The Place For My Writers Notes

Original Posting Aug. 6, 2016

Over here, Sarah Hoyt recommends practicing writing violence. You know, when the bad guy blows up the boat, or the good guy gets a chance to fight back? Or something like that.

https://madgeniusclub.com/2016/08/03/writing-violence-a-beginners-effort/

But... How do you practice that?

Seems to me a good way to practice would be to take a sporting event — the Olympics are coming up, there’s always football, soccer, and such? Or does American TV have competitions with teams of tv folks gleefully trying to climb walls, kick balls, and such physical events? Take one of these, and tell us what happens. Put us right in there, as the ball hurtles past the guards, and there… Yes, he headed it towards the net, but… It dribbled past the edge of the net, just millimeters outside, as the fans roar in frustration.

Anyway, that’s my suggestion for practice in writing violence. Write a sports event!

tink

Original Posting 11 August 2011

Since I can tell that everyone is thrilled to be reading these (I can see right through your monitor... look at those glassy eyes, that intent gaze!)... Here's a six step plan to help you write a short story. Ready?

Writer's Digest, February 1992, p. 20-22 have an article by Jack Bickham with the title, "The Writer's Digest Short Story Blueprint." It's the first part of six. The basic idea is that Jack Bickham is going to coach us through writing a short story. It's a workshop. All right? So let's get started.

Jack starts off with the observation that stories are about people. Usually a protagonist, and often an antagonist. The reader is supposed to like and identify with the protagonist, and dislike antagonist. Sounds pretty simple, right.

But just what kind of personality traits do you find appealing or detestable? Well, your first assignment is to make a list of personality traits that you admire or detest in real people you know or from vivid fictional characters.

How do you make a list? Well, Jack uses file cards. And for this assignment, he suggests starting by, on a single file card, writing down a single aspect of personality that you admire. Then on that same card, write down an action or a handful of spoken words that will show this trait to a reader. It might be something you've seen, or just something you imagine. But make that personality trait concrete for your reader.

Now, next do the same kind of thing for something that is despicable. And under the heading, write down a specific action or speech that shows that trait in action.

Keep going until you have about 20 of each kind, good and bad. You can use three or four words for the trait, but you looking for isolated traits, not big lists. Your cards don't need to be consistent -- they can be traits in different characters. All you're trying to do is identify what you like and dislike.

So with your two lists of traits -- on file cards, Excel spreadsheet, or word document, whatever works for you, next we need to consider what kind of the story you want to write.

Jack suggests that there are three kinds of stories (yes, other people have seven, 20, one monomyth, or whatever. But today, we're studying Jack's ideas, okay?). Conflict, decision, and discovery. He also suggests that stories start with a person who has a vague or even well realized lack -- "Something inside them that aches for change or repair." Life has knocked them out of balance, and something needs to be fixed.

In conflicts, the character has a specific story goal, which they think will make them happy again. But,someone else in the story opposes that quest. They struggle, and in the end, after a confrontation, someone wins and someone loses.

In a story of decision, the central character has a lack or problem to fix. There may not be a clear villain. The major character struggles, and eventually reaches a point where they need to make a hard decision and take some action that is at least potentially life-changing.

In a story of discovery, the character struggles to achieve some kind of realization, which again has the potential to be life-changing. These stories are often quiet and subtle, depending on style and nuance, and may end without as much apparent significance. These are also the hardest to make convincing for readers.

So which one do you like? Well, Jack suggests starting by making some more lists. First, make at least 10 character objective cards, listing something that your character would be willing to fight for. Objects, accomplishments, whatever drives them. Then turn the cards over and describe the kind of opposition your character might run into. Use a villain, and describe why and how they would get in the way. Second, do the same sort of thing for story decisions. Write a difficult character decision -- choose between two jobs, etc. on the back of these cards, make notes about story angles that could make the decision more difficult. Third, make it least 10 discovery cards. On the front, pinpoint the lack or sadness or need that the character faces. On the back, describe a subtle change that might suggest that things are now different.

When you do this, one type of story card will probably come easily. You'll probably find that these are the kind of stories you like to write. But save everything. You never know when that idea that seemed really useless will turn out to be just right.

Finally, Jack suggests a bit of field research. Basically, listen to the dialogue around you. Pay attention to wording, interruptions, slang, all of that. And whenever you can, make a dialogue card about interesting aspects of what you hear. Practice observing.

Checkpoint. Before you go on to step two, you should have stacks of cards or lists somewhere, with your good and bad traits, stories of objectives, decisions, and discoveries, and some interesting dialogue. You may have other lists, too. If you got all that, it's time to go to step two, setting up your story. If you don't have it, you need to do your homework.

That's step one!

So:

- at least 20 traits you admire, each with a concrete action that would show that trait to a reader.
- At least 20 traits you detest, each with a concrete action that would show that trait to a reader.
- at least 10 character objectives, things that your character would be willing to fight for, and the kind of opposition they might run into.
- At least 10 character decisions, things that your character might agonize over, and what would make it harder.
- At least 10 character discoveries, things that might change in your character, and signs that the change had taken place.
- Finally, a collection of interesting observations about real dialogue.

That's just to get started! All right?

Write those file cards. (Is there an electronic equivalent that is really as useful? Y'a know, I vaguely remember something on the old Apple computers that was an electronic card file... and people who used it swore that it was the most useful program. I think it died somewhere along the way, though...)

Oh, well. Make your lists, in whatever media you like.

Original posting 19 January 2009

Making the Bad Guy Human

Writers Digest, August 2005, pages 20 and 21, in the Fiction Essentials column by James Scott Bell, discusses the need to make the antagonist -- the villain -- a real person.

"Fiction readers thrive on danger. They want to see your protagonist challenged, threatened or uneasy. Sure, there's pleasure in vivid prose. But sooner or later (preferably, sooner) your protagonist must be opposed, or the story starts to drag." And, of course, most opposition comes from bad guys -- strong opponents. Sometimes the opposition is simply through competition, or through some difference of opinion. But in most cases, the opposition is someone "who operates from a negative set of values." A guy in a black hat -- but you need to make him a well-rounded, realistic character.

1. What makes bad guys run? Don't just blame it on the evil. Get to know your bad guy, including whatever is positive. And in particular, what drives them. "A bad guy ought to be competent. He gets results. If he doesn't, he's not threatening." Think about how many real villains have a certain charm to them, and how that adds to the horror.
2. The Sympathy Factor. Bell quotes Dean Koontz, "the best villains are those that evoke pity and sometimes even genuine sympathy as well as terror." Bell suggests thinking through your villain's life this way. First, think about what they look like. It's okay if this is a stereotyped person. Second, think about their objective. What is it that they are trying to do or achieve that brings them into conflict with the main character? Remember that from their point of view, they are the hero of their story. Third, dig into their motivation. Why do they want this? Why are they obsessed with it? What is pushing, driving, exciting and tempting them? Fourth, think about a sympathetic background for your villain. Bell likes to use a major turning point in their childhood, a powerful secret that can be revealed late in the story. Perhaps the key here is that you need to know your villain deeply.
3. Digging deeper. Still not quite sure you know who this villain is? Try these questions to help you understand the opposition:

• What are his talents? How do these talents help him get what he wants?
• What do people like about him? What admirable qualities does he have?
• What do other characters think about him?
• Why are people drawn to him, what fascination does he offer the reader?

Think about making your villain complex and memorable. Not just a mustache-twirling desperado tying heroines onto railroad tracks and pushing the hero towards the edge of the cliff, but a real person who likes their coffee black.

Exercise? Take your work in progress, and identify the opposition. Do you know where they are headed, what drives them, and their background? Will readers understand, even if they can't forgive and forget, why this person opposes your hero? Where can you add some dialogue, some action, or other bits to help the reader see the opposition as a human?

And for the enhanced version -- turn your story over? What if the antagonist were telling the story? Switch the points of view, and tell us what happens when the Big Bad Wolf gets cheated by those nasty little pigs.

Make sure that everyone in your stories is a real person, not just a cardboard puppet being manipulated by the author.

And beer for my horses . . .