EXERCISE: Playing Along At Home?

[mbarker.livejournal.com]

Original posting April 25, 2015

Over here

http://madgeniusclub.com/2015/04/23/%ef%bb%bf-and-now-for-something-completely-different/

Kate Paulk happened to mention several panel titles from Ravencon. I have to admit, I looked at them and said, "Aha! What do these mean to a writer?" I didn't bother to check, but I did think that we could play along at home! So, here's the first five

Playing God
Just like the last time, only different
Writing dialogue
It's just a flesh wound
The Villain's Journey 

Tell you what,  I'll take a shot at one now and think about the others later. So, let's take a look at Playing God.

I think this is probably about the common assertion that "You are God, author." It's true, in writing your story you are god. But if you want a good story you will have to accept a few limitations. I mean, you are going to have to be consistent, for one thing. Deus ex machina may sound like something for a god but really you don't want to go there either.

Believability also means details, so plan on that. You may be the great god author but instead of just telling us about it you have to woo us and convince us with all those nitty gritty concrete details that feel real.

One of places this shows up is in your characters. It may be tempting to just pick them up and shove them along, yank their strings and make them jump, but if you want your readers to believe in them, to be engaged with them, you need to show us their goals and motivations, and let the characters move themselves. You have to show us why they are doing things, and then let them walk through it, take the consequences, and feel it.

So, yes, God of the story, you get to set it up, build the setting, decide who is going to be on the stage, what their backstory is, and kick things off with a great inciting incident. But... After that, you need to sit back and enjoy the story, keeping it running along, but not go sticking your fingers in. Let the characters fight their own way through the events, scenes, and plot. Do it right, and don't be a capricious god, okay?

What do you think? Want to be on the panel?
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TECH: A Gentle Intro to Writing Fiction?

[mbarker.livejournal.com]

Original posting May 5, 2015

This is in part an exercise, and I invite everyone to join in.

Someone looked at the somewhat disorganized pile of materials over at http://web.mit.edu/mbarker/www/writers.html and at the extensive set of stuff at http://writercises.livejournal.com/ and asked me if there was a gentle introduction to writing fiction buried somewhere in there. There really isn't... But maybe someone has a suggestion? I mean, where do you start?

In the meantime, let me offer this.

I think there's kind of two different starting places. One is more or less the cognitive process. The other one... I'll get to that in a minute.

For me, the key to the cognitive process is to start with what you like to read. Then consider what makes that genre, that collection of books or stories interesting to you. Next, most of the time, stories are made up of three big things. The setting, where it takes place, is the background for everything else. The characters, who is involved, are usually where our interest really gets tied in. Finally, the problem/plot, what happens, is what makes up the story. Most stories start with a problem, an inciting incident, whether it's finding a dead body somewhere (a mystery), running into an interesting other (a romance), or perhaps discovering that there is something that needs doing to save the world or perhaps a friend? Something kicks the main characters into action, anyway. Then the story rolls through several try-fail cycles, where the characters are trying to achieve something and failing. Eventually, the story comes to a climax, a try-success cycle, if you like. Along the way, we've got tricks such as foreshadowing, giving us hints and clues about what's coming so that it's not too surprising, puzzles and mysteries to make us curious, along with tension or suspense, making us worry about what might happen.

That's kind of a high-level quick sketch of the cognitive process. What about that other starting place?

When a friend asks you, "Where were you yesterday?" You probably don't have any trouble telling him or her where you were and what you are doing. That simple storytelling is where I think the other starting place is rooted. You see most of us need to practice. We need to tell stories. They can be as simple as where you were yesterday and what you did, or as exotic and fantastic as your imagination. You can borrow settings and characters – fanfiction, by any other name. You can try out generic plots. But you need to write. To a certain extent, just writing will help you improve. However, letting someone else go over it and comment can help. Admittedly, you don't need someone to stomp around and be a nasty critic, you need someone who looks at what you are trying to do, and helps suggest ways to improve. You will need a bit of a thick skin, because even someone who is trying to be helpful can be irritating when they are commenting on our very own babies! But... write, toss it out here (SUB: in the subject line so we know you want feedback), and see what happens.

Part of this is that writing is not simply a matter of learning a certain body of knowledge. It's a skill, and you don't learn skills just by reading about them – you have to do them. So yes, there are guidelines and suggestions galore about just what we're doing – outlining, pantsing, plots, characters, and so forth. But along with all of that is the nasty requirement to sit down and write. You may run into the acronym BICHOK -- butt in chair, hands on keyboard. I actually think you have more options than that. You can write with pen and paper, with a keyboard, or even dictation. But the principle is the same. Sit down and write. That's actually the gentle introduction to writing fiction.

I need to think about this a little more, but... There's some preliminary thoughts, at least. Do any of the rest of you have suggestions? Where should someone start?

tink

TECH: Making Minced Words? (aka Chapter Length)

[mbarker.livejournal.com]

Original Posting May 7, 2015

Over here

http://madgeniusclub.com/2015/05/06/take-one-book-finely-chopped/

Sarah Hoyt tackles the question of how long should a chapter be! First she quickly disposes of the "as long as it needs to be" response.

Then she points to the emotional response of the reader, and how you stir those ingredients into your potion. You are weaving a spell, trying to affect the reader's emotions. Which means you need characters that are interesting to the reader. You need to hook the reader enough to get them to the end. Part of that is chapter length.

You could try using the formula that a scene is a chapter, and scenes end when a character leaves or comes in, borrowed from theater (remember? A play's the thing wherein we'll catch the conscience... yeah, those things that came before straight-to-DVD shows). But... it's a bit hectic.

Some great writers have also tossed the notion of chapters altogether. But that's a bit rough for the readers, since they don't know when to take a break, either.

So... Sarah suggests unity of action with a dramatic break. Beware the temptation to make each chapter a short story, with everything resolved, as that makes it too easy for the reader to stop and walk away. Keep them turning pages...

The other influence on this is the "feel" of the book. Introspection, romance, setting... maybe longer chapters. Action! Explosions! Thrills and chills! Short chapters!

Another suggestion is to tighten up the chapters as you get near the climax. After all, the action is warming up, you want to keep the reader breathless, so... shorten up those chapters!

Do beware of identical length chapters. Yes, standardization works fine for some things, but not for writing. Remember, you're writing for effect.

"How long should your chapters be? As long as they need to be to emphasize and enhance the feeling you want the reader to have."

I.e., chapters are a pacing tool. So use them to guide the reader, short choppy chapters for emphasis, long, lyrical chapters for relaxation, and all the gradations in between when you need them.

Write? Right!

tink

TECH: Principles of RPG Design for Writing?

[mbarker.livejournal.com]

Original Posting May 10, 2015

This may seem a bit odd, but I was looking at the design principles that Howard Tayler says they used to develop their role-playing game (not rocket-propelled grenade, that's only appropriate when the story is really bad!). Over here

http://www.schlockmercenary.com/blog/pmrpg-ks-0506-design

It seems to me that these are a pretty good framework for writing, with a little tweaking. Let's take a look...

1. Story comes first. In particular, things that characters want to do should have obvious real consequences, and the consequences should turn up quickly, too.

2. Abstract Everything Up. Don't get buried in the details, lost in the atmospheric scenery, and all that. Make it easy for people to understand. Don't tell us the names of every person in a group -- just call it the Nerds and let it go!

3. Failure is Fun. Characters need to fail, and get hurt.

4. Role Play (aka reading a story) is Learning! You want characters and their interactions to change over time.

5. No Backsies. Don't repeat. Yes, watching the same character go through the same sequence of actions several times is a bad thing. Show us something new!

There you go. A really concentrated set of guidelines. Story, abstraction, failure, learning, and no repeating.

Now, write!
tink

EXERCISE: Scene Change!

[mbarker.livejournal.com]

Original Posting May 13, 2015

Here's an interesting little exercise. You probably watch TV or movies, right? No, don't apologize, just about everyone does. We're going to use them as the basis for this exercise.

You see, I was watching something today on TV, and they switched scenes. However, the main character didn't say or do anything different, they just kept walking. I realized that the scene change was just background. The camera showed us the visual change. I think it's called a camera cut. Which is great for TV or movies, with all of that visual setting to cue the audience in that we are in a new scene.

However, now think about writing for readers. You want to let them know that the scene is changing, from inside a cozy hobbit house to the depths of a dismal forest, without being quite that gauche about it. So how do you do it?

Perhaps you combine a little bit of in media res -- in the middle of the action -- with a hint here and a dodge there?

Anyway, that's your exercise. Take a scene change, perhaps from a TV show you are watching, perhaps from a movie, or perhaps just from a story that you are working on. And write it up. Make sure that your reader knows that the scenery, the background, has changed. We are in a new place. Make sure the reader knows where it is, and what it is like. But don't do it with an information dump, a massive description in purple prose of the new place. Just sneak it in.

Write!
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WOW: How much description is too much?

[mbarker.livejournal.com]

Original Posting May 26, 2015

Over here

http://madgeniusclub.com/2015/05/20/a-sense-of-place/

Sarah Hoyt talks about "A Sense of Place" otherwise known as "How much description is too much?" You know, when you're writing a story, just how much do you need to toss in about the shrubbery and other bits and pieces of setting? When? Well...

A bit of a summary -- read Sarah's version for more details!

First, avoid blind-cat syndrome. Only noticing things when you are about to bump into them! Set up the world before you need it, not just as the character stumbles over things.

Other advice? How about some rules for the thumbs? Yes, here they are:

1. Beware empty descriptions. Adjectives and so forth that are a bit too generous. Get specific, mix in similes, and skip the no-fat adjectives.

2. Beware brand names.  Watch out for assuming that your reader will recognize those invented brands, and know just where they fit into the social/economic whirl.

3. Don't withhold details and then hit the reader with them later. In particular, watch out for letting the reader imagine some details, and then whacking them with different ones later.

Sometimes...

1. Fit the description to the circumstances. Modern, well-known -- a touch is plenty. Just give us a hint. Ancient, fantastic, or otherwise exceptional, give us more, but make sure that the character would still think about it.

2. Watch out for word choices. They need to fit the tone of the book and the character!

3. Save the details for things that are relevant to the plot. Remember, more words means it must be important, so make sure it really is.

4. Remember that the reader (and character) can't see anything except what you show him/her. So anything that gets described must be important.

5. Don't stop the story for the description. Keep the characters going while you describe the place or whatever.

The Way of Cheating? Aha... Give the reader a sense of the place, then focus on objects. A few points to lay out the setting, then go! If a detail is important, put it up front. Minimal. Add layers in revision for effect, mood, or character.

Avoiding overdoing description? Watch for description that doesn't have a purpose. Just enough to let the reader imagine the rest. If the image is essential, give it sensory details. Otherwise, just enough for the reader to go on.

Now, take something you have written, and check the description. Too much, too little, in the right place? Check the details against Sarah's advice, and see how you do. Then clean it up!

Write!
tink

EXERCISE: Ask your friends for stories!

[mbarker.livejournal.com]

Original Posting June 1, 2015

Over here

http://www.huffingtonpost.com/matthew-dicks/11-ways-to-guarantee-a-su_b_7302144.html

Matthew Dicks talks about ways to do a good author talk. Along the way, he comments:

"While I have admittedly led a less-than-conventional life, I believe that everyone has stories waiting to be told. When I prepare to compete in a Moth storytelling competition, the first thing I do is ask ten of my closest friends for stories that might fit the assigned topic, because I forget many of my story-worthy moments and discard others as not interesting enough."

Step one: Ask 10 people for stories that might fit the assigned topic...

All right. Let's say the topic is trust. If you want to be specific, trusting your friends. Now, do you have a story about trust? Sometime in your life that shows trust, exemplifies what it means, perhaps teaches us a little bit about it?

Go ahead, tell us that little bit of a story.

Step two: The exercise then, of course, is to take one or more of these little stories and make them into a grand story. Build up the characters, set the scene, make the conflict and the suspense a little more pointed and poignant, and make that climax explode.

So, who is going to provide the little stories about trust? Don't worry, they don't have to be great stories, just little ones from your life. Or even from Reader's Digest?

And then we can take the second step...

Write!

EXERCISE: Sukatto Writers!

[mbarker.livejournal.com]

Original Posting June 3, 2015

Thinking about it...

Step one. Take an everyday irritation. Don't like that guy honking at you in traffic? What about the woman who stops the grocery line to dig through her purse and make sure she has the exact change, instead of just letting the cashier make change? Or the fellow with three children all screaming and jumping around him in the line at Micky D's? What about the guy at the sub shop who has to ask the cashier about every single meal on the menu? Pick something that really makes you groan, and set that scene and characters.

Hum... over here http://stresscourse.tripod.com/id14.html there's a list of daily hassles if you are looking for something to jolt your brain. Take a look at these:

1. Misplacing keys
2. Arguments
3. Traffic jams
4. Time pressures
5. Lack of sleep
6. Fear of Crime
7. Shopping
8. Bureaucracy
9. Waiting
10. Loneliness
11. Queuing
12. Pollution
13. Gossip
14. Relatives
15. Excess noise
16. Inconsiderate people
17. Difficult neighbours
18. Car breakdown
19. Meal Preparation
20. Job dissatisfaction
21. Office Politics
22. Problems with children

If you can't find an irritation in that list... well, oysters make pearls around a bit of sand, right? So let's admit it, we have some irritations, too, right?

Step two. BUT what's this! Supergirl comes flying down and opens up another register? Or... yes, come up with some twist, some poetic justice, something that makes you smile, laugh, even feel righteously victorious. What would make you, and everyone else, feel as if justice, truth, and the American way had triumphed? Brainstorm a bit, and see what you can dream up. Now... finish writing your story. Make us high-five the winners!

Simple, isn't it? Just write!
tink

EXERCISE: Three characters and a place?

[mbarker.livejournal.com]

Original Posting June 12, 2015

You all know the jokes that start out with a butcher, a baker, and a candlestick maker walking into a bar, right? And then go on from there?

Well, I was thinking that makes a nice template for a writing exercise. So, buckle up and pick a number from one to six, okay? You have chosen:

1. An advertising executive, a doctor, and a basketball player walked onto the fishing boat.
2. A ditch digger, a Mountie, and a jeweler walked into a public restroom.
3. A historian, a race car driver, and an interior designer checked into a motel.
4. An artist, a flight attendant, and a swimming instructor walked into a elementary school.
5. A bailiff,  a slumlord, and a garbage man walked into a cafe.
6. A baker, an economist, and a marine biologist walked into a library.

Go ahead. Expand those characters, set the scene, and tell us why this threesome is going into this place. And what happens then?

Character occupations courtesy of
http://juliahwest.com/prompts/contemp_job_random.html
And places courtesy of
http://juliahwest.com/prompts/contemp_place_random.html

Over here, Julia has a number of random generators you can use to kick your writing a bit.
http://juliahwest.com/prompts/index.html

So, what are you waiting for?
Write!
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