TECH: Super Structure (part 1) (500 words)

[mbarker]

 Original posting Dec. 13, 2018

I recently grabbed a copy of Super Structure by James Scott Bell, and am working my way through it. Looks great, and I think I will meditate on at least some of the points he makes here on the list. So...

"the overall plot of a novel is about how a character confronts death."

Skip a little...

"Now, there are three kinds of death: physical, professional, psychological."

Aha. Okay, so the point is that stories need stakes that are high enough to really engage us, as readers. Which means death. Physical death, in some cases, like thrillers, mysteries, and others. Pretty straightforward, someone is gonna kill somebody else.

Professional death? I may lose my job, career, love of music,... or sometimes the role that we play in life? Father, spouse, something that is critical to us. A bit more abstract than physical death, but nearly as common a threat or danger.

Or psychological? Hum, losing my self image? Losing my respect? Sure... how can this person become fully themselves, and what blocks that, what can tear them down? Sure...

James gives several examples of these points, and you really should read his book. Or perhaps you could take some stories or books you like, and consider just how this plays out there.

Hum... I wonder if you could take Maslow's hierarchy of needs and play that against James's three kinds of death? Physiological needs matches up with his physical death. Safety, love/belonging, esteem? Sort of matches up with professional death? They are all about the relationship with other people and society at least. And then there's that self-actualization top of the pyramid. Psychological death? Perhaps.

https://en.wikipedia.org/wiki/Maslow%27s_hierarchy_of_needs has a description...

Physiological needs? Food, water, sleep, shelter, sex… Physical things!

Safety… Covers a range of needs. Personal security, emotional security, financial security, health and well-being, avoiding accidents and illness.

Social belonging. Friendships, intimacy, family… Professional status fits right in here.

Esteem. This is probably sliding over towards psychological death. Self-esteem, self-respect, competence, mastery, and so forth?

Self-actualization. Now we are into motivation, seeking to understand sense of self, pursuing a goal, seeking happiness. Okay, that sort of lines up with psychological death.

Sorry about the little side trip, but it's an interesting thought for me. It might add some richness to your exploration of the death stakes, too?

Why is it important to decide what kind of death, and how it plays out in your story, as early as possible? Well, James suggests:

“Being able to define the type of death that overhangs your main plot will keep you on track when you write your novel. It will bring you back to the path if you happen to get lost along the way.”

Okay? So just what kind of death does your protagonist face? Physical, professional, or psychological? What will it cost if they lose, or what will they win if they succeed?

Something to consider, right?

TECH: Super Structure (part two) (400 words)

[mbarker]

 Original Posting Dec. 20, 2018

Just another chunk of Super Structure by James Scott Bell.

Next, James Scott Bell offers an array of ways to brainstorm stories. As he says, none of these is the right way. Try them out, then mix-and-match to your own tastes. Here are his suggestions with my notes.

1. The White-Hot Document

Just write. Jot down whatever ideas you have. Then set it aside, and come back tomorrow to go over it. Add to it, pick out pieces, and write some more. Ask yourself questions, and answer them. (Basic pantsing 101)

2. Scene cards

James says he takes 50 or so index cards, and then starts imagining scenes. When something is vivid or cool, he writes it down on a card. Use prompts, random words, or whatever to help make the soup bubble. Then, when you have a bunch, shuffle and pick two. Look at them and see what connects, what do they make you think about? Go ahead and add more scenes if you need to. Then take the stack, and organize it into acts. The natural order, so to speak. And poof – you have an outline!

3. The elevator pitch

Write an elevator pitch. You can use the framework that James suggests, of three sentences.

1. Describe the character, vocation, and initial circumstances.
2. What is the doorway of no return?
3. What are the death stakes?

4. Try the LOCK approach

Lead: what will bond your readers to the lead?
Objective: What is the fight with death?
Confrontation: What is the opposition?
Knockout Ending: what is the battle at the end? Inner/outer, mental/physical?

5. Start with a concept

First, what is your concept? Typically what if… Then flesh out the character of the lead. Add some scenes. Think about the mirror moment. And now what is the transformation that the lead will undergo?

6. Flesh out the basic five beats

Act I
1. Disturbance
2. The door of no return #1
Act II
3. The mirror moment
4. The door of no return #2
Act III
5. The final battle

There you go, six different ways to tackle brainstorming your story. Not sure which one you want to try? Get out your die and roll. As the game players will tell you, one D6 can help you make that decision!

All right? So we have our death stakes, and some brainstorming to fill out the story. Next James is going to talk about keeping up your creativity while you write.

TECH: Super Structure (part three) (380 words)

[mbarker]

 Original posting Dec. 26, 2018

Is it time to write yet? Well, you might want to dive into it. But James recommends that while you are writing, you build the fires of creativity? Creativity as you write? You mean I don't just put my nose to the grind stone, fingers on the keyboard, pedal to the metal, and crunch out the words? Well, James suggests you do a little bit more… Maybe one of these?

1. The Novel Journal. Do some work in your journal before you dive into the writing. Maybe start by writing something personal. Then some questions about the work in progress. Where are you on the plot, characters, what comes next, scenes? Then start writing. Maybe just five minutes, kind of stretching and a little personal brainstorming session before you settle down to the focused writing.

2. The boys in the basement (a.k.a. your subconscious, your muse, whatever). Before you go to sleep, ask yourself a question about the story. Picture that last scene you wrote, and ask yourself what comes next. Keep a notebook beside you while you sleep for great answers in your dreams. And in the morning, take a few minutes and write down anything that comes to mind. Trust the boys in the basement to come up with stuff.

3. Exercise. Tired of sitting, hunched over that pad of paper or that keyboard? Get up and do some exercises. Take a walk. Break writing into 25 minutes of writing, then either a 10 minute walk or exercise, or maybe a 10 minute lay down and do deep breathing pause.

4. Mind map! Take a sheet of paper. Write the names of the characters in bubbles around the edges. Then add events, and links tying things together. You may be surprised at what shows up.

5. Skip ahead. So you're stuck? Just mark it, and jump ahead to the next piece that you want to write. Come back later and fill it in.

So, the point is, even when you start writing, keep the mental flow going, the wells of creativity pumping out ideas.

Next, before we get to Super Structure, James takes a look at scenes. He calls them the building blocks of fiction. So we need to know how to make good bricks before we start on our building, right?

EXERCISE: Get on your marks...

[mbarker]

 Original posting Dec. 30, 2018

Start!

The funeral really started when they played Pop Goes The Weasel and the coffin lid swung back...

There you go. Take that line, and write that scene! Who is at the funeral, who is in the coffin, and just what did happen when the music played?