NANOWRIMO: Pixar #21: What's my motivation?

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Original Posting Nov. 21, 2013

Why would anybody do something like that? Well, Pixar suggests:

"#21: You gotta identify with your situation/characters, can't just write 'cool'. What would make YOU act that way?"

So you've got your situation, the problems or events, the characters, and you know it would be really cool if they did this... But why would anybody do that? Well, put yourself in their shoes (okay, boots, moccasins, dancing slippers, or whatever :-) What would make you act like that? There you go, now you know what's the motivation, what's driving them. Just show us that motivation, the stakes, the goal, the shining dream, whatever it is... translated a little bit so that it's the character's, not just yours.

Whether you call it empathy, multiple personality disorder, or just creatively thinking about your characters, that ability to imagine yourself in the character's place, facing that situation, acting and reacting as they would, is a key part of writing. And you need to practice it. The easiest thing to do is set up the scene or the situation, then imagine yourself as the character right in the middle of it. What is pushing you? Why are you trying so hard? What makes you tick?

It really is kind of like method acting. Consider the character's motives and emotions. You may want to draw on your own experience of similar emotions, or simply imagine yourself as if you were that character. And what happens? What do you feel, what do you think, how do you act?

Go ahead, write that scene as you experience it!

NANOWRIMO: Pixar #22: Start with the essence, then add to that

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Original Posting Nov. 22, 2013

The very last Pixar advice? Yes, but it's a good one!

"#22: What's the essence of your story? Most economical telling of it? If you know that, you can build out from there."

The essence? The most economical telling of it? That's probably like one line.

In fact, Save the Cat! And many other frameworks for writing do suggest that fairly early you try to lay out a one sentence summary of your story. What is at the heart of this story? With that in hand, you're free to add embellishments, to fill in and expand your story.

Now admittedly, for nanowrimo, sometimes we just have to get started writing, and keep going, and stumble over the essence of our story in the writing. But somewhere along the line, at the beginning, in the middle, or maybe even at the end, we really should be able to come up with an economical statement of the essence of the story. And that really does help during revision to decide which parts really tell that story, and which parts kind of snuck in when no one was looking and should be set aside for later. Knowing what the essence of the story is also lets us build it into more parts of what we're doing, making sure that it is reflected even in the subplots and diversions that we may dive into.

For nanowrimo, you may not want to drive yourself crazy coming up with the most economical statement of the essence right at the very beginning. But somewhere along the line, take the time to think about your logline, your answer to the question, "What's the heart of this story?" Or try Marion Zimmer Bradley's four parts: a likable character/ overcomes almost insuperable odds/ by his or her own efforts/ achieving a worthwhile goal. Or maybe Maya Lassiter's sentence: a protagonist with a need/in conflict with/an antagonist with a need/in an interesting setting/with a twist? Anyway you look at it, figure out the essence of your story.

Then build out from there.

Write, write, write.

NANOWRIMO: Eight Tips?

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Original Posting Nov. 23, 2013

We're coming into the home stretch and we've run out of Pixar advice? Well, a search for eight tips for writing stories found two different sources. One is a list of eight tips from Kurt Vonnegut right over here

http://www.brainpickings.org/index.php/2012/04/03/kurt-vonnegut-on-writing-stories/

The other is several tips for creating great stories from various authors such as George RR Martin right over here:

http://www.fastcocreate.com/3019333/8-tips-for-creating-great-stories-from-george-rr-martin-junot-diaz-and-more-of-the-worlds-to

Incidentally, I'm pretty sure this is actually a selection from Jeff VanderMeer's Wonderbook: The Guide to Creating Imaginary Fiction. There are some very interesting illustrations, too. But in the meantime, there are eight little vignettes of advice to go along with the eight from Kurt Vonnegut. All right? Let's see what the first one from Kurt Vonnegut is...

"1. Use the time of a total stranger in such a way that he or she will not feel the time was wasted."

Now that sounds reasonable, doesn't it? If you expect someone to sit down and read your short story or your novel, you want them to feel as if they haven't wasted their time. It needs to be worthwhile! Exciting emotions, surprises, interesting and different vistas and views, what would make us happy that we had spent our time reading this?

Think about it yourself. What makes reading worthwhile to you? Make sure that you are putting lots of that into your story, too.

>From the Wonderbook we have:

"Tell, don't show." Kim Stanley Robinson recommends exposition! He says the standard advice of show, don't tell was killed by the publication of Gabriel Garcia Marquez's 100 Years of Solitude. He points out that the boring business is hackneyed plots and old stage business, while the interesting stuff often lies in what might be called exposition, that is to say "writing about whatever is not us." Well, maybe. I think perhaps he is trying to remind us to look at what's interesting, exciting, different, more than simply recommending simply telling. But that's just me trying to read between the lines. Anyway...

It's actually kind of interesting to play these two off against each other. Kurt Vonnegut recommends that we not waste a total stranger's time, and Kim Stanley Robinson suggests that we avoid boring stuff, and focus on something different. In some ways I think these two are making the same argument – keep it exciting! Keep it interesting! Don't bore the reader.

All right? And on the 23rd day of nanowrimo, the beginning of the last full weekend this year, looking at Thanksgiving ahead...

Write, write, write!

NANOWRIMO: Vonnegut and Wonderbook #2: Character And Names

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Original Posting Nov. 24, 2013

Now this one sounds familiar. Kurt Vonnegut recommends:

"2. Give the reader at least one character he or she can root for."

Someone that we empathize with. Someone that we want to see win. Give the reader someone they can root for. A sympathetic protagonist? Sure, why not.

And then we have Neil Gaiman recommending, "Name wisely." A good name makes a good character. It needs to fit the character, and you may have to spend some time looking around and trying out different names. But once you have the right name, you're ready to go.

Of course, on day 24 of nanowrimo, hopefully you've already got that character for the reader to root for and probably a name of sorts. Still, there's always subplots and new scenes where you can put this advice to use. Make sure that every named character has a good name, one that fits them and works. And make sure that we've got someone to root for. Someone with a goal, someone that we would like to see succeed.

Kind of like you, writing away to achieve that pinnacle of success known as Nanowrimo! Write, write, write!

NANOWRIMO: Vonnegut and Wonderbook #3: Motivation and Backstory

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Original Posting Nov. 25, 2013

Is it turkey yet? No, Thursday – the 28th. This is Monday, the 25th, right? Five more days of nanowrimo to go! Let's see, both of these are talking about your characters. Of course, by now you probably have most of your characters pretty well worked out, but it's still good advice. And perhaps you'll need to think about a bit character still, or add a little depth to one of your other characters.

Here's what Kurt Vonnegut recommended:

"3. Every character should want something, even if it is only a glass of water."

Every character in your story, main characters, named characters, even the bit player who just carries a spear or maybe a tray full of food, should be motivated, should be trying to achieve or get something. On the stage in your head where the story is playing out, you are the playwright, director, and all of the players! So remember, there is no such thing as a small part, only small actors – so make sure all of your characters want something.

All right? Now here's the advice from Wonderbook:

3. Build a better backstory. Stant Litore recommends three questions for creating characters. What moment defined the character's relationship to their parents? What moment defined their greatest desire? And what moment defined their greatest fear? This tells you where the character comes from, what they want, and what holds them back.

A character's past, their desires, and their fears. Instead of filling out lengthy character templates, focus on those three critical points for each character. What defined their relationship to their parents – which implies knowing what their relationship to their parents is, of course. How does their past shape them? Then, what is their greatest desire? This is back to the motivation, the goal that they are trying to achieve. Third, what is blocking them, in particular what are they afraid of? Not just the rational, logical competition, but the emotional drag that holds them down.

There you go. A little advice from Vonnegut and Wonderbook about getting your characters to stand up and stand out. Where did they come from, what do they want, and what are they afraid of? With emphasis on the wanting, even for the bit players who just barely come into the story.

Write, write, write.

NANOWRIMO: Vonnegut and Wonderbook #4:

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Original Posting Nov. 26, 2013

Running into the home stretch of nanowrimo, we've got some great advice from Kurt Vonnegut and Wonderbook. You might think they are more related to revision than to the kind of first draft get it all out there that nanowrimo often urges, but let's see.

First, Vonnegut points out:

"4. Every sentence must do one of two things – reveal character or advance the action."

When you're just trying to get the first draft down, you might not want to worry too much about this. After all, you can come back during revision and make sure that every sentence reveals character or advances the action, or sometimes both at the same time. But it's worth trying to remember as you charge ahead on the first draft. After all, even in the first draft, you can think about what the sentences are doing. In fact, you can use this to guide your writing. As you write, try to reveal character. Or try to advance the action. Either way, you're adding words that actually help your story.

At the same time, Wonderbook suggests:

4. Take your lumps. Charles Yu recommends "Leave things lumpy." People want to know odds and ends. Leave the lumps in your writing, even if they make it less smooth and pretty.

Aha! Instead of running it through the food processor so that it all looks the same, keep the lumps. That odd description of his grandfather's sandals that doesn't seem really necessary – leave it in! You might consider it as part of revealing character, even if it's just the author's odd character.

Actually, nanowrimo, with the get it down and keep going push, is likely to create some lumpiness in your writing. This advice from Charles Yu suggests you want to keep that lumpiness. You might call it voice. It's part of what separates your writing from all the other folks who might have written similar passages. Grain, if you like woodworking.

So, advice about making sure that sentences add character or push the plot, along with a suggestion that some lumpiness is just fine. And in the meantime...

Write, write, write!