[identity profile] mbarker.livejournal.com
Original posting Nov 8 2010

Yesterday was not a particularly productive day for me in terms of straight words for nanowrimo. On the other hand, since I was having trouble concentrating between my wife's volleyball game on television that she likes to insist I look at just for a moment, my continuing battle with my sinuses, and I suspect a bit of self pampering (darn it, it's Sunday, tomorrow I have to look at those student papers, why can't I relax a bit?) ... anyway, with all that going on, I took a step back and spent some time trying to lay out some other scenarios for the future writing. I was doing these in kind of rough bullet format, just a phrase or sentence or two describing what might happen. Also taking a look at the opposition, and considering just what kind of trouble it might raise. Admittedly, this is not direct narrative writing, looking over a character's shoulder at the scene, describing action, setting down dialogue, and all that.

However, I find that I need this kind of rough framework to be very effective at the other stuff. Somehow having a stack of pre-cut scenes in rough form like this lets me focus more on the scene that I'm actually writing right now. It also gives me more traction when I finish a scene -- I can just look at the bullet list and pick up another chunk to work on, instead of spending a while musing on what to do next. Not an outline, nowhere near that level of detail, but just some bullets about what might happen. Some are at the level of "The agents arrive in town" while others have a little more detail about what happens. But they are all just a couple of sentences, waiting for more attention later.

Still, I simply wrote them into the running text that I've been working on. And I counted those words on my nanowrimo total, because I really do think they are part of my writing process. Admittedly, they really need to disappear before the final editing -- each and every one of them needs to be expanded into at the very least one scene, and sometimes more. But getting the ideas started in this kind of bullet list of possibilities, in words, seems to me to be part of the writing. So I count it.

Aha! Over here on the aging nanowrimo notes http://community.livejournal.com/writercises/142578.html I talked about doing this kind of thing at the end of every writing session, putting down some notes about where you are and what you going to do next. Also, when you remember that you need to go back and straighten something out, add foreshadowing, or maybe work on some other pieces later on, make a note! I think one of the dangers of writing is trying to keep it all in our head. Except for short stories, and I'm not even sure about most of them, there's probably more there than we actually can keep in our head. And we have this wonderful trick -- write it down.

So that's today's advice for the nanowrimowers -- write it down. Don't depend on the little grey cells to hold onto that idea, question, point to consider, direction to explore, or whatever. Put it down in black and white, on paper, in a file, somewhere. And for the bonus, you can more easily look across that list for the purposes of rearrangement, selection, or whatever. Okay? Or if you happen to be pausing, put down some bullet points for later expansion. What might happen next? And after that? Wow, there's a chase scene somewhere ahead? Keep that in mind by putting it in the list. So...

WRITE!
[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 19 November 2007

Quoting Ben:
[clip]
> How does one handle the enormous word counts?
[snip]
Hi, Ben.

I've been thinking about that question of how to handle lots of words.

I kind of think the real answer might be like the one about how to eat an elephant - one bite at a time. So then the question is how do you divvy up the pile?

There's some different answers to that one, and like Kipling's ways to sing the tribal lays, they are all right. So look for what works for you. Plenty of people find a deadline, a quota, a goal of some kind works for them. Show them the goal and stand back, because they're off and running. That's more or less what the nanowrimo challenge does unless you add a bit to it.

There are also plenty of people who are more regular nibblers. They may not be too comfortable with a huge overhanging goal, but ask them to do a short story every week, an exercise on Fridays, or some other regular task, and they'll get it out week after week without missing. Set up a blog or website to collect that stuff and before you know it, they've got a respectable pile of stuff.

Sometimes you can take one of these and translate it into the other. That's really why I think it's important to take the 50K in a month and look at it as 12.5K a week or a mere 1,666 words a day. They may be mathematically identical, but in terms of emotional commitment, they are often very different.

Or toss in the weekend breaks or whatever makes it fit your life. Or you may be more comfortable with a number of hours, a list of scenes or topics, or some other way of carving that old elephant into bites that fit your dentures. When I teach project management, I usually point out that one of the most important measures of a work breakdown structure is whether it makes sense to you, and that's really what we're talking about. Take one skewer of grilled meat a day, and that oliphaunt doesn't look nearly as scary!

In fact, I've recently pulled this trick on a student here who is writing a paper. See, he told me that the paper is due on February 7, so there was lots of time. I asked him to make a list of the steps that he needed to go through to have the paper ready. He looked a little puzzled, but fairly quickly had a list of nine or 10 things. And I suggested that we start at the deadline and work our way back. So final review by the companies might take - oh, say two weeks. And this would take a week or so. Oh, let's skip the New Year season, since that's when everyone will disappear. And . . . suddenly we were looking at needing to start last week in order to get the paper done in time (and we don't have slack in that schedule yet - I think we're going to be in trouble). Anyway, having those intermediate little inch-pebbles helps quite a few of us keep on track.

There's also a group of folks who do a fine job of planning, Might be note cards, character sheets, or one of the design-a-story programs, but they work through their outline/design in some detail first then get into filling out the structure they have drawn up.

I've recently seen Lois McMaster Bujold describing her approach. She says she keeps an outline from the beginning but it is very sketchy, and as she writes, she also fills in the outline and modifies it. She said she probably has as many words in the final outline as in the novel.

Incidentally, I think an important piece is learning how to change up. For example, I am way too likely to get stuck in the research part of articles I am writing - I love digging through the literature and doing little summary papers. I really have to cut myself off and go back to writing the paper, putting together a structure, filling it in, and then smoothing out the whole thing. I have trouble cutting out the extra neat stuff that is really irrelevant, too. Non sequitur is my Achilles heel. I have learned, to some extent, the usefulness of changing formats. Written text, power point slides, and for real brainstorming, I like a big white board. Shifting back and forth when working can help you see the big picture and all those little details, too.

(I also keep side notes, both on paper and in files, of those extra ideas and stuff. Somehow jotting those down gives me the freedom to set them aside for now, instead of having them chew up my attention. And sometimes I even remember later to look at them. Good fodder for quick little followup pieces!)

I guess what I'm saying is to start with an approach that feels comfortable for you, whether that's free writing or carefully laid out writing, but don't be afraid to shift gears as you go along. Maybe you find yourself a bit off track and need to do some surveying and map work before the next step, or maybe you hit an inspiration and want to take off and write while the words are flowing - do it!

Sorry, this isn't a nicely bundled short answer. I'm not sure there is a short answer. Maybe find a hint over in that song about "life's a dance that you learn as you go, as" and writing, the reflection of life in an inky pool, well,
it takes a dash of that spirit too?

Hope something in here helps.
[identity profile] mbarker.livejournal.com
Original Posting 31 October 2007

Zipping along in plot and structure (21?)

Actually, this may be timely for those who are about to head into nanowrimo. In the book Plot & Structure by James Scott Bell, chapter 10 is all about plotting systems. There's a lot of meat here, so let's get started.

The first question is whether to outline or not. Bell talks about the long-running feud between NOPs and OPs. No outline people (NOPs) like to take off without a plan, seeing what pops out as they go. Outline people (Ops) prefer to have a very specific plot, 3 x 5 cards pinned securely to a board or 30 or 40 pages of plot treatment and character sheets in hand. There's good things and bad things about both of them.

You may want to play around with it, and see which way really works for you. Borrow some pieces from the other approach, and keep your writing lively and on focus. Bell does suggest using the LOCK system (you remember, lead character, objective, confrontation, and the knockout) and the back cover copy. The marketing copy that makes the reader by your book -- and makes you want to keep writing.

Some suggestions for NOPs. Even if you don't want to outline, you might want to try some of these. First, set yourself a writing quota. Maybe that's every day 2000 words, or maybe it's two hours at the keyboard, but set yourself a daily target. Second, start your writing each day by re-reading what you wrote yesterday. This isn't an editing and major change point, although you may want to add new pieces -- insert a whole new scene or flashback. Third, one day every week record your plot journey on a plot grid. That's probably all for a real dyed-in-the-wool no-outlines-for-me person. Bon voyage!

OPs! There are lots of systems that you might want to try. This is just an overview, and you should feel free to mix and match and modify to suit you. First, try index cards. Write scene ideas on them, and spread them out or put them in order as a pack, on the floor, or pinned to a corkboard or wall. You may want to pick out the ending, then the major scenes, and then put everything in order. Don't be afraid to shift things around, and add in pieces where you need them.

An interesting way to provoke your brain to think is to put them all in order and number them with pencil. Then shuffle the cards and look at them two at a time in this random order. Look for new connections and fresh perspectives.

Second, try the headlights system. When you're driving at night, you can only see a little ways -- so you drive that far and see what's next. This is the progressive outlining approach. Start with what you know and write a little ways, the opening chapter and maybe some ideas about the next few chapters. Ask yourself what the characters' emotions are at this point and how they'll react next. What is the next action that they need to take? Is there a strong scene up ahead that needs some buildup and transitions? Are there any new characters that need to be woven in, or are there plot developments because of the characters in this scene? Then write a little more, and outline a little more. Write a little, outline a little, rinse and repeat until you finish.

Third, there are narrative outlines. Many writers produce 20 or 40 pages of narrative outlines, a large canvas overview. These may get rewritten several times before they ever start writing the real story.

Fourth, the David Morrell method. "It's a simple concept. You write a letter to yourself. You ask yourself questions about your idea. The most important question is, Why? Keep asking that one over and over." Even NOPs like this one!

Fifth, there's the Borg method (you remember the Borg? Star Trek cybernetic
assimilation?). Here's Bell's steps for an all-encompassing system:
  1. Define the LOCK elements (lead character, objective for the lead, confrontation by an opposing force, and a knockout ending)
  2. Write your back cover copy
  3. Create the overall structure. Three acts, two doorways of no return, etc.
  4. Describe your characters. You may like to use character sheets or biographies. Bell does a simple grid with the headings: name, description, role, objective and motive, secret, emotions evoked.
  5. Create summaries for each act
  6. Create chapter summary lines
  7. Do full chapter summaries
  8. Take a break -- you deserve it
  9. Write the novel
  10. Revise the novel
  11. (and he forgot to say it) submit it!
Bell has two exercises in this chapter. The first one is a fairly unscientific list of opposed choices for you to make, with the suggestion that people who like one end of the scale probably prefer outlines while people at the other end probably don't. The second one is I think interesting. Make a list of at least 10 of your favorite novels. Look at the list. Are they mostly plot and action, or are they mostly character driven? If you prefer character driven novels, you are probably a NOP. If you prefer a plot driven approach, you may want to have an outline in hand. Write what you like to read.

Okay? Something to think about as our nanowrimo challengers start into their frenzy! To outline or not to outline, that is the question. Whether tis easier on the fingers and minds to work to a plan or dance merrily in the morning sun, that is the play wherein we'll capture the nodding head of the writers!

Anyway, write now!

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