The Place For My Writers Notes

Original Posting 25 Nov 2011

What? The last note was on the 13th? And today is the 25th? ARGH!

Hey, all. I've been sick. Believe it or not, I've had a cold, which for a while just meant arguing with the dictation software about whether sneezes really meant I wanted a line of "him" across the page (does a sneeze really sound like "him"? Oh, well...). Then I lost my voice!

Which may not sound like much of a problem, but if you quit typing to save your fingers, and have been using dictation software -- a whisper doesn't cut it. So I went back to the keyboard for a while. Even though it does hurt, some.

Anyway, I'm recovering, and still meeting and beating Nanowrimo into shape! So...

Let's see. Old bits and pieces...

ARCS! Attention, Relevance, Confidence, and Satisfaction. Or as I teach my students sometimes, surprise! WIIFM (What's in it for me?), Yes, you can!, and last but not least, rewards, smiles, and other treats. That's one theory of motivation, and you can pay attention to those in your writing, too. Twists and other surprises keep the reader on their toes. Getting them engaged makes it relevant. Being fair to the reader raises their confidence. And oh, do those climaxes satisfy us. Emotional rewards galore!

Bradbury's formula!  "Find a character, like yourself, who will want something or not want something, with all his heart. Give him running orders. Shoot him off. Then follow as fast as you can...." And don't forget the zest and gusto, too!

OCEAN? What's a character? Well, openness -- desire for change (or not!). Conscientiousness -- planner or not? Extravert or introvert? Agreeableness? How many friends do they have? And neuroticism, that emotional edge? Right! Make them personalties, with some warts, and see what happens.

Bradbury again? Yeah... "You must stay drunk on writing so reality cannot destroy you."

Go with the flow! Writing as a burst, a torrent of words flooding out. That's nanowrimo all over!

One more Bradbury notion? Aha, yes, the lists, the lists. Bradbury adored his lists, and so can you! Stop now and then, make a list of colors, of senses afire, actions, clues or whatever... and then expand on those, tell us all about them, and watch your words roll!

Ah, the metaphoric dance of the words! Yes, your neurons and mine enjoy connecting things up, so pick a number from one to seven (what, your die doesn't go that high? Okay, roll once. Odd is zero, even is one. Now roll again, and add whatever you get to your first roll. One to seven, with a bit of weight for the middle. Okay... where were we before I got distracted. Right! Pick your number and...)

Here's what you have chosen (behind door number 1, we have . . . ):

    1. Taking a bath
    2. Frying potatoes
    3. Boiling an egg
    4. Sending a letter (you remember, those funny paper things that preceded email?)
    5. Untangling a ball of string
    6. Learning to swim
    7. Starting a car in cold weather

Now, let your mind slide. That problem, that process, the incident in your story? How would you explain it in terms of this metaphor? What relates? What doesn't relate? What if...

There you go, a metaphorical fling for the fancy!

Oh, my. Then I threw in the business metaphors? I really wanted you to scramble those metaphors, fry some words, and get cooking, didn't I? Let's see, journeys, games, war, machines, organisms, social groups, family, jungle, and the zoo. Pick a style, narrow it down a bit and pick an example, then let the correlations begin!

Filling out characters? Right! Onions have layers, ogres have layers, and even secondary characters deserve a layer or two. Goals, motivations, conflicts, some change... make those characters stand out for us!

And today's old Nanowrimo posting? All about filling in the actions. Instead of just doing a scene change to put your favorite character at the next place where they get their lumps, consider filling in all the steps of getting there. And of course, in the scene, instead of just gliding over the action with summaries, go through the actions. How does the hero fry a hamburger, anyway? With a twist of garlic? And a dash of vinegar? Huh...

These nanowrimo notes are available at length somewhere over here http://writercises.livejournal.com/?skip=30&tag=nanowrimo along with many more!

But the key right now is ... I hope you are enjoying your Thanksgiving, Black Friday, and whatever, and getting ready to slam through the finish line on Nanowrimo, coming up next week! Scribble, tap, yackity-yack!

Original posting 2 March 2010

Writers' Digest, October 2004, pages 26 to 33, has a collection of short "nuggets of wisdom" related to getting published. Maria Schneider is the author of the compilation. Take a deep breath, and here we go:

"Successful freelancers know they have to take the details seriously. Nothing stands out in a query letter more than a glaring error, and respecting AP style is one of those editorial no-brainers." Marnie Engel Hayutin

Another piece of advice about making sure that the details are right -- so that the editors don't trip over them. Spelling, grammar, AP style or whatever style is appropriate, get the little stuff right so that slush readers, editors, and so forth don't pay attention to that. You want them to pay attention to your story, the big picture that you're trying to show them. If they trip over extra apostrophe's, miss spellings, or even, the extra, commas... they might miss a really good show!

It's that notion again of making the frame invisible. Sure, we can do a baroque or rococo style presentation, calling attention to our literary word choices and extravagant use of punctuation, but by and large, that's unlikely to sell a story. So think about polishing those details.

Original Posting 31 Dec 2009

Writers Digest, February 2008, pages 79 to 80 has an article by Steve Almond with the title, "Master Your Metaphors." Steve doesn't seem to like metaphors very much, so let's look at what he's got to say.

He starts out by defining metaphors -- direct comparison of two seemingly unrelated subjects. Not to be confused with simile, which makes the comparison explicit by adding in "like" or "as."

The reason for using metaphors is to make the prose more vivid. It's a tool. Unfortunately, Steve points out, metaphors often are assertions of the author's talents, instead of ways to immerse us in the characters' world. They're distractions more often than aids.

Realistic short stories need simple, concrete physical details -- not metaphoric overloads. An untucked shirt might well be a metaphor -- or at least a clue -- to the mental state of the character, but it seems too mundane. So writers toss in storm-tossed feelings, train wrecks of emotions, and jungles of misunderstandings... and readers can't see the characters for the metaphoric mess.

Steve's other objection to metaphors is that they distract readers from verbs. Too often, they are added around perfectly well-chosen verbs, and the reader gets lost in the metaphors (again!). Cut the metaphors, and let the verbs stand on their own. Make the reader focus on the action, not the writer's fancy metaphorical comparison for the action. The right verbs don't need the extra words.

Finally, Steve recommends that if you want to use a metaphor, be precise. Yes, metaphors are figurative. But you still need to make them accurate. Check your metaphors against this list:

• What work is this comparison doing?
• Is it essential to the story or optional?
• Does directing readers away from literal truth point them towards deeper truths?

And Steve provides three exercises! Yeah...

1. Consider the physical and emotional connotations of comparing your protagonist to:

• a hummingbird
• a walrus
• a leopard
• a dung beetle

2. Their bodies met like a _______ and a _______. Consider what the right comparison might be based on the following settings:

• a funeral
• a bordello
• a battlefield
• a family reunion
• a space station

3. Take a look at your most recent story or chapter. Underline every single metaphor or simile. Force yourself to articulate what essential work each is doing on behalf of your fictional world. Now cross them out, one by one. What have you lost? What have you gained?

Metaphors and similes. They're a part of our language, and we often use them without really thinking it through. And like most cliches (notice the simile there?), they can drag our writing into the dirt (metaphorically, of course). So we need to pay attention to them, and choose carefully when to use these tools of the writer.

Write?

Original posting 27 April 2009

Writer's Digest, September 2005, pages 51 and 52, have an article by April Henry
with the title, "A Series of Details." The point of the article is that especially for mystery writers, a first book often spawns a series, or at least a sequel. And mystery writers who have done this have some suggestions about things to think about when writing your first book so that the series isn't so hard to do. Building in the potential for a series, instead of stumbling and causing yourself problems. Okay? Here are the suggestions.

1. Pick a strong main character. Some authors prefer a character with a similar background, or at least one that they know a lot about. It makes the research easier. Others create a character from scratch, with the setting and occupation designed to make it easy to bring in characters and events. Other authors plan on a series, with protagonists who move around and are really the only thread holding the series together.
2. A job. The main character's occupation -- how do they make a living -- is something that's important for life and for your series. Sometimes they simply inherit enough money. Other times the job pushes them into encounters. Reporters, policeman, taxicab driver -- they are guaranteed to be poking into things. Sometimes the job is simply distinctive -- an industry or field that is interesting because most of us don't know much about it. Flower arranging, dog training, whatever you'd like to explore. Sometimes there is a bit of difficulty bringing in the mystery genre corpses, but it's generally possible. Or, your character may change jobs.
3. Series regulars. Coworkers, cronies, relatives -- they suggest balancing kooky and conflict with some support and warmth. Be careful about details of the characters' lives -- you may want to keep the character file, with eye color, height, relatives, and all that stuff to help you keep the continuity. Love life? And you may want to have a loyal sidekick who's really good at research, or has other redeeming qualities (remember Kato -- from the Pink Panther movies?).
4. Time and place. Is your series set in real time, in a real place? Are the characters aging normally?

An interesting piece of advice is to leave openings for series potential. You don't need to nail down every detail in the first book. Leave some open ends and threads -- it will let you add things later, and it's more interesting for the readers, too.

Exercise? Take a look at a work in progress, and consider how you would answer the editor who says, "I loved it. Can you make a trilogy out of it?"

Write?

Original posting 23 December 2008

And it's time for yet another article from Writers Digest. This one, from pages 26 to 29 of the February 2005 issue is by Michael J. Vaughn, with the title "Anatomy of a Bestseller." Basically, he looks at Life of Pi, Bridget Jone's Diary, and the Rule of Four to pull out some lessons about writing. To be precise, he offers six points. They even have exercises! So what are the suggestions?

First of all, "If anyone tells you he has a sure-fire formula for a bestseller, quickly back away and keep one hand on your wallet." Good advice. Still, there are some useful ideas such as:

1. Make Promises. Foreshadowing that there would be death involved, raising a puzzle about the protagonist, or simply promising to have fun. "You do need to deliver an intriguing promise, and you need to keep it."
2. The Pistol on the Mantelpiece. If you spend time on something, use it later. When you create an expectation in the reader, fulfill it later.
3. Lingo Bonding. Circles of friends often use slang and syntax and phrases that help define the group. An author's use of language can also build a relationship with the readers. Wordplay and other treats for the readers can be helpful.
4. Crank It Up. Give your hero a hard time. "Adversity is the most essential spice in the fiction chef's pantry. Just when things look their bleakest, however, stop and ask yourself this question: How can I make it even worse?"
5. Mess with People's Beliefs. Challenging long-held beliefs sells books.
6. Attention to Detail. Many people brush aside comic works, and yet, comedy is hard to write. Well-rounded characters, and attention to detail -- a body of knowledge -- makes people read the book.

"If you take anything away from this session of idea-harvesting, take this: you'll save yourself a lot of trouble if you take on the subject you're passionate about. The work will seem like joy, the joy will radiate from the page and perhaps, someday, you'll find your name on that precious list of bestsellers. And people will steal ideas from you."

So there you have it. Six ideas, no waiting. Oh yes, let's take a look at the exercises.

1. Make promises. After you write your climax, go back to the first pages of the novel and see if there aren't places you can insert hints about what's coming.
2. The Pistol on the Mantelpiece. When something just appears in your story and you don't know just what it means, go ahead and write an explanation for its appearance and how it might affect the plot.
3. Lingo Bonding. Unusual names, phrases, etc.? Devise a bit of back story to explain it, and then feel free to use it as a running thread in the story.
4. Crank It Up. "Got your hero pinned to the mat? Stop right there, take out a piece of paper and write 10 ways you could make the situation even worse. You may decide to use none of them. But one of them could be just the twist to make your story unforgettable."
5. Mess with People's Beliefs. If you're considering issues you'd like to write about, think about the ones where you're not sure -- that you struggle with. Gray areas are more interesting and surprising than simple black-and-white ideas. Or take an issue or stance that most people would support and think about a scenario where you would argue the opposite of the majority.
6. Attention to Detail. When you start your novel, consider the hobbies and backgrounds of the characters. Do some research.

That's from Michael Vaughn. I'd like to add that you might consider taking a few moments with two or three books that you like, and think about what writing lessons or guidelines or ideas you might take from them? After all, making up your own guidelines -- with a catchy little phrase, a description of what it's all about, some links to the examples from the books, and a reminder to practice -- this is a great way to expand your journal of writing tips.

And if you want to, feel free to post some of them here on the list.

original posting 24 May 2008

Make a Scene by Jordan Rosenfeld

(We're making a scene, checking it twice, gonna find out who's naughty and nice . . .)

Okay. So we got the idea that a scene consists of a launch, a middle, and a bang up ending. In part two of his book, Rosenfeld looks at some of the ingredients or core elements that we use to put that together. The setting, senses, character development and motivation, plot, subtext, dramatic tension, and scene intentions (interesting, Dragon NaturallySpeaking likes to make that "and tensions" or "in tensions" rather than "intentions." And there certainly is a lot of tension :-). Quite a few ingredients in the stew, so let's start chopping.

Chapter 5: Setting starts out by pointing out that unfamiliar surroundings often make us feel unsettled and overwhelmed. The writer's job is to "act as a tour guide through each scene, expertly guiding the reader to all the important details, pointing out only what is necessary and what will help the reader understand what he sees."

So even though setting is mostly there to support and contain the scene action, and in most cases will not be the star, you need to think about it carefully and help the reader feel comfortable about where this is happening. The stage for any scene is what is seen. You're going to make a world, give the reader a framework so that they can sit down and look around. Sounds like fun!

Even though the setting is just a backdrop, you need to establish the setting to keep your characters from being floating heads. You can start out with a pretty sketchy setting and then fill in the details later, but you need to make sure it is there. Big things like the general geographic location, nature, and any homes and buildings. Locations, whether next door or across the galaxy, give the reader and the writer lots of information. A setting in Florida is not the same as a setting in California! Nature and the time of year combine to create outdoor settings that can involve weather and temperature and all kinds of wonderful background. And then there are buildings and houses and homes and rooms. All the great background of civilization, from small towns to great cities.

Next, think about the setting details. What is the time in history? Is it the wacky era of the 70s? Renaissance Italy? Or the year 9595 when it isn't any too certain that Man will still be alive? What about cultural references? Down south, up north near H'va'd, or maybe out west where the coyotes play? How about in Europe, or whatever?

And then there's props or objects. The key to this is purposeful placement, making sure that every object counts or has significance. Rosenfeld suggests thinking about it as a diorama -- all you want are the essentials that are representative in your scenes. Props that bring the scene to life! But be careful, because readers tend to think that every object you mention has significance. Especially the more loving the description and details, the more likely they are to think that it must mean something. And you really don't want too many Maltese Falcons wandering around through your scenes. Some of the possibilities for things you want to include might be mood objects, showing how the narrator feels about things. Significant objects, actually call attention to themselves. These may be plot significant -- the evidence, magic rings, dogs that don't bark, or whatever -- that actually change or influence the plot. Sometimes people are looking for it, sometimes they pop up by themselves, but in one way or another they make the plot go. There are also character significant objects -- things that have sentimental or emotional meaning, lucky pieces, and so forth. You need to make sure that the reader understands how the character feels about the object. You don't need to describe the object so much, but you do need to make sure that the relationship of the character and the object is crystal clear.

One very important point about objects is to describe them in the kind of detail that your character uses. Maybe he or she drives a jalopy, but they're more likely to drive a 1955 Camino Royale (I'm not sure if that's a real car or not, but you get the idea -- not a vehicle, but a specific one!). Avoid generics, or vagueness. Stick with specifics. "Remember that great characters and the wild plot actions they undertake need solid ground and meaningful props to support them. Always ask, what needs to be seen in this scene?"

One of the dangers of setting is that you can end up with too much narrative summary. Describing the setting is the easy and even fun, but it's there to create authenticity and ground the reader for the story. It should be a background, not upstaging the characters and plot! To help you keep the balance, think about:

• setting helps create mood or ambience as a tone for the scene
• your protagonist needs to interact with the setting
• the setting needs to support your plot
• small actions help break up setting description

The last but far from least, once you've established the place, put the props in, and you've got the characters and action going, stay consistent. Moviemakers have someone whose job is to watch continuity. Make sure that the flowers at the beginning of the scene don't turn into cactus somewhere along the way. Make little diagrams of the rooms, or even of the characters as they move around. One way or another, check to make sure that your props don't appear and disappear or strangely morph into something different.

So that's where Rosenfeld starts looking at the ingredients in the scenic mix -- with the setting. I suppose in a sense, that's the cauldron that we're going to cook in (although I'm probably pushing the metaphor a bit far with that :-) In any case, we need to know where this scene is taking place, and what kind of props are occupying the stage. Or if you like, what pieces did you put into the diorama where your story will take place?

Assignment? Take a scene, any scene -- well, one from a story you like, or one from a story you are working on. Then pull out the pieces. What is the setting for this scene? How does the writer establish the geographical location, the nature or buildings where it takes place? What about the props? How do they get worked in, and what do they tell us about the plot or characters? What is the function of the setting and props in this scene -- and how well do you think they work? Suppose you want to add one more prop or take one away -- what would it be and why? How does that change the scene? What about moving the scene from over there to yonder -- what would happen?

When we write, we let other people see a setting.

Original posting 26 February 2008

(I think the shrimp, or maybe those little red eggs. Worms work pretty good, too? Oh, you don't want fishy readers, you want them warm and comfy? Does that mean you won't be using the good lines?)

How do you get the reader to start reading? There are many recommendations to hook the reader, but what does that mean?

Nanny Kress, in a column entitled Your Opening Quest in Writer's Digest, Jan. 2005, pp. 20-22, talks about ways to create compelling openings. Ways to set that hook, to raise questions and suggest change is coming.

First, try out-of-the-ordinary. "The easiest way to raise a question in the reader's mind is by opening with an action that's clearly a change from the normal or expected." Start with action, and make sure:

1. The action suggests that a change has just occurred or is about to happen in the character's life
2. The action makes the reader wonder why it is happening, what the character will do next, or what the consequences will be

Second, hook the reader with provocative details about characters or setting that suggest change is upon us. Make sure the details:

1. Are very specific
2. Promise conflict to come
3. Indicate a change from the norm - something special - for this place and characters
4. Make readers try to figure out what's going on, and then keep reading to find out if they guessed right

Third, try starting with a grand sweeping statement of universal truths or assumptions. This used to be popular, and it still grabs the attention and raises questions about the story to follow. Some suggestions if you want to try this:

1. A bit of humor helps, because modern readers are likely to see such grand statements as a bit pompous
2. Quickly get down to specifics and action.
3. Make sure the opening raises questions that will absorb the reader

"Questions that require answers are what keep readers going -- and the place to start raising those questions is with your very first sentence."

So, take a look at a few stories that you really like, and see how they get started. Then try putting that same hook-and-jerk into the starting lines for one of your own stories. Polishing that beginning - once you get the reader going, they'll come along for the ride, but if you don't snag them at the start, they aren't likely to see the rest?

When we write, we learn about ourselves.