[identity profile] mbarker.livejournal.com
Original Posting 12 Aug 2010

Aka a guide to writing?

This morning, Mitsuko watched a TV show with a woman who has a group that does research on how to organize your refrigerator. Most of the show was her (let's call her the master) helping someone (we'll call this woman the student) who was not part of the group to tackle straightening up their refrigerator. But as I was listening to the steps, I got to thinking about them as a kind of allegory -- or at least a metaphor for what we may need to do with our writing. Let's see what you think.

1. Separate. The first step was to have the student go through what was in the fridge, trashing stuff that was too old, setting aside things that didn't need to be in the fridge, and taking a good long look at what was left. That triage -- separating the "good stuff" from the other stuff that always accretes is so necessary for writers. Stop and take a good hard look, separating what you want to use, what you want to keep but not now, and the throwaway stuff.

2. Plan. The next step was to sit down with a large sheet of paper and some markers. The master had the student draw a picture of the shelves, then stop and think about how the student wanted to organize the refrigerator. What did she want to do with the refrigerator? They came up with "zones" that made sense to the student. And there was a deliberate "free zone" put in for later adjustment, instead of filling everything. Frankly, this is where I started to think that this is kind of what we need to do with our writing. Don't try to figure out every little dot and line, but do have an overall picture of what we're doing. Look at the way other people have organized (and sliced and diced) writing, but put your own labels on the parts. And divvy it up in ways that make sense to you. Oh, leave some room for flexibility, too.

3. Visible storage. This was a big thing for the master. She insists on see-through storage, so that you can easily see what's inside. Glass bottles, transparent plastic boxes, and so on. Even as she helped the student, though, she insisted that the student do the work. Along the way, they re-did some things. Instead of keeping part of a package from the store, move it into a plastic storage bag. And whenever possible, go ahead and do the preparation -- pour oil on the chicken in the bag, put soy sauce on things, and let them soak in the refrigerator. Again, interesting analogy to writing. When you have ideas, scraps, and snippets, put them away -- but make them visible. Explicit lists, and so forth. And go ahead and start the preparation. If you use a list of questions, fill in some of them before you put that idea away for later. If you're putting away something, consider pulling out some pieces as you put it away. And so on...

4. Clean up, and plan ahead. When they hit the vegetable drawer, they had to stop and clean it out before the master would let the student put vegetables in it again. And while they were at it, the master suggested putting a plastic bag on the bottom, sort of as a liner, and a layer of newspapers. She explained that you can take a sheet of newspaper off and throw it away, making cleaning easier. Then when you reach the plastic bag, pick it all up and throw that away, and it should be pretty clean.

This caught my attention, as I thought about the piles and piles of paper I have in my office. Sorry, but I'm really bad about projects that are over -- I often just pile them in a corner and move on. I got to wondering about how I would deal with them if I started out planning to clean up afterwards...

Separate, plan, storage, and cleaning up beforehand. So that your cool writing is as organized as a good refrigerator?

And I thought it was just another daytime TV show...
[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.

And today, we're going to look at the first couple of pages that talk about ideas and preparation and organization. Probably the first important point is the notion that writing only when you're excited or enthused probably isn't good enough. You want to make writing a regular part of your life.

So maybe start with the calendar and plan ahead. Break your time into writing projects. Give yourself weekly writing goals. Don't forget time to do research, make phone calls, or whatever information and idea gathering techniques you use. And plan on updating the calendar once a week.

Many people find a daily writing goal useful. Some number of pages, hours, or words. Set yourself a goal, and meet or exceed it. Don't destroy yourself if you don't make it, just try to make your goal the next time.

One suggestion is to use an erasable whiteboard -- write up daily objectives and then erase them as you complete them. I actually prefer notepad paper myself, there's something gratifying about tearing up the paper after I've done something.

Characters and setting. Many people find it worthwhile to do character and setting background before starting a novel. Who are all the people? Make a master character list, with quick descriptions and personal histories. And every time you use a name, right down and give a brief description, even for people you don't expect to see again. That way if you happen to run across a parking lot attendant again, you won't spend a lot of time finding her name.

Locales -- check the maps and atlases for real places. And even for places you are creating, you may want to at least do sketch maps. Any important places -- apartments, work areas, the gloomy castle, or whatever -- may also deserve a diagram or at least a description.

Outlining is probably one of the touchiest subjects, with people declaring that they are discovery writers and others insisting that they are outliners. It's an easy way to keep track of what you're trying to do, especially when subplots get involved. When you make them in your process can be very different -- some people like to make a very detailed one, working things out carefully in outline, and then writing to the outline. Other people prefer a sketchy outline, often filling it in as they work. The key point here is to use the outline to help you write. Maybe it's just key words about events and characters, maybe it's short paragraphs describing each chapter. Work out what helps you best.

That's really it. Plan your schedule. Do your background research on characters and settings. And decide how you're going to handle outlining, then do it.

Organization. When you're going to work on something for an extended period of time -- and even fast novels take time -- you need to figure out your own ways to lay out the work and keep track of it.
[identity profile] mbarker.livejournal.com
Original posting 17 July 2009

Okay. So let's say you've got some notions, there's a goal, maybe a bit of an inciting incident, some characters, all that stuff swirling around in your head. How do you organize it?

Let's take a look at a website that might help. Jim Butcher writes a very popular fantasy detective series (the Dresden Files) and others, and he's been blogging about his process over here. http://jimbutcher.livejournal.com/ I thought it was a little odd -- he seems to have written the blog postings in order, which means the ones for starting are at the bottom... (psst? Anyone else recognize that Scene-Sequel structure? Yeah, James Bickham's Scene & Structure http://community.livejournal.com/writercises/tag/sequel ) Anyway

Jim's story skeleton is this:
*WHEN SOMETHING HAPPENS*, *YOUR PROTAGONIST* *PURSUES A GOAL*. But will he succeed when *ANTAGONIST PROVIDES OPPOSITION*?
Okay? Pretty simple, right? Plug in
  1. What happens to kick things off? (the inciting incident)
  2. Who's the protagonist?
  3. What's the goal?
  4. Who's the antagonist? How do they oppose the protagonist?
Go ahead. Take the ideas you're playing with, and plug them into Jim's skeleton. (Oh, the foot bone's connected to the ankle bone, the ankle bone's connected to the shin bone, the shin bone's connected to the knee bone, keep on moving up the line...)

When Jim finds a treasure map in his dead uncle's sea chest, he decides to recover the fortune. But will he succeed when the Bloody Hand Gang finds out that there's a treasure out there?
[identity profile] mbarker.livejournal.com
Writers Digest, October 2004, pages 45 to 47 had an article by Martha Alderson describing how she organizes her historical novels. The same idea really applies to any kind of novel. Here's how Martha describes it. "Trying to keep track of plots, subplots, characters and themes in a novel you're writing can be difficult. . . . How do you track and interweave all the threads of a successful historical novel -- the dates, history and research; the action plot line; the character development and the thematic significance -- without the whole becoming a tangled mess? The approach I take is to create a visual representation of my story: a historical timeline."

Martha describes using a 6 foot piece of butcher paper with post-it notes, but the same basic approach seems to work with a spreadsheet or even a Word table. One of the nice things about a spreadsheet is that it is designed to allow you to insert new rows or even new columns. However you keep track of it, you might want to start with Martha's columns.

Column 1: Dates/Historical Plot. This is the frame of the story. It needs to start with the date that your story begins. Add events and issues that occur during that time period. Martha points out that even if you aren't basing your story on history, having a background of at least one major and one minor event and maybe a trivial event gives your story a little more richness or depth. What's going on around your story?

Column 2: Summaries. This is where Martha keeps summaries of longer periods that may not even show up in the scenes of the story. That way when a scene starts "seven years later . . ." this column shows what's happened during those seven years.

Column 3: Scene/Action Plot. This is the column for the scenes that actually make up the story. The conflicts, confrontations and turning points show up here. Martha suggests that the notes you put here should focus on the conflict, tension or suspense -- the pivot in the scene.

Column 4: Character Development. Even short stories usually have some growth or change in the characters. You may need to divide this column into several parts, but at the very least you need to record the main character's achievements. You can also keep important character background information in this column.

Column 5: Thematic Details. The theme is why -- what you want readers to realize or take away story. You can use this column to collect plot details that contribute to the theme and meaning , the sights and sounds, smells and tastes, slang  and vocabulary choice, all the little stuff that gives your story texture. This

The trick of course is to fill in the timeline or table working down and across, going back and revising where necessary, and making it a real working document that makes writing the scenes easier.

An exercise you might try is to take a story or working on or story you like and try making up a table like this. Or ask yourself what other column you might like to see to describe your own writing?

In any case, feel free to use the tool to help yourself get organized, but don't forget to write.

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