if this happened, what consequences would follow?" Summarize. Take a break. Then look at the tangent and decide rationally if it is better or not.

Problem: Twisting Characters to fit the Plot

Oops. Sometimes the little metal soldiers get all bent out of shape as the author tries to force them to follow the plot. Not so good for anyone. So . . .

Some ideas include spending a little time writing free-form journal notes from the POV of the character ... go out for a night on the town with the character. Where does he or she go to relax, who does he or she talk with, what happens when someone throws mud (literally or metaphorically)? Go back and get to know the characters better, then make sure that the plot flows naturally from who they are.

Problem: the Mid Novel Slog

Your writing has gotten dull and you just don't know where this treadmill is going? Take a break, and then either go back, jump cut, or randomize! Go back? Back up to where things were cooking and then consider taking off on a little different angle. Jump cut is just that, jump ahead and perhaps sideways, and pick up there. Look for a high-conflict juicy scene that excites you and write that. Then figure out how to fill the gap.

Randomize? Bell suggests flipping the dictionary open and finding a strong word on that page. Then flip it open again and pick another. Now write something that uses those two words. What does this fragment suggest about your story?

Problem: Shutdown.

Oops. The imagination is on strike, and there is nothing doing.

Don't despair, everyone gets stuck now and then. Here are some kickstarts. Take a look, then pick one and use it.

First, you may need a recharge. If your inner editor is blocking the works, remember that you have permission to be bad and that you can and will go back later and polish. But right now you need to get it down first!

Or may be you're just feeling fraudulent? Who are you fooling, claiming to be an author? Take a break, consider what you are about, talk with a friend. I'd also suggest reading some slush or bad printed stuff -- come on, you can do better than that!

Second, relive your scenes. Go back through, and imagine yourself in the scenes. Punch up the feelings, let things dance and shift, pickup the pace. Make sure your scenes grab the reader and don't let go at the endings. Good endpoints include the moment when a major decision has to be made, just as something terrible happens, a hint at something bad about to happen, a strong display of emotion, or with a question posed but not yet answered.

In other words, tighten up your existing work.

Third, recapture your vision. Sometimes we need to step back and take a look at the over all shape and goal. Think about the meaning and there. Remind yourself of your mission as a writer. Many people find a short pithy statement of their reason d'writing to be useful.

Bell starts his exercises by suggesting you list your own major plot problems, prioritize that list, and plan how you are going to improve. Then second, he suggests looking at a novel you have read that didn't work for you. Identify that was wrong, and how you could do better.

Great! That's Chapter 13! So now we have Chapter 14, A collection of tips and bits, plus a couple of appendices to look at, and that will finish up Plot and Structure.

A couple more weeks, eh? Just about in time to ramble with 6x6.