Apr. 19th, 2017

mbarker: (Burp)
[personal profile] mbarker
Original Posting Feb. 1, 2017

Writers Digest, March 2001, had an article on pages 32, 33, and 51, by Steven James with the title, "Put Punch on the Page." Basically it's about converting oral stories to written stories. I'm sure most of us have a personal story, a joke, an anecdote, some kind of a story that we tell people. However, when we go to write it down, somehow it just fizzles. So Steven lays out a way to go from the story we tell to the story we write.

1. Record your ideas. Brain dumping! Just get it out there on paper. Write it the way you tell it. Don't mess with it. And then take a look at what's missing.

2. Restructure your story. Find the hook, or as Steven prefers to call it, the gaff. Grab their attention. Start with action, energy, emotion, suspense, something to make the reader want to keep going. Hold off on the background and other stuff.

3. Reshape your story. Oral language tends to be immediate and informal. But now you're going for more complete sentences. Dialogue, keep it short and snappy, interruptions and all. Descriptive and narrative parts? Here you want sentences with detail, complexity, link. Be precise, make it good readable text.

4. Reveal your emotions. You've got emotion or an idea that you want to express. Show the reader through action and reaction what is happening. Remember, readers can't see your expression, so you have to give them the written hints. When you tell it, how do you convey the emotions, what do you do or say? Now, how do you translate that into text. You want the feeling and the mood, not just the same words, but through the story.

5. Reduce the confusion. Telling a story, we separate characters through inflection and expressions. Writing dialogue, you've got to add speaker tags. You may need to add new dialogue, additional transitions, details and descriptions. Don't get carried away, but do create images.

6. Remember the audience. Make sure your story is clear for the audience. Get someone else to read it, and give you a honest opinion about how it flows. Are there gaps, unanswered questions, unclear transitions? Now, reread it, and revise it until it's as exciting as the oral version was.

Incidentally, page 33 includes a "creativity starter." It's almost an exercise! So, put your writing hats on, and try this:

1. Select a personal anecdote you enjoy telling friends. Write it down.
2. Add structure. Is there extra background you should eliminate? Try making a brief outline of the story.
3. Review that outline. Do you need to revise some of the sentences so they work better together? Rewrite!
4. Add texture. Is there information about the characters or the setting that you can add to make this a richer story?
5. Check the transitions. What about those adjectives and adverbs? Can you drop some, make some more specific, or otherwise tweak them to help the story read smoothly?
6. Think about the audience. Who do you want to read this? What are they likely to have trouble understanding? How can you clarify? Go ahead, clean up your story and make it read like the wonder it is!

There you go! An anecdote, a personal story, turned into words!
tink
mbarker: (Fireworks Delight)
[personal profile] mbarker
Original Posting Feb. 7, 2017

That's right! Over here https://madgeniusclub.com/2017/02/01/editing-the-novel/ Sarah Hoyt talks about what to do when your novel has been through the wringer and needs to be sewn together again. Obviously, not all novels need this level of surgery, but, consider these points:

1. Is your ending the strongest possible? You want to make a deep emotional impression on the reader. If not double check:
– Who is the most affected or changed by what happened? Can you get the reader in that person's head at the end, or at least get their feelings about it?
– Does your ending drop an elephant from the ceiling? It may be meaningful, but you need to foreshadow it. So, go back and add foreshadowing!

2. Is there a lot of nonsensical running around? Action is good, but it needs to be meaningful. So,
– Look at the scenes. Are they advancing the plot, do characters get closer to the goal, do they learn something?
– If not, can you change the scenes so they push the character towards the goal?
– If not, can you write new scenes that do that?
Try-fail cycles! Just like the three in the middle of every fairytale. Not random, building towards the final climax.

3. Is the final climax satisfying? Did it get lost in a swamp of minor squirmishes (Sorry, I loved that word so much, I had to borrow it!). Doublecheck:
– The final encounter is not a bang but a whimper? Whoops! Start adding more detail.
– The big battle is just a bunch of little battles? Choose one, and make it the focus.

4. Lots of other goodies to check:
– Every character gets a character arc! Even minor ones.
– Every large change/idea/reveal is foreshadowed and motivated.
– Vary the locations for your scenes. Everything shouldn't happen in the same place.
– Avoid killing characters twice, unless they are vampires or other undead.
– Brilliant ideas? If it's a series, make sure it's consistent.
– Make sure character descriptions are consistent, especially minor characters. Watch those hair colors, speech tags, and so forth.
– If it's a series, try to let new readers enjoy the books too. Not always possible, but try.
– Watch out for characters who acquire persistent habits.

And of course, the biggie. Keep writing!

tink
mbarker: (BrainUnderRepair)
[personal profile] mbarker
Original Posting Feb. 13, 2017

Digging through some old papers, and stumbled across this fragment. Feel free to finish it up, okay?

This is a story of long ago, when magic walked the Earth, and Luna was a young goddess who watched over her people. This is a story that cannot be told, and yet it must be. This is a story of...

Go on. A rope of straw? A ragged beggar's fondest wish? What do you want to tell us about?

WRITE!
tink


mbarker: (ISeeYou2)
[personal profile] mbarker
Original Posting Feb. 21, 2017


Recently, at an international gathering here at the university, someone performed a lengthy song/poem. I think it was Malaysian, but I could be confused about that. Anyway, behind them there was both the original words and what was supposed to be an English translation. I'll admit to not paying a lot of attention, but one verse caught my eye. Here, let me show you what the English words said...

If there is a well on the farm,
We can take a shower.
If we live long enough,
We can meet again.

Somehow, that juxtaposition of thoughts -- okay, if there's water, we can take a shower. And, if we live a long time, maybe we'll meet again? What?

So, here's your challenge. Take those lines, and consider them as dialogue. Now, build a scene where the characters use these in a way that makes sense. Does one person say them, or two? Why are they saying them?

Go, write!
tink
mbarker: (Me typing?)
[personal profile] mbarker
Original Posting Feb. 23, 2017

Over here,

https://madgeniusclub.com/2017/02/22/fractured-mirrors-and-the-point-of-pain/

Sarah Hoyt contemplates what makes a good book. Historically, we have seen classical references, advancing change, and so forth. Ludic? Oh, that means are they fun! So...

Sarah suggests that there's popcorn books, the ones that are just a short escape (pulp fiction? Who said that?). Then there are the ones that make your voice heard. The ones that have something in them that's unforgettable! But, suppose that's what you want to write. How do you do that?

Well, Sarah suggests looking towards mirrors and the point of pain.

What? Yes, that point where the world shatters, and it's never the same again? That's what she likes to write.

That doesn't mean the popcorn books aren't good. If people enjoy them, great. But… If you want to go for the gold, try a shattered mirror and pain.

Mirrors? What does that remind me of? Oh, now that reminds me of James Scott Bell’s book, Write Your Novel From the Middle. Over here, he talks about it

http://www.helpingwritersbecomeauthors.com/plotters-and-pantsers/#

Where the key is the mirror moment, where “The character is forced to look at himself. As if in a mirror, only it’s a reflection of who he is at that moment in time. Who am I? What have I become? What do I have to do to regain my humanity? Sometimes, it’s the character looking at the odds. How can I possibly win? It looks like I’m going to die—physically or spiritually. Now what am I supposed to do?”

And the mirror cracked….

So, there.
WRITE!
tink


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