[identity profile] mbarker.livejournal.com
Original Posting May 25, 2016

Pull gently on the rope, and...

Roll your dice and pick one of the following:

1. Policeman
2. Priest
3. Psychologist
4. Ship's captain
5. Homeless vagabond
6. Pick your own role

Then add that person to the following starting line:

The (insert role here) asked, "Why did you drown your robots?"

Now, what does the other character answer? And then what happens?

Go ahead. Why did your character drown his or her robots? What do they answer when asked? And how does it play out?

Write that scene!

[This exercise suggested by a scrap of dialogue in Howard Tayler's Schlock Mercenary today, for those who wonder.]

Hear the motors cranking up and starting to rumble?

Now write!
tink
[identity profile] mbarker.livejournal.com
Original Posting April 25, 2016

Sorry about the quiet. Unfortunately, I've been traveling and then we moved, and network access has been limited. After moving, in fact, we've spent a week without telephone or network! It's interesting to unplug, but it does make you appreciate the kind of access that we tend to take for granted. Fair warning, we're supposed to get telephone and network service again tomorrow!

Many of you probably remember the TV show, with the slob and the neat freak trying to live together? That dynamic of a mismatched pair is a good one to consider when you're setting up characters for your story. Perhaps not quite so obviously, but having people who have some kind of a built-in conflict -- political beliefs, religious beliefs, the artist and the cold rationalist, even Jack Spratt who could eat no fat and his wife who could eat no lean -- they all can provide a fun kind of interaction in your story.

So, take a character, then consider what traits could be reversed or inverted in some way, and what happens to your story when the dynamic duo at the heart of it can't stand each other!

Okay? Write!
tink
[identity profile] mbarker.livejournal.com
Original Posting March 28, 2016

Over here http://www.schlockmercenary.com/blog/the-twelve-archetypes/ Howard Tayler, of Schlock Mercenary fame, talked about an odd encounter that one of his writing chums had at a conference. Apparently they were challenged by someone pushing writing tutorials about whether or not they knew The Twelve Archetypes (which I assume must be capitalized, and probably enunciated in hushed tones, as if referring to the 12 apostles or some other rulers of the universe?).

Anyway, Howard had fun with trying to match up the 12 archetypes with some regular names, in the attempt to come up with a mnemonic (a memory device) so that we could all easily remember them. For example, the Monarch turns into the ruler. He's looking for arc, arch, or ark words, names, phrases that remind you of the actual names. Now, I'll slip you the 12 archetypes, okay? All you need to do is add names or phrases. I'll even give you one of Howard's to help get you started.

1. Innocent -- Joan of Arc
2. Orphan
3. Warrior
4. Caregiver
5. Seeker
6. Lover
7. Destroyer
8. Creator
9. Ruler
10. Magician
11. Sage
12. Fool

Go ahead and have fun. What are your 12 arch names for the archetypes?

Bonus points? Sure. What roles in life are missing from this list? E.g., I notice that there's no real slot for the brother, sister, parent, or other family relative? I guess you can argue that's a mixture of caregiver and maybe some other roles, but let's face it, the relationship between siblings does have its own dynamics.

Better yet, take three from the list and consider what happens when they run into each other. Or what happens when the innocent must become a ... ? Go ahead, have fun with that list!

Oh, incidentally... WRITE!
tink
[identity profile] mbarker.livejournal.com
Original Posting Sept. 18, 2015

You mean a story can be short-sheeted? Oh, wait, no... these are templates for drawing up short stories! Okay...

Over here

http://madgeniusclub.com/2015/09/09/short-story-cheat-sheets/

Sarah explains why she dallied with short stories once up on a time (you should read all about it!) and includes the Cheat Sheet. Here it is, in case you missed it:

Title

1. Setting (this includes time and future history if needed) It sets the stage for the conflict.

2. Story Characters

3. Problem or goal

4. Complications

5. Turning point/black moment (often also called mirror moment, when your character realizes he’s been pursuing the wrong goal or the right goal in entirely the wrong way.)

6. Resolution

She also tossed in a couple examples, from story plans that she's not planning to use. You might find those useful if you're wondering just what a story plan using this cheat sheet might look like.

So... the assignment for us, I guess, is to take that Cheat Sheet and try outlining a short story (or four or five!). Then, of course, write it!
[identity profile] mbarker.livejournal.com
Original posting 29 Dec 2011

Over here, David B Coe talks about attributes that make characters effective and memorable. The four parts are a secret, the wall, loss, and desire. I'm not sure if we can come up with an acronym to help us remember those --  SWoLD? No, that's just silly.

http://www.magicalwords.net/david-b-coe/on-writing-character-development-secret-wall-loss-desire/

Anyway, the secret is just that. Something that the character does not want to share. Sometimes it's a secret that is being kept from the character. Anyway, there is some secret information waiting in the wings.

The wall is whatever sets the character apart from other people. Something makes this character different.

The loss is something that the character regrets. Something about their background or their history has left deep scars, emotional pain.

And the desire -- they want to achieve something, usually to fill in the hole in their own life.

And then he looks at some examples. Sure enough, protagonists seem to have a secret, a wall, loss, and desire.

Now the fun question is, can we turn this around and use it to develop characters? If you're writing a short story or novel, and your character doesn't seem to be quite as interesting as you like, can you take a look at them in terms of these four parts? What is their secret? What is the wall that separates them from the rest of us? What is the loss in their background? What is the desire that is pushing them?

What do you think? Does SWoLD really help in creating characters?

Something fun to think about!
[identity profile] mbarker.livejournal.com
Original Posting 11 Nov 2011

First of all, over here

http://writercises.livejournal.com/143199.html

There are some comments about Chekhov's gun -- the idea that when you talk about something early in your story, later on something should happen with it. A gun hanging on the mantle really deserves somebody taking it down and shooting it, sooner or later. Or perhaps you prefer a MacGuffin, a Maltese falcon, a holy Grail, or one of those other things to be searched for. There's also plot tokens and plot vouchers -- if you get the six parts of the ancient crown, you too can reign incandescent or something like that.

The key here is that some of the objects and bits and pieces floating around in your story imply things, and you want to show them to the reader sooner or later. A bear trap being set up in Chapter two will turn up later, probably with something or someone's leg in it. Or perhaps the music box on the dresser will eventually be played, revealing that someone really did like Fantasia? Whatever, keep those keys ready to turn in locks, alright?

Another thought, while we're at a turning point -- one third of the month roughly behind us, two thirds ahead. You might want to consider what you learned about your protagonist and antagonist. Quite simply, by writing to this point, you've probably figured out more about what's going on. Even if you had a detailed outline, character sheets, and all that planning, when you start writing, you start inventing, and suddenly you realize where the scar on your protagonist's shoulder came from, what happened to the antagonist's favorite cat, and all those little details that bring your story to life. You may also find yourself getting a bit confused.

Which makes it a great time to sit down and remind yourself who everybody is and what they're trying to do. Based on what you've already written, take a little time and write up again who your protagonist is, what their goals are, what the blocks and conflicts are that they face, what they plan to do about it, and just what's ahead for them, as you see it now. Then give the other guy equal time, and think about your antagonist. What are their goals? What about the conflicts and problems that they face? As they wind up their thin black mustache, what kind of an evil plan do they have? And what's ahead for the antagonist? Are there any other important secondary characters that you need to reconsider, now that you've come this far?

What about your plot? Are there events that you want to add to the mix at this point? Perhaps some that you want to take out? Take a look back at the 10 days worth of writing that you've done, and consider the next 20 days or beyond. You might want to think about the promises that you've made and consider when and where you're going to pay them off. What questions have you raised for the reader, and what kind of answers are you going to give them?

Okay? 15,000 words more or less already out of the way, and you probably have a feeling for what it's going to take to keep going. Frankly, I don't think it's as important to hit the quota as it is to set your own goals and keep going. Be consistent.

So, sit down and write. Word after word after word, a bit here, a bit there, and watch the pile grow.

Incidentally, as Nanowrimo likes to remind you, back up your work! You don't want your writing to fall into the great bit bucket and disappear!
[identity profile] mbarker.livejournal.com
[I know, it's long, but... I thought you might want it for your Halloween writing pleasure! Don't forget, we've got a contest running! So you might just be in the mood to write a story -- and Blake has some advice about how to do that.]

Blake Snyder, in his book on screenwriting with the title "Save the Cat!" describes a process for writing that you might find useful. This is my summary. For more details, of course, read the book. I think you'll find it worthwhile.
 
1. What's it about? Summarize your story in one line. Blake suggests that great loglines -- one line summaries -- have four key qualities. They're ironic, meaning they hook your interest. They create a compelling mental picture. They tell you who the audience is. Finally, they have a killer title. That's right, a one line summary plus a killer title!

2. What genre is it? Audiences want the same thing only different. The way you do that is figure out what it's like. Now Blake doesn't recommend the standard genres -- romance, western, and so on. He's got 10 that he thinks covers things pretty well. You're welcome to come up with your own, or use his.
  1.        Monster in the house: a confined space, somebody did something wrong, and there is a monster loose!
  2.        Golden fleece: the quest! A hero, their search, and their internal growth.
  3.        Out of the bottle: a wish fulfilled, and then...
  4.        Dude with a problem: an ordinary guy in extraordinary circumstances.
  5.        Rites of passage: growing up and other crises at any age
  6.        Buddy love: the odd couple learns to like it (romance fits in here!)
  7.        Whydunit: crime and digging into the hidden side of ourselves
  8.        Fool Triumphant: the underdog beats the institution
  9.        Institutionalized: the group versus the individual
  10.        Superhero: the extraordinary person in an ordinary world
3. Who is the main character? What is their primal goal? Who's the bad guy? What do they want? Use adjectives to let us know who these people are.

4. Fill out the beats. Blake uses 15 steps as the structure. I know, I know, that's so mechanical. But you can always start with these 15 points and then change it to suit yourself. Again, you'll need to read the book to get the details, but here's a short list:
  1.        Opening Image: the starting point
  2.        Theme Stated: someone poses a question or makes a statement that is the theme.
  3.        Set up: introduce the main characters, show what's missing, get ready
  4.        Catalyst: the life-changing event that makes things happen
  5.        Debate: the hero waffles. Do I really want to do this? Ask a question.
  6.        Break into two: the hero takes the step across the threshold
  7.        B Story: the love story, the other line.
  8.        Fun and games: the good stuff. Show off the idea and enjoy it.
  9.        Midpoint: up or down, the hero is at an extreme. Raise the stakes, and get set for all is lost a.k.a. false defeat.
  10.        Bad guys close in: the bad guys start to win.
  11.        All is lost: opposite of the midpoint, false defeat, everything has gone wrong. Often with a whiff of death, even in comedies.
  12.        Dark night of the soul. The main character really struggles.
  13.        Break into three: but maybe... The B story, the hero thinking it through, there is a solution.
  14.        Finale. The hero triumphs, the bad guys lose, and the world is changed.
  15.        Final image: usually the opposite of the opening image, shows that things have changed.
5. If that's too complicated, try this one. Blake suggests using a cork board and cards. 4 rows -- act one, act two, act two, and act three. Yes, act two gets split into two pieces, before the midpoint and after the midpoint. And there are five key parts -- the opening set piece, the break into two, the midpoint, the all is lost point near the end of the second act two, and the break into three. Aside from that, you can put about 10 cards on a row, 40 cards altogether. That's for a two-hour movie. Obviously, for short stories, multivolume epics, and other variations, you might have fewer or more cards.

Oh, and on each card besides a short description of the scene, you need two notations. One is the +/- notation. This is the emotional change in a character that happens in this scene. Second is the >< notation which is where you indicate the core conflict of this scene -- how are two people butting heads in this scene.

6. With those five, you're ready to write. So go ahead and write it out. Now in Blake's chapter 6, he suggests some helpful rules to consider:
  1.        Save the Cat: early in your story, have the hero do something so that the audience likes him and wants him to win.
  2.        The pope in the pool: exposition, infodumps, backstory are boring, so bury them in something funny or exciting.
  3.        Double mumbo-jumbo: audiences only accept one piece of magic. One incredible coincidence. Two times is too much.
  4.        Don't lay too much pipe: too much set up before you turn on the water
  5.        too much marzipan: too many great ideas spoil the broth
  6.        watch out for that glacier: slow danger is
  7.        covenant of the arc: every character must change
  8.        keep the press out: keep it cozy, not a worldwide mess
7. Last, but not least, revise your draft. Take a look at these questions
  1.        Does my hero lead? Strong goal stated, works to get information, active, tells people what to do?
  2.        Do I "talk the plot" or do the actors do things?
  3.        Is the bad guy bad enough? Does he challenge the hero?
  4.        Turn, turn, turn -- do things go faster and more intense as we move along? Are there more and more revelations, changes, and twists?
  5.        Emotional rainbow: mix it up!
  6.        Do you have flat dialogue? Take the names off and see if you can tell who's talking.
  7.        Take a step back: does the hero grow? Start far enough back to let the hero change.
  8.        A limp and an eye patch: even minor characters should be memorable. Speech, look, manner -- make them stand out.
  9.        Primal urges. Do your characters act out of primal, basic desires? Love, survival, protecting family, revenge?
That's it. Simple, right?

Now sit down and start writing.
[identity profile] mbarker.livejournal.com
Original posting 20 Sept 2011

Ready? Got all those other steps all done?
Step One: A list of traits (with action tags!) that you like and dislike?
Step Two: Answer the questions! What kind of story, setting, time? What are the name, age, traits, problems or faults, and motivation for the main character, their opposition, and the major secondary characters? Where does your story begin and end? What research do you need to do? If it was onstage (or a movie or TV -- straight to DVD?) what would be the dramatic scenes? Who might publish this?

Step Three: Expand those main characters. What is their dominant trait (and tags)? What is their goal and motivation? When do they enter the story and leave it? What is their physical description and role in the story? Oh, and what is their self-concept?

Step Four: What is the story question and answer? What is the scene/sequel chain linking them? For each scene, what is the goal or scene question, problem, conflict, and disaster or scene answer? For each sequel, what are the emotions, thoughts and planning, and decision?
With all that background, it's about time to start putting words on paper -- what most people think of as writing! Sooner or later, you have to write a draft. And, now is the time.

Writer's Digest, May 1992, has the article by Jack Bickham about Step Five: The First Draft. And here's my summary of Jack's article.

Jack starts out with two pieces of advice -- first, waiting won't make you more confident. So start writing. Second, you can always fix things later.

Incidentally, when talking about plot, Jack talked about the story question and how the ending must answer that question. When talking about characters, Jack talked about their self-concept, and how hard characters will struggle to protect their self-concept. Now, what is the most frightening, motivating development to face any character? Something that threatens that self-concept? And what threatens it the most -- change! That realization of change is at the core of most stories. That's what we mean by the moment of change that starts a story.

So, if you're not sure where to start? Take a look at your descriptions of the characters personality, and think about opening situations that would threaten that. Something that threatens their self-concept.

Jack talks about one writer who always started her first draft with her main character getting off of a train or bus in a strange town in the middle of the night. She said she has never used that opening in a finished story, but throwing the character into that moment of profound change always got the first draft going.

"Find the change and start writing from that point."

Jack also has several suggestions for keeping yourself on track. First of all, keep reminding yourself of the story question and the story ending answer. That's the framing for your story, and everything needs to move from the story question towards the story ending. Second, remind yourself of your character descriptions as you work, and keep your characters consistent. Third, work with your scene sequel chain. Fourth, if you start fretting about the prose or find details, drop back to writing a detailed synopsis. Just add details to your block diagram, your scene sequel chain.

Fifth, Jack recommends that you proceed in a sequential order. As he points out, if you skip around, you're most likely to write the easy parts and the ones that you see most clearly. Eventually, you need to write it all. But starting with the easy stuff can leave you with an intimidating pile of hard parts to do. I'm not sure that I agree with this, but it is an interesting point.

Last, but far from least, Jack points out that short stories may have given you experience with intense short bursts of writing. But for novels, professional production, you can't afford to wait for that. Instead, you need to regularly produce. Write every day, and keep track of your writing. You're training yourself for marathons, not sprints. So start clocking those miles!

Write the draft. Don't stop to do a lot of revision now -- that's the next step. Right now, you just need to produce pages. False starts, messy transitions, limp dialogue, characters that even their mother wouldn't trust, and so forth are all part and parcel of getting the first draft down so that you can fix it later.

When you get stuck, take another look at your story question. Then ask yourself what is happening right now in the story, and how does it relate to the story question? If nothing is happening, kickstart the actions, thoughts, feelings and get moving again. If whatever's happening doesn't matter to the story question -- skip it and move on to something else.

All right? So step five is really sit down and generate that first draft. Take all that background material, and start turning up pages (or filling screens?).

Write! And we'll be back to revise it soon...
[identity profile] mbarker.livejournal.com
Original Posting 3 Sept 2011

Okay. So in step one, you identified traits that you admire or detest, along with some concrete examples of each. You also looked at whether you prefer conflicts with goals, difficult character decisions, or those elusive discoveries as a broad type of tale. And to relax, you collected some fun dialogue bits and pieces. Right?

In step two, you did some hard thinking about what you wanted to write. What kind of story, setting, and... the main character, the opposition, and other characters. The beginning, and the end of the tale. Oh, and what viewpoint? You remember, a little list of 19 questions? Plus the followup commentary to check your own work?

Right! So now it's time for part three... where we fine tune the people a bit more. Character building! Ready?

Writer's Digest, March 1992, p. 28-31, have the article by Jack Bickham. Jack starts by noting that the question of whether to start with plot or character when developing a story is really confusing, because plot ideas suggest people while characters almost always have plot problems plaguing them. "Good plots involve vivid characters, and good characters are always involved in a plot.

Or to put it another way, it really doesn't matter where you start, you have to look at all of the pieces anyway.

So what are we going to do here? We'll start with whatever notes you made in step two about the hero, villain, and secondary characters. We're going to turn those notes into action tags. You've already done some of these, taking abstract or generic traits and adding concrete examples. Now we'll expand on that.

First, go through the characters you picked for your story, hero, villian, and others, and make sure every one has at least a dominant trait, with a tag showing that trait. Now, review those and consider whether or not this is the character's true dominant trait, or most important trait. Feel free to change those that need it. Also, you may want to add additional traits for a character, along with action tags.

Now take time to check these four points:
1. Are the dominant traits for your set of characters different?
2. Are the action tags different?
3. Do you have strong, specific tags? Is there anything about how they talk or dress that can help identify them?
4. Do you have a name for each of your characters?
Next, you want to go over your list of characters and consider the following information. Notice that you may not want to spend as much time on bit players as main characters. So stop when you think you've reached the right depth.
1. Name, age, brief background.
2. Single dominant trait and at least three action tags for your story.
3. Goal, problem, or feeling that motivates him/her
4. Action, event, or place where the character is introduced into the story.
5. Action, event, or place where the character is left at the end.
6. Brief physical description of the character.
Jack talks about ranking your characters next. The hero is number one, the villain is number two, and then things get complicated. I think identifying roles for all of your characters in your story may be more important. What is each of the people going to do? Some of them may be false suspects, side complications, sidekicks, and so forth. Go ahead and make up your own labels, but you should know what each and every person is going to do. Why are they in the story?

For at least the key characters -- hero, villain, main secondary characters -- you're also going to want to identify their self-concept. Who are they and what do they want? What are the activities and possessions that go with that?

After you've gone over your characters for this step, you should:
1. Have most of the key information for every major character.
2. Know the characters names, backgrounds, traits and tags, self-concept, role in the story, motivation, and when they walk on stage and off in your story.
3. Have some bits of action, dialogue, or description about some of the characters.
4. Know who is the most important in your story.
5. Have some idea of how your major characters are going to interact, and why.
Okay? The key here is to take some time and think about your characters. Who are they, how do they fit into the story, and what are they going to do?

In step four, we'll take a look at the plot, the other half of this. Now you've got your characters, what are events that will try them?

Traits that you admire or detest, answering a list of questions, now building characters? And next, we'll be plotting?

When do we get to the writing, again?
[identity profile] mbarker.livejournal.com
Original Posting 16 Feb 2011

Over here http://www.sfnovelists.com/2011/02/15/simple-writing-tricks/ S. C.
Butler talks about the way that some writers develop extensive background biographies for their characters, filling out character sheets, writing up interviews, and such, before they start work on the stories. He suggests that he has found a single-word summary such as Dogged, Devious, and Greedy also works pretty well.

(anyone remember Everyman and the morality plays? Well, maybe not. Anyway...)

He suggests that this is kind of a shortcut (or shorthand) for motivation. It might also be a way of summarizing where they are on their character arc?

What do you think? When you start a short story, or perhaps a novel, how do you "get into" the characters? Do you have a mental or real picture of them? Descriptions, character sheets, or something else? Do you start out with a well-defined cast of characters or does it develop while writing?

Does your character description change while you are writing?

I have to admit, I tend to have a mental sketch or picture, but often not much more. Names... I usually come up with those beforehand, but sometimes end up adjusting them while writing. I tend to the pantser side of the house, even though I appreciate all the guidelines and worksheets around...
[identity profile] mbarker.livejournal.com
Original posting 17 Jan 2011

I usually don't remember my dreams, but this morning there was a trace of one rumbling around in my head when I woke up. It was pretty vague and confused, but here's what I think was happening...

Mike felt pretty good as he walked towards the car in the parking garage. Dinner, a show, good friends, and of course, the woman that he was starting to feel very serious about. A nice, relaxing evening.

He unlocked the car doors, and stepped back as everyone started to get in. That's when he saw the cardboard box sitting near the wall. He frowned, but stepped over and flipped the lid open. Then he whistled soundlessly.

"Hey, Jim? Come over here and take a look at this." Mike looked around the empty garage as Jim walked over.

Jim's eyes grew wide, then he knelt and started going through the box. He looked up at Mike and said, "Guns? And ammunition? Man, there's enough here for a small war. What the heck?"

That's where I woke up. A small party of friends, coming back to their car, discovers a box full of guns and ammunition.

I have to admit, I'm kind of curious as to what happened next. So I thought I'd toss it out as an exercise. Go ahead and change the characters, put them in a setting that you prefer, but tell us what happens when a small group of friends finds a box full of guns and ammunition. What do they do with it?

Just write.
[identity profile] mbarker.livejournal.com
Original posting 25 Nov 2010

Okay, quick catch up. (#23) First of all, over here http://community.livejournal.com/writercises/146911.html I reflected a bit on making characters 3-dimensional or rounded as part of nanowrimo. After all, a flat character doesn't take much -- just toss a label at him or her, and move on. Kind of like telling, instead of showing, right? Except we're out to fill in around the edges, so what does it take to make a character a bit more rounded? First, realize that even that redshirt or bit player may have something to show us, so spend a little bit more time thinking it through. Second, like onions, ogres, and probably other things, be aware of the layers. Multiple agendas, feelings, beliefs, all that stuff. Give them some depth, and see what happens! Third, think about goals, motivations, and conflicts (aka GMC) for them. What does this character want? Why are they doing things? What conflicts are they involved in? And, last, consider how this character changes in your story. What drives their change, what shows it to us, and what does it mean for the character and for us? Okay? Make those characters well-rounded, and see how that turns into plots that people really want to read.

(#24) Action! Over here, http://community.livejournal.com/writercises/147151.html we talked about some ways to tackle the action scenes that movies and such have made a part of our stories. I suggested starting by walking slowly through the action, making sure that you have all the little details clear in your mind. Then decide what the best way to portray that to your reader is, based on the POV character and other dramatic needs. Especially consider what your POV character is likely to really see, understand, and think is worth commenting on. An ordinary housewife watching a military attack sees one set of things, the master sergeant sees a different set of things. What you use in your description tells us as much about the POV character as it does about the action in the middle of things.

(#25) Let your body do the talking? Right! Over here http://community.livejournal.com/writercises/147394.html I chattered about using the characters' bodies -- heads, legs, arms, torsos -- as part of the expression. After all, someone who is just saying nasty stuff isn't nearly as obviously angry as the character who is leaning forward, hand raised in a fist, ready to punch the lights out of the other person at the slightest hint of resistance. And as for the person who is saying calm stuff even though their legs are shuffling them from side to side, head bobbing, eyes narrowed? Plenty of possibilities, and we all know that body language is a key part of how we relate to other people. So think about what kinds of reactions all your characters are having, and where it fits, show us some of the physical signs of what they are feeling.

Rounded characters, a bit of action, and don't forget the body language! Busy days, as we watch the nanowrimo clock wind down. And I'd be willing to bet that some of you are enjoying Thanksgiving, too. A turkey or ham? Stuffing. Mashed potatoes, corn, or what kind of veggies? Biscuits, rolls, some kind of fresh bread? How about some cornbread? Cake or pie? We actually went to the nearby CostCo the other day, and I'm slowly working my way through a pumpkin pie for Thanksgiving. Really good.

And, of course, even while taking a small nap to let your Thanksgiving feast settle, you might want to consider? maybe after the parades or football games?

Write!
[identity profile] mbarker.livejournal.com
Writer's Digest, December 2006, pages 37-39, has an article by Jordan E. Rosenfeld with the title, "The Novelist's Survival Kit." Jordan starts out with the suggestion that novel writing is like entering a new relationship -- scary, exhilarating, insecure, worrisome. However, he also points out that the major difference is that you control your novel. You create characters and change them, you manipulate the circumstances and plot, you decide everything (do I hear the twilight zone introduction somewhere in the background? We control the horizontal and vertical... :-)

But you need to be prepared for the first draft being less-than-perfect. Just as you don't get acquainted with a person completely instantly, the first run through of a novel is likely to have some rough edges. So how do you set yourself up and keep going? Jordan suggests a survival kit, building blocks, killing your critic, and beating procrastination. Let's look at each of these.

Survival Kit. This is your collection of things that help you feel prepared for the journey and keep you on the path. It starts off with blind faith: "Faith that you have something important to say, that your competent and capable of writing a novel, and if you don't begin now, then when?" He suggest two notebooks -- one small and portable, for jotting down inspirations and notes. The second is larger, and stays at your work place. This is for all the other details. Timelines, character notes, etc. (Some of us might use an electronic version of this!) Next, a reward system. Design it yourself, make it something that you enjoy, and reward yourself for sitting down to write, for completing chunks, for getting things done. Finally, a schedule. Set up times to work, and take it seriously.

Building blocks. Jordan suggests that the key to your novel is two things. 1. Plot: "a sequence of events with consequences that happen to your characters." You might use the narrative arc -- complication, crisis, solution. Complication: set up problems for the characters. Then add consequences and actions. Finally, work to a resolution and close. 2. Characters. You have to have people. You might want to start with a short biographical sketch of the main characters -- what do they look like, what do they want, what are they afraid of?

Killing your critic. Insecurities and criticism are likely to make you stop writing. Don't do it. Set your own goals and responses to the doubts and procrastination and self-criticism.

Beat procrastination. Resistance, tomorrow would be better, and so forth are sneaky and subtle. Some tricks to avoid waiting:
  • Reduce research. A little bit of research goes a long way, but letting yourself chase down just a little more information can keep you from ever starting. Write down the questions, do the research when you have to or during your scheduled research time, but keep writing.
  • Revision is for second drafts. Trying to get it perfect before you go on often means you never go on. Plan on revising later, and right now get the first draft done.
  • Scene blocking. Pick a number between three and 10. That's your horizon -- the number of chapters or perhaps scenes that you're going to look ahead while you're writing. You need to think ahead and write down basic details to string a plot, but you don't need to know every detail of every piece of the whole story. So lay out enough to reach your horizon, then write that much, and then repeat.
  • Quantity over quality. Give yourself a word count goal.
And keep writing.
[identity profile] mbarker.livejournal.com
Original posting 26 April 2010

Movies, TV shows, media overrunning our brains... and giving us lots and lots of characters?

OK, today's exercise. First, pick a movie or a TV show that you know reasonably well. Could be an oldie (the Wizard of Oz! I love that old movie :-) or something more recent (Avatar? Isn't that something you have on your computer game?). Whatever, pick one.

Second, list several of the characters. Probably the main ones, although you can toss in some bit players if they really caught your attention. Think about what made them stand out for you.

Third, go through a recent day, perhaps a party, sometime when you met some people. And think about how these people match up with the characters from your movie. Did you meet the Wizard of Oz? How about Toto? The Wicked Witch, the Scarecrow, or the Tin Man? The Cowardly Lion? A Horse of a Different Color? Go ahead and compare and contrast -- how are these people like those movie characters, how are they different?

Now, for the bonus, take those characteristics, those shared insights, and build yourself a character or two for a story. Sure, take Uncle Fester and that guy at the mall yesterday, rub off the edges, and rebuild them as a character for your story. Do a little character sketch, maybe show us that underlying character doing something that really shows us what they are like. Scribble some notes about how this character grew up, what they like, what they hate, what they want to achieve.

There you go. Characters out of the intersection between the media and your life, stepping into your tales. And dancing!

Write?
[identity profile] mbarker.livejournal.com
Original Posting 25 Jan 2010

Writers Digest, August 2008, page 71-72 have an article by Steve Almond with the title, "Background." It starts out with the little story that follows...
"Years ago I served as a teaching assistant in a fiction class. The instructor was a sweet grouch with a penchant for dogma. One day, someone asked if there was anything the narrator had to reveal on page one. He sighed deeply. 'The narrator should tell the reader everything he needs to know in the first sentence.'"
Steve goes on to explain that the teacher emphasized that we should know who the protagonist is, where we are, and what the situation is.

Steve reminds us that he believes the Hippocratic oath of writing is: never confuse the reader. And when we thrust a reader into a story without the facts, we're confusing them!

He gives an example of a student story that starts out:
I can remember the first time I saw her It was hard to miss her that night.
When you read that, you want to know who the speaker is, who she is, where they are, and what makes her hard to miss, at least. Steve says that in the student's story, all that information was much later in the story. His suggested rewrite started out:
The first time I saw Tammy Feldman was at Deke's Sadie Hawkins bash. She was wearing a plaid mini and doing shots off my girlfriend's belly.
What do you think? Is the rewrite clearer? One thing I notice is that we still don't know who "I" am, but...

Here's another beginning. What do you think about it?
His shirt was red and his knuckles were warped and there was broken glass under his feet. He could hear shouting. He headed for the road that would take him back to her.
Guess what? This is about a protagonist who gets into a bar fight and heads for refuge with an old girlfriend. Did you guess that?

But you don't want to bury the beginning in background details, right? So which ones do you use?

Steve suggests a simple rule of thumb -- make sure the reader knows at least as much as your protagonist. In that last example, the hero knows he's in a bar, he's had a fight that made his shirt bloody, and that he's trying to escape. So let the reader know that, too.

Give the reader the facts that create the emotional significance of the scene...and they'll go right along with you.

So why do we hide information? Uncertainty -- we (the writers) aren't sure where to start, and then don't go back and revise. Insecurity -- we may try to create curiosity by hiding facts, but it isn't what happens that makes a story interesting, it's the how and the why. Arrogance -- sometimes writers think it is beneath them to explain to their readers. But if you're not writing for the reader, who are you writing for?

Steve's final paragraph...
"Readers are by nature generous creatures. They come to a story, or a novel, eager to lose themselves in an imagined world. This requires that they attach themselves to the fate of one or more characters. But this empathic bond can only occur if authors share with us -- as soon as possible -- the specific fears and desires of their creations."
Make sure your first sentence has enough background to let the readers dive in.

Write?
[identity profile] mbarker.livejournal.com
original posting 8 January 2010

Writers Digest, October 2007, pages 79-80, have an excerpt from What Would Your Character Do? by Eric Maisel and Ann Maisel, along with a short sidebar about choosing your character's career by Nancy Kress. The main article suggests that you create a character notebook, with your notes organized around 12 categories. I prefer to think of them as questions that you might want to use to provoke thinking about your character. In any case, here are the 12 categories:
  1. Basic Headline. This is a one line, short summation that says how this character is likely to react. Edith Bunker in All in the Family "would react as Jesus Christ might have reacted." Is there a principle, a core that defines this character?
  2. Basic history. Everyone has a history, extended family, social cultural and religious roots, family myths and secrets, family rules and customs, pivotal childhood and adolescent events, etc. You don't need to sketch out their entire history at first, but keep track of these as you work. What's behind them?
  3. Archetypal, categorical, or stereotypical resonance. Archetypes like Aphrodite, Hercules, or whatever? Categorical roles -- the beat cop, the sniveling clerk, etc.? How about a stereotype like the best friend, Watson, or other? Identifying those resonances lets you add features and behaviors aligned with or opposed to the base. Who or what is this character like?
  4. Actions and reactions. Every scene, you see the character acting and reacting. Put notes on circumstances or triggers, and how the character acts/reacts to them. What makes them jump, and what's the character do?
  5. Moral Valence. In the crucible of your story, what is the core of this character? Good-bad, trustworthy-or-not, sober-impulsive, principled-a rat, kind-cruel? Are they light or dark? Is this character a hero or a villian?
  6. Dreams and ambitions. What do they wish for, what do they want, where would they like to go?
  7. Inner life. Each character has a rich internal life, which may or may not be explicit, depending on the pov and such. But you can still record what the character is thinking, hoping, intending. What is this character thinking? What is the internal monologue going on? Is the character an optimist or pessimist? In each scene, imagine what the character is thinking as they act/react. What's the character thinking?
  8. Shadow sides and difficulties in living. Everyone has flaws, angry moments, and irritations. What are the difficulties that this character has with life?
  9. Consequences of upbringing. In real life, we may never know how upbringing ties to behavior, attitudes, beliefs, and actions. But in fiction, ah, you are the boss, and you can choose to connect the dots for the reader. So, what difficulties of growing up are linked to problems and actions of today? Was it really father's criticism that led to our hero's fits of rage today? What seeds of today's life were planted in this character while growing up?
  10. Power, sexual potency, and alphaness. Characters tend to be considered powerful, sexy, leaders or not. Keep track of the alpha drive of your character.
  11. Cultural component. "Each character is a representative of culture." Lots of niches, of course, from the political party to the music that the character listens to. Food, entertainment, and so forth help define who a person is in a culture -- and who a character is. So, how does this character relate to their society and culture?
  12. Meaning web, beliefs, opinions. How does your character see the world around them and make sense out of it?
The key, of course, is figuring out who this character is in your story, and how they will act. What makes them act like that? Who is this person, and how can you show that to the reader?

And the sidebar -- choosing a career for your character. Most people have to make a living somehow. Even when it doesn't come up in the story, knowing what your character does can help understand them. So, when you are choosing a career for your character, think about:
  1. What aspects of their personality does the job demonstrate? Sure, some of the reaction will be stereotypes, but scientist, janitor, doctor, actor, etc. are expected to think and act differently.
  2. Deepen characterization by showing how the person feels about their job and how well they do it.
  3. Think about how the job links to plot. Perhaps the job put the character in the right place and time to observe critical events? Or, problems with the job drive the plot? And, of course, the job situations can help or hinder other plot problems.
  4. Use occupations that you understand or want to learn about. Details from experience or research can make the job, and the person, come to life.
So -- characters need to be more than just cardboard cutouts.
Write?
[identity profile] mbarker.livejournal.com
Original posting 7 December 2009

Today's scruples are taken from the game by a random shuffle and pull. So, your task, should you choose to accept it, is to pick a number from one to ten (yes! 10! So pick one, two, three, four, five, six, seven, eight, nine, or ten. Got it?)

No, pick a number. We'll wait.

Now, take a look at the list and see what you picked:
  1. You are a politician. The people who elected you demand that you take a position on abortion which is against your personal convictions. Do you?
  2. There are no dryers available at the laundromat. Suddenly one is free and you claim it. A woman protests that she has been waiting longer than you. Do you yield it?
  3. In order to marry someone you love, you must change your religion. Do you do it?
  4. Late one evening, your 19-year-old daughter asks permission for her boyfriend to stay over. Do you give it?
  5. Your lover has appeared as a nude centerfold. Do you leave him/her?
  6. Someone extends his friendship but you aren't interested. Later you learn that he is a legal wizard. You need free advice desperately and don't know anyone else. Do you call him?
  7. You are a doctor treating a patient for a terminal illness that can be extremely painful. Do you do everything in your power to prolong the patient's life?
  8. A friend who is a strict vegetarian is coming for dinner. You're feeling proud of your bean stew until you remember that you used a beef stock. Do you keep quiet and serve the dish?
  9. You find an expensive pen in a public lounge. Do you keep it?
  10. On the street you meet a couple who have recently arrived from South America, and want to remain in the country illegally. They are destitute. Do you help them?
Feel free to shave the edges off, flip sexes and whatnot, to make these your very own scenarios. Maybe it's not abortion, but some other problem irritating your politicians in number one? Or perhaps it's just a fifty dollar bill that you found lying in the public lounge in number nine? Or... make that situation one that you can believe in, and that makes your characters itch.

Then write! How did your characters get into that corner? Why is it so difficult for them? What do other people think about it? And... what are they going to do? Is there a way for them to resolve the problem with honor? How about with their conscience intact (poor Jiminy Cricket, he has so many things to advise us about)?

Go ahead. Tell us the tale of the moral choice... or failure. And what happened then...
[identity profile] mbarker.livejournal.com
Original Posting Mon, 11 Jul 1994 18:35:02 JST

If anyone else has been wondering about these mutters of "I'm an INTJ" and such...

The Myers-Briggs Type Indicator (MBTI) is one way of modeling personalities. Specifically, it results in measures of the person along four dimensions (preference areas, scales): energizing, attending, deciding, and living (or closure).

Essentially, in circumstances where the person has control, this summarizes how the person prefers to interact.

Energizing--what energizes a person--may be characterized as Extroversion or Introversion (E or I). The extrovert draws energy from the outside world--people, activities, or things. The introvert draws energy from the internal world--ideas, emotions, or impressions.

[as may be obvious from the names, the orientation of the whole person is involved here, not just their source of energy]

Attending--what "seems important" or what the person pays attention to--is characterized as Sensing (S) or Intuition (N). Do you consider what the senses notice as the only reality? Or do you go beyond the sense into the imaginative world of possibilities?

Deciding--how does one decide--seems to separate into Thinking (T) or Feeling (F). The Thinker organizes and structures information in logical, objective terms in order to decide. The Feeler uses more personal, value-oriented methods to come up with hunches, gut feelings, and impulses.

Living--what kind of life style--sometimes also called closure, or the preference for an open-ended lifestyle, revolves around the split between Judgement (J - planned and organized, with endings and resolutions) and Perception (P - spontaneous, flexible, without endings or resolutions).

The combinations make up the 16 types, with associated psychological profiles, preferred vocabularies, and so on. There are various testing systems which indicate personal type, ranging from the "pop magazine" versions to very serious psychometric ones (well-validated, repeated, and with statistical significance).

It seems likely to me that these four dimensions could provide a helpful way to categorize your characters, and provide the kernel of conflict between the characters, as well (put a salesperson who prefers to react to everything spontaneously together with an engineer who wants to lay out plans and organize everything--what do you think will happen?)

For more information, if you have FTP access, try sunsite.unc.edu in the directory /pub/academic/psychology/alt.psychology.personality. (or nowadays a little google will bring you plenty)

[according to one of the tests there, I'm an INTJ--self-confident, pragmatic, "a builder of systems and the applier of theoretical models."] (addendum: other tests indicate that I am INTx -- fairly undecided about that last category)
[identity profile] mbarker.livejournal.com
Original posting 26 Oct 2009

The other day, just wandering around the web before I went to get my driver's license renewed, and happened upon Marie Brennan's posting about the Bechdel Test. http://www.sfnovelists.com/2009/09/16/the-value-of-the-bechdel-test/

I have to admit, I hadn't heard of it before. It's pretty simple. Does a story have:
  1. At least two female characters, who
  2. Have a conversation with each other,
  3. About something other than a man?
I wonder if there's an inverse Bechdel test? Does your story have two men who talk to each other about something other than women? Or perhaps the cross test -- does your story have a man and a woman who talk to each other about something besides gender and sex?

I think the virtue of these kinds of tests is reminding us to look at our characters. Are we using the richness that's available to us, or have we fallen into the lazy habit of using a few stereotypical characters? Especially in modern life, almost everywhere we go there are people of all types and ages. Use that richness to make your story deeper. Not because of political correctness or quotas or notions like that, but just because it's more real. Even walking in almost any town in Japan, there are homeless people, there are foreigners, and of course, there are two sexes. So think about making your novel or story more realistic by bringing in some of those variations on the human experience.
[identity profile] mbarker.livejournal.com
Writer's Digest, March 2004, page 42 to 49, has a bonus section with the title, "Novel Writing Boot Camp," by Bob Mayer. I'm probably not going to summarize all of the bits and pieces, but let's pick out some of the odds and ends.

The sidebar on page 45 is very short. It points out that at the start of a new chapter or a change of perspective (I think they mean point of view) you need to quickly orient the reader. Four questions that you can use as a checklist at the beginning of every chapter and scene:
  1. Where's the locale?
  2. When in the timeline does this scene occur, particularly in relation to the preceding scene?
  3. What's the point of view, and if it is tied to a character, which one?
  4. Who's here?
The beginning of your scene -- the first two paragraphs -- needs to firmly and quickly tell the reader where they are, and when.

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