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[personal profile] mbarker
 Original Posting 6/28/2019

Writer's Digest, January 1992, pages 36-39, has a piece by John Morressy with the title, "Serial Success: It's as Easy as 1, 2, 3." The subtitle suggests, "Follow this series of tips to write successful series fiction by creating one book or story that will guarantee the sale of the next one - or the next 20."He starts by telling his own story, about having an idea for a story in 1980. A light fantasy tale about a wizard who decides to outsmart the other wizards and alchemists by learning how to turn gold into lead. That story led to a number of other short stories and novels."That's more than I ever expected to write about them, but they've just kept giving me material - far more than I can ever use. That's one of the nice things about writing a series."However, John points out that a series also has some practical problems. But don't worry, John's got suggestions about that, too. So let's get right to it...First of all, every work of fiction has a past, a background history. And John's first suggestion is #1: Build on your story's past. Ask yourself questions, and then see where that leads you. Each new piece reveals more things, introduces new characters and incidents, and it just keeps going.Incidentally, John doesn't recommend starting out with long, detailed plans. "There was no point in planning until I knew where I wanted to go, I didn't know where I was going until I was on my way." He suggests that a series doesn't grow like a Tinkertoy, it grows like a plant, with new pieces coming out in unpredictable places. "Elaborate planning is not only unnecessary, it's probably a waste of time."However, #2: Don't trust to memory. Make notes! With a series, you've got lots of chances to make mistakes. Make those maps, floor plans, timelines. Research, make sure you have your facts lined up. Keep track of your characters, settings, all that stuff!#3: Do not be stingy with ideas. "Ideas generate ideas in writing generates writing." Don't get stuck planning, write! Don't fret about planting things, just see what happens.And, one that is peculiar to series, #4: Make every work in a series stand on its own. "A book or story in a series should not be like a piece of a jigsaw puzzle, unintelligible out of context. It should be like a brick: solid and whole, but capable of being part of something larger." John points out that readers don't read a series, they read one book or story at a time! So that one book or story should make sense. Now, there may be a definite order to your series. Although some series just have a shared setting, or some other connection. Which brings us to the next suggestion.#5: There is no single foolproof right and proper way to organize a series. There are numerous ways to tie things together. Sometimes a group of stories shares an inn, or a pub, but is otherwise told by several narrators. Or you may have a single setting in a common narrator. A recurring character. "How you choose to unify your tales is just that - your choice." Start writing. Don't get bogged down in long-term plans. Write that first book or story, then grow your series from that.There you go, 1, 2, 3... One way to write a series!As an exercise, you might take a story that you've already written, and think about what other stories might grow out of it. Is there a background story, is there a minor character that needs to tell their own story? Or is there a sequel just waiting to be told? Think about what other stories are just waiting for you to pay attention to them, and then start writing.
[identity profile] mbarker.livejournal.com
Original Posting Sept. 10, 2015

Writer's Digest, October 2002, on pages 18 and 19, had an article called How to Tell Time by Michael Orlofsky. The focus is on pacing, how the characters move through the plot, and the tempo of the plot. Unlike real life, in writing, time isn't really a straight line. We get to add peaks and troughs. In particular, those peaks are important, as little mini climaxes building up to the final one. But how do you control your time?

1. Scene and Narration. Scenes are one of the keys here. Scenes are basically "real-time" as far as the story goes. We get to watch the characters doing things in a setting, moment by moment. On the other hand, narration often condenses time and space, moving action and speech and information along.

2. Flashback versus linear flow. "One of the most used fiction techniques is the flashback." Jump out of the "present" of the story and into the past. Be aware that flashbacks delay the story line. Sometimes an overabundance of flashbacks means that you started the story in the wrong place, and you're having to rebuild the beginning through all these flashbacks. If it's really important for the character or the story, go back and start the story back then! Linear narratives, on the other hand, focus on the forward flow of a ticking clock.

3. Transition. "To me, the best approaches are the simplest ones -- short, introductory adverbial and prepositional phrases..." Meanwhile, in the summer, and so forth. White space, or sometimes *** or ###, also may indicate a scene or time change. Even the old ... can do the trick!

4. Verb tense. Past tense adds an obvious temporal distance to the story. Present tense makes things more immediate.

5. Sentence length. "Long, luxurious sentences and paragraphs slow the tempo of a passage. Conversely, short sentences quicken the pace and frequently produce a tense, staccato effect."... "Note the have been flow of the sentences: long ones to convey time passing; short ones for dramatic punch."

It's not in the article, but I was thinking that TV and movies often use the musical background to cue us in. A slow, violins playing romantic piece or perhaps a quick, bongo drumming background give us very different impressions. Similarly, our writing has a rhythm to it, built up of lots of little things. We need to pay attention to our pacing, to match the writing to the tension in the plot. Move quickly. Jump! Or just take our time and stroll along, enjoying the flowers in the sunshine?

Something to think about, anyway. And perhaps check during revision, to make sure the fast parts really are fast, and the slow ones take their time?
[identity profile] mbarker.livejournal.com
Original Posting 27 Oct 2012

All right. Nanowrimo is just around the corner, but we've still got a couple of days to get prepared. And looking at the book Save the Cat! By Blake Snyder, I think we can get some pointers.

After all, Blake starts out in chapter 1 talking about the logline. The one line answer to the question what's it about. What's the heart of the story? In particular, you need to include four components.

The first one is what Blake calls irony, or the hook. Something unexpected, emotionally intriguing, something that makes you want to read that story.

The second one is a compelling mental picture. Something that sparks our imagination.

The third one is the one that you may not think you need. A good logline for the movie industry suggests who the audience is and how much it's going to cost. For your story, you probably want to think about the audience. Cost… Well, how big is this story?

Fourth, and final, a really good logline usually includes a killer title. Not generic, the headline of a specific story.

So spend a little time figuring out what your story's going to be about. You need some ideas?
1. Switcheroo -- take a dramatic, thriller, or horror story and make it a comedy. Or, take a comedy story and turn it into a dramatic, thriller, or horror story. Switch those genres, and see what happens!

2. Fish out of water -- name five places that no one would send an FBI agent to solve a crime, and then send an FBI agent there. Private eye, secret agent, teenager -- take a character and put them somewhere unexpected.

3. What kind of a school? Name five examples of unusual kinds of schools, camps, classrooms. What happens when someone tries to put your students in that school?

4. Opposites attract? Take a couple of people who would naturally be on opposite sides of a burning issue, and get them together.

5. Are you after me? Pick an unusual person, animal, or thing that someone might suspect of being a serial killer, murderer, arsonist, or something else. Why did your character suspect them? And what is your character going to do about it?
Psst? Let me toss in that Marion Zimmer Bradley said a good story is
1. A likable character
2. Overcomes almost insuperable odds (opposition, conflict!)
3. By his or her own efforts
4. Achieving a worthwhile goal.
I kind of think that filling in those four parts also makes a pretty good statement about what your story is.

All right. Once you've got your idea, your logline, you probably need to think about the genre. Maybe you already did, but take a minute and figure out which of these "standard" stories you're telling. It'll help you to figure out what needs to go into it.
1. Monster in the house -- there's some limited area, and a monster is loose in it.
2. The Golden fleece -- a quest by any other name.
3. Out of the bottle -- wish fulfillment.
4. Dude with a problem -- an ordinary guy in extraordinary circumstances.
5. Rites of passage -- change of life.
6. Buddy love -- two people. Odd couple, starcrossed lovers, all kinds of two-somes.
7. Whydunit -- a mystery!
8. The fool triumphant -- when the clown wins, we all cheer.
9. Institutionalized -- the system or the individual?
10. Superhero -- the extraordinary guy in ordinary circumstances.
20 master plots, these 10 genres, add in your own favorites. Right now cross genre mash ups seem to be popular, so if you really want to do a steam punk romance with vampires, go for it. But whatever it is, figure out the general type of story.

Now, with your idea and genre in hand, Blake suggests you focus on whom it's about. Who is the hero? What do they want? Who is going to have the most conflict, the longest and hardest emotional journey, and a primal goal that we can all root for? Who can the readers identify with, learn from, be compelled to follow, believe deserves to win, and has a primal reason that the readers will buy? What's the key to your good guy and your bad guy?

Idea, genre, characters. The next step is where Blake recommends a 15 step pattern. His very own beats. Some people use the hero's journey, other people use three act structure, or a seven step story structure. One way or another, a lot of people recommend hanging your story on a standard scaffold.

Blake Snyder's 15 Beats
1. Opening image
2. Statement of the theme
3. Set up -- who are the characters, and what's the hero missing?
4. Catalyst -- What kicks off the action?
5. Debate -- wait a minute?
6. Break into act two -- The hero takes that step
7. The B story -- changeup
8. Fun and games -- let's try it out
9. Midpoint -- raise the stakes, hit a false victory
10. The bad guys close in
11. All is lost! The mentor dies, friends turn away
12. The dark night of the soul.
13. The break into act three. Aha! There is hope!
14. The finale. The climax. The hero wins.
15. The final image
You can find the hero's journey or the seven step story structure out there on the web. Briefly, the hero's journey looks like:
1. Ordinary world
2. Call to adventure
3. Refusal of the call
4. Meeting the mentor
5. Crossing the first threshold
6. Tests, allies, enemies
7. Approach to the inmost cave
8. Supreme ordeal
9. Reward (seizing the sword)
10. The road back
11. Resurrection
12. Return with elixir
The seven step story structure is
1. Hook: where does the character start?
2. Plot turn one: what is the call to action?
3. Pinch one: what makes this difficult for the character?
4. Midpoint: when does the character quit reacting and start acting?
5. Pinch two: what makes this absolutely necessary for the character?
6. Plot turn two: what is the final bit of information, the aha! that lets the character save the day?
7. Resolution or climax: where does the character end? Do they save the day, or lose it all?
Heck, here's a quickie 3 act, 2 door version:
1. Inciting incident
2. The first door of no return
3. Conflicts and complications
4. The second door of no return
5. The climax
The key to all of these is realizing that they are suggesting some key steps in the plot, some scenes that almost always are there. Show where the character is starting, and what kicks them out of that. Make them struggle, and then... take the first step! Now, in the middle, there should be tests, struggles, conflicts, leading up to... taking the second step! And, now, we have the climax, the point of the whole thing.

But aren't there more than (seven, 12, 15) scenes? Of course there. Blake suggests that most movies have about 40. So you need to add more scenes around and between the key ones. This is where Blake suggests using a cork board, index cards, and pushpins. But you can also do this on paper. A lot of people simply write one sentence for each scene, and move them around as needed. I used to recommend "stepping stone" diagrams. Put your beginning at the top of the page, and your ending at the bottom, then put bubbles in between with a phrase for each scene. This works reasonably well for short stories, but for longer works, the page is likely to get pretty crowded. Whatever works for you.

Blake does suggest an interesting structure for his cards. He starts off with the setting, where are we. Under this is the basic action of the scene in simple sentences. Characters in conflict, mostly. And at the very bottom, there's a plus/minus which is where you write the emotional change that occurs in the scene. The other one is >< and beside that you should write the conflict, what someone wants, and what's blocking them.

You might also want to think about scene and sequel, the idea that we have a scene full of action followed by a sequel where the character reacts, analyzes, thinks about what to do next, and makes a decision.

Idea, genre, characters, broadbrush outline, and a list of scenes, with setting, action, emotional change, and conflict? Hey, if you have all that...

YOU'RE READY TO WRITE!

Psst? I'll write something later about brainstorming before writing scenes. For right now, just get your scenes in order!

Nanowrimo, here we come!
[identity profile] mbarker.livejournal.com
Original posting 4 August 2009

So how does Jim Butcher at http://jimbutcher.livejournal.com/ suggest that you put together all the bits and pieces? I think of his approach as the top down version. Here's what he lays out:

Page 1 has the basics. Three key parts. What is the story question? The protagonist -- in particular, the tags and traits that identify this person and their introduction. The antagonist, again with tags and traits and introduction. That's it. What is this story about, and who are the two key characters? Pretty simple, right?

Page 2 is where Jim Butcher lays out the story arc or plot. He apparently starts by actually drawing an arc. On the left side, he writes a brief phrase about the opening scene. On the right side, he writes a brief phrase describing the climax. On the top of the arc, he writes down the big middle -- an event or scene that starts the march to the climax -- what knocks down the first domino? In between those, you can mark in any scenes that you want or know that you are going to do. You may want to add phrases that describe scenes connecting it all, getting characters from one point to the next point.

This reminds me of the stepping stone approach, with the opening scene at the top of the page, the climax at the bottom, and other scenes in between. His arc provides a little more organization.

Page 3 on, Jim Butcher does subplots. He uses the same kind of story arc for each and every subplot, defining where they begin, where they end, and what event leads to the resolution.

Character profiles. He does short profiles for every significant character.

Next, he takes each of the scenes from the various arcs and outlines the scenes and sequels -- what is the action in the scenes and what is the reaction from the characters? For every mark and every phrase on each of the arcs, he outlines the scene and the sequel.

He does a rough sketch of the climax.

That's Jim Butcher's skeleton. Admittedly, he seems to mostly be doing novels, often in series, but he says he does this sort of skeleton even for a short story. He lays out all of this before he starts to write.

Clearly Jim Butcher is a plotter, laying out the outline in some detail before he starts writing. There are also pantsers or discovery writers who prefer to do their thinking by writing. I'm not sure that either way is automatically best, but it is worthwhile to explore what works for you. And reflect on it from time to time, deciding whether you need to add something or perhaps drop some pieces of your personal process.

Anyway, we have a contest. A quest, a quest.
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