mbarker: (Fireworks Delight)
[personal profile] mbarker
Original Posting 2022/4/11
It must be time for chapter five! You are here: Using setting! A stage, a place, a location? Sure… where are the events of your scene taking place? Raymond tells us that writers sometimes don’t take advantage of setting because they are focused on the dynamics of plot, character, and dialogue. But… the right setting can enhance the impact a lot. It can add thematic dimension or suspense. A different setting can make a scene more exciting, more intense, or more comical. I mean, think about the Wizard of Oz set in… Times Square? Nope… How important is setting? Well, think about some of your favorite story, novel, or film scenes, and imagine setting them some place else.

So, how much setting description do you need? Enough to achieve your goal, but not so much that it detracts from the rest of the scene. Think about the dominating purpose of your scene, then decide how much setting description works. Beware of overdescribing, because you love those purple plains strewn with lots of metaphors. Imply and suggest instead. Also, watch out for clumping, which is infodumping your setting description, all in one huge lump! Figure out what’s essential, then scatter those bits in between actions. A good trick is to ask a question, then give us some description, and then answer the question. The reader will pay attention, and the little delay boosts suspense, too.

Setting also can help with pacing! Both within a scene, and the scenes can help control the overall pacing. For example, suspense novels often have sedentary scenes with plenty of setting description in between the action-packed chases. Detective novels often use settings to help keep the reader interested. 

Setting can even tie into theme. Oh, it might just be interesting, exciting, or suspenseful. But it can be a key part of the story, too. Consider “fish out of water” stories. That clash of cultures and backgrounds makes the story.  Also, sea stories, westerns, jungle tales… the setting helps make the story.

Raymond suggests that there isn’t any best technique here. Try out an interesting setting to pick up the pace, or pick one that fits the theme. Try out longer passages of description, or short punchy ones. Basically, write the scene the way you feel like the writing it. You’re discovering your story, and setting can be part of the discovery.

His workshop focuses on three keys. 1, describe the characteristics of the setting. 2, the setting affects the character(s) in the following ways? 3, the setting affects the plot in the following ways? He suggests tackling this at two levels, one being the grand scene of the general setting, and one being the specific scene you are working on.

Go ahead. Where is your scene? What’s in the background? Is there an elephant in the living room?
Write! 
mbarker: (Me typing?)
[personal profile] mbarker
Original Posting 2022/3/12
Hi, all. I noticed in my to be read pile I had this intriguing little tome. It's the Novelist's Essential Guide to Crafting Scenes by Raymond Obstfeld, and I think I'll walk through it, and share my notes with you. So... let's get started!

Chapter 1 is entitled What a scene is - and isn't. He starts out by reminding us that when we think of a movie (or any story) we generally don't remember the whole thing. No, we focus on moments, little pieces. Scenes, by any other name!

So what's a scene? Well, in theater, it means action in a single setting. In fiction, we tend to use the same rule, but... you could write a more complex scene spanning multiple settings. So what defines a scene? Raymond says it is the focus, the purpose. He suggests these are common purposes:
- giving the reader information needed to further plot
- Show the conflict between characters
- Highlight some specific trait or action to develop a particular character
- Creating suspense
Often, scenes combine these purposes. So, the writer needs to know why the scene exists and makes it memorable to justify it.

Memorable? Something needs to surprise the reader! Readers have expectations about the scenes, and you need to play with those expectations. Make the scene unexpected! Fresh dialog, an unusual situation, or maybe just wonderful style?

However... Raymond points out that while you want to make your scene do all this when it's finished, sometimes you need to just dive in and start writing. Then go back and make it wonderful.

Then Raymond reminds us that good writing often depends on misdirection, on keeping the reader interested in one thing while you slide some other goodies in where they aren't looking.

He finishes this chapter with a note that scenes are part of a bigger work, and need to be considered in how they contribute to that, too...

And for fun, he gives us a little workshop to finish the chapter. Basically, suppose you have a scene, and you are trying to decide if it belongs in your story or not. Well, fill in one of these four sentences.

1. Plot. The purpose of this scene is (finish the sentence!)
2. Character. When the reader finishes this scene, he should feel (finish it!)
3. Theme. When the reader finishes this scene, he should think ???
4. Suspense. When the reader finishes this scene, he should wonder (what?)

If you can't fill in one of these, what is that scene doing there?
There you go! Chapter one done, and 14 more to go! 
mbarker: (BrainUnderRepair)
[personal profile] mbarker
Original Posting 2022/2/14
Over at https://writingexcuses.com/2022/02/13/17-7-dissecting-influence/ they are dissecting influences. One of the things they mentioned reminded me of something I do from time to time, and I thought I'd toss it out as something you may want to try.

It's simple really. Take your favorite medium, books, short stories, movies, anime, or whatever, and make a list of your favorites. No particular number, but make sure you have several. Then, take a look, and see if there are common themes, subjects, treatments, or whatever that seem to pop up. Usually, you'll find several that share some elements. Go ahead, make a list of those common threads that attract you.

You may want to take them apart a bit. Why is that theme something that resonates with you? Why do you prefer the youngster growing up main character? Of whatever it is... think about what it means to you, and what the key parts of it are.

You may even want to go a bit farther, and think about how to use these themes, character types, plots, or whatever in your own stories and work. After all, if you really love them, you might as well use them to inspire your own work, right?

Heck, you could probably even go ahead and do some sketches, or mix and match tales, and so forth.
Write? 
mbarker: (ISeeYou2)
[personal profile] mbarker
Repost Date October 10,.2020
Original posting: Sunday, September 30, 2018 8:43 PM

Since you are probably hard at work on those Halloween stories and poems for the contest, let’s see what we can find...

Okay, let's start with this list... 22 party themes, but they could be story themes, too.

https://www.care.com/c/stories/3709/22-halloween-party-themes/

1. Monster Mash
2. Willy Wonka
3. Haunted house
4. Autumn harvest
5. Carnival
6. Murder mystery
7. Freak show
8. Mad scientist
9. Jack-o'-lantern carving
10. Superheroes
11. Graveyard
12. Alice in Wonderland
13. Hollywood
14. Edgar Allan Poe
15. Harry Potter
16. Rocky Horror Picture Show
17. Politicians
18. Pirates
19. UFO
20. Zombies
21. The mummy's curse
22. Gothic

Not quite what you were looking for? How about these 8 uncommon Halloween party themes?

https://www.greenvelope.com/blog/eight-uncommon-halloween-party-themes

1. Creepy Crawly
2. Crime scene
3. A speakeasy
4. Spells and potions
5. Ghouls night in
6. Full moon halloween
7. Murder mystery
8. Dia de los Muertos

Or poke around the web and find a Halloween theme of your own! After all, I know you have the heart of a little boy, in a jar on your desk…
mbarker: (ISeeYou2)
[personal profile] mbarker
Original Posting 9/10/2019

Over here, https://www.helpingwritersbecomeauthors.com/how-to-write-stories-that-matter/, K. M. Weiland has a guest posting by Daryl Rothman. Plenty of people look for the "silver bullet," the "secret formula" that will make your writing good. Well, Daryl is giving it away!"Writing's Secret Formula: How to Write Stories that Matter." WOW!Daryl starts with a little pondering about a quote from Stephen King. It starts out "Writing is magic..."Then he turns to the formula. Writing's Secret Formula: SW2C. So What and Who Cares. Make readers care about our characters and what happens to them.But when you put together all the parts, characterization, plot, setting, POV, will the readers come?Find your why! It's in that formula, So What and Who Cares.Go read the article. I think you'll find his musing thought-provoking.He ends up with five questions that he recommends to help figure out why your story matters.1. Why does it matter to you?2. Why will it matter to others?3. How can you make it matter?4. What effect do you want to produce?5. Do you want readers to feel something, and if so, what?You might want to start with his little exercise, near the end. Three steps. First, "consider what your favorite stories did for you, and how they did it." That's right, what stands out for you, and how does it work? Second, "Why do they matter to you?" Stop and think about why this means something to you. Third, "What are the things that matter most to you in life?" Oh, what are your stakes? What are your goals? Now...WRITE!
mbarker: (Burp)
[personal profile] mbarker
 Original Posting Oct. 19, 2018

Aha! What do you want to say, what is the meaning of your story? You might as well start out with that old cliché, "And the moral of the story is…"

This usually ends up being something you figure out after you have finished the first draft, or even during revision, when you can look at the whole story and see what's going on. Although maybe you'd like to start with a general idea or purpose.

Now, one part of this can be thinking about the genre. Here's one list:

Monster in the house
wish fulfillment
dude with the problem (ordinary person, extraordinary situation)
rite of passage
fool triumphant
superhero (extraordinary person, ordinary situation)
buddies (a.k.a. the odd couple, romance, and so forth)
whodunit (the mysteries!)
Institutionalized (individual versus institution)
quest
adventure
love
one against the odds

Go ahead, which genre do you want to write? Then, in that genre, what you want to say? If you had to sum up your story, the meaning of your story, in a short phrase or sentence, what would it be?

Now, for Halloween... I suppose one of the themes is that there are things in the dark that go bump! Or maybe it's scary in the dark?

You know the next step, right? Yeah...

WRITE!
mbarker: (ISeeYou2)
[personal profile] mbarker
 Original Posting Oct. 13, 2018

Over here

https://writersedit.com/fiction-writing/10-most-popular-literary-theme-examples/

They provide a list of the 10 most popular literary themes! So... pick a number from one to ten (hah! Roll a D20 and divide by 2? Pull a dollar bill out of your pocket, and look at the last digit of the serial number? How about look at a digital clock, and take the last digit of the time? One way or another, pick a number from one to ten, okay?)

Here's what you have picked:

1. Love
2. Death
3. Good versus evil
4. Coming of age
5. Power and corruption
6. Survival
7. Courage and heroism
8. Prejudice
9. Individual versus society
10. War

If you want to, go over to their site and check out the examples they provide for each category. But basically, take that theme, which is probably reasonably familiar, and try wringing your own version out of it. Short story, poetry, a novel, a series... take your pick, but try to tie that theme into the story, and make us laugh, make us cry, make us feel the story come to life...

WRITE!
mbarker: (Smile)
[personal profile] mbarker
 Original Posting Sept. 30, 2018

Since you are probably hard at work on those Halloween stories and poems for the contest, let’s see what we can find...

Okay, let's start with this list... 22 party themes, but they could be story themes, too.

https://www.care.com/c/stories/3709/22-halloween-party-themes/

1. Monster Mash
2. Willy Wonka
3. Haunted house
4. Autumn harvest
5. Carnival
6. Murder mystery
7. Freak show
8. Mad scientist
9. Jack-o'-lantern carving
10. Superheroes
11. Graveyard
12. Alice in Wonderland
13. Hollywood
14. Edgar Allan Poe
15. Harry Potter
16. Rocky Horror Picture Show
17. Politicians
18. Pirates
19. UFO
20. Zombies
21. The mummy's curse
22. Gothic

Not quite what you were looking for? How about these 8 uncommon Halloween party themes?

https://www.greenvelope.com/blog/eight-uncommon-halloween-party-themes

1. Creepy Crawly
2. Crime scene
3. A speakeasy
4. Spells and potions
5. Ghouls night in
6. Full moon halloween
7. Murder mystery
8. Dia de los Muertos

Or poke around the web and find a Halloween theme of your own! After all, I know you have the heart of a little boy, in a jar on your desk…
mbarker: (ISeeYou2)
[personal profile] mbarker
Original Posting March 14, 2018

So, let's see. A likable character faces opposition or conflict, and by his or her own efforts, achieves a worthwhile goal. So we need a character, opposition and conflict, efforts, and a goal? Or maybe start with the character and goal, then the plan to get there, and finally the opposition or conflict, what's going to be in the way?


Heck, start with any of these. Characters, Setting, Plot, or even theme or purpose. Then brainstorm away at the others.

Here, start with a character. Who are they? What are their goals and desires? What are their problems and faults? In your story, what changes?

Or maybe a setting? Where are we? What are the scenes and locations?

Of course, plot is a really common starting place. What threatens the character's self-image? What can go wrong, and what will it cost? What blocks the character, and what are they going to do about it? Think about the events you want to have in your story, and especially the climax. Are you going to have some small try-fail cycles, bumps along the road, before you get to the climax?

Another simple plotting approach is:
1. What is the moment of change that starts the story moving?
2. What is the hook for the reader?
3. What is the story problem?
4. What is the first doorway of no return? What is the point where the main character, the protagonist, commits to solving the problem?
5. What are the complications that they are going to face in trying to achieve that?
6. What is the second doorway of no return? What is the twist, the revelation, the point where the main character figures out how to achieve their goal, and starts into the climax?
7. What is the ending? What is the climax, the character change, and the answer to the story problem?
8. Now go back and consider, what backfill and back story do you need?

Another way to brainstorm about it is answering questions. Here's one set:

1. Where are we? Setting!
2. Who is there? Characters, with their pluses and minuses.
3. Where are we going? What are their goals and motivations?
4. What blocks them? What are the obstacles or opposition?
5. What are they going to do? What are their plans?
That's all kind of background. The story itself revolves around:
6. What's the hook? What's the story question or problem?
7. What background do we need?
8. What's the build up? Lay out the scenes, the information, the turning points, the reveals, the surprises.
9. What's the climax? What is the character change, the plot resolution, the story answer?
10. What is the purpose or theme? You may not be able to answer this until you have written at least a first draft.

Or maybe you want to think about genres? Lots of different lists, here's one from Save the Cat:
1. Monster in the house: a monster, and the house. Something scary, and a restricted field.
2. The Golden Fleece: we are on a quest to get…
3. Out of the bottle: wish fulfillment.
4. Dude with the problem: ordinary guy, extraordinary circumstances
5. Rites of passage: life changes
6. Buddy love. Love stories, odd couples, mismatched…
7. Whydunit. A mystery by any other name.
8. The fool triumphant. The underdog wins!
9. Institutionalized. What happens inside.
10. Superhero. An extraordinary person in an ordinary world.

Take your character, your seed of a plot, or whatever, and try running it into some of these questions, or maybe brainstorm how you would write it up as several of these genres. Remember, it's still early, so you've got time to kick the tires. Next week, we'll start having to actually write a story every week! But, I'll let you do a little preparation if you want to. That way you just have to pick out a story idea and sit down and write, write, write.

Whoosh! All that for a little story? Well, you don't have to. You can just sit down and write by the seat of your pants. Many great writers swear that they just sit down and open a vein, and... the words come. The arguments between seat-of-the-pants writers (pantsers, or discovery writers) and outliners have been going on probably since the first cavemen sat down to tell a story over that new invention, the fire. Frankly, do whichever works for you. Some people swear that thinking about it, outlining and planning, takes all of the excitement and interest out of it, and they just can't write a story once they've done that. Others find that blank page terribly intimidating, and a little bit of brainstorming and planning helps reduce that terror.

And just think! Starting Sunday, March 18, we'll all be scratching our heads and churning out a story (or 6!). So watch for the submissions, starting March 24! Right here on Writers! Okay?

Okay? So who's with me? 6 stories. Any size, but write a story, okay?

Get on your marks...
[identity profile] mbarker.livejournal.com
Original posting 20 July 2009

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:
"Find your theme -- illness, abuse, bigotry, poverty, love, separation, justice -- and weave it like a master craftsman. It can meander through your book like a winding, beckoning path or be as painful as an open, gushing wound, but don't lose it in the trappings of the tale." Nancy Hendrickson
Theme? Ah, now that's an interesting suggestion. After you get done with the craft -- who are the characters, what's the plot, where are we going, what happens along the way, how do we raise the stakes, get everyone involved, and hit that climax -- there's still this notion of theme. What's the story about? Not to lean too heavily on the moral of the story, because that's often overdone, but what's the golden thread that ties it all together? Romance stories usually are about love and human relationships. Most of the samurai dramas are about justice at some level. Maybe that's how they tie into westerns -- which also often are about justice.

Something to think about. What is the theme of your story? How does it get expressed? How do you manage to show it to the readers without being overbearing about "THE MORAL OF THE STORY IS..."? Do you start with your theme, and wrap the story around it, or do you let the story show you the theme as it develops? When you are revising, do you do a pass through the story with theme in mind? What do you adjust in that pass?
[identity profile] mbarker.livejournal.com
Original posting 8 March 2009

Yakkity-yack

Writer's Digest, April 2006, Fiction Essentials column by James Scott Bell pages 20 and 21 talks about dialogue. It's not just for talking! In the writer's hand, it can set moods, change the pace, and make theme deeper. So how do you make your character's dialogue really work.

First, use the dialogue to set and support the mood. "Dialogue that's consistent with the mood of the novel can help pull readers into emotional moments and deepen the reading experience." Look at the dialogue independently of the action beats and description -- what mood does it set? Now revise so that the tone of the dialogue complements the action.

Second, use dialogue to speed up or slow things down. Short verbal exchanges with few action beats read fast. Use that to speed things up. Or if you want to slow things down, add in action beats, thoughts and reactions, and descriptions. Or of course you can make the dialogue longer. Aunt Sally's rambling version could slow down anything! Just make sure that it's true to the character.

And third, dialogue can reflect the theme. The characters are thinking about things -- and they talk to each other about it. We, the reader, get to think about it too. To get thematic dialogue, take it in three steps. First, as you write the novel, think about the theme that is emerging. Don't try to force one into your novel, just to see what is coming out naturally. Second, let several characters talk to each other about that theme. Go ahead and write too much -- you can always cut the extra dialogue out. And third, edit the dialogue, so that the characters explore and touch on the theme from the edge. Don't let them preach to the readers either.

Dialogue is probably one of the strongest tools in the fiction writer's hands. Think about how you're using it. Add in the mood, pacing, and theme so that your dialogue adds layers to the story. Now that's meaningful dialogue.

Write?
[identity profile] mbarker.livejournal.com
Original posting 13 February 2009

All right! Let's try mixing a dilemma with some little questions, shall we?

Pick a number from one to six, okay? Roll that die . . .

You got your number now? Here's what you have picked:
  1. You agree to buy a friend's piano. Later, you discover that the agreed price is too high. Considering that your friend has told other buyers that it is sold, do you try to renegotiate?
  2. Your neighbor's teenager has another wild all-night party. His parents return from out-of-town and asked how things were. Do you say what goes on?
  3. The person you have been living with hints at suicide if you carry out your intention to leave. Do you leave as intended?
  4. You have an essay due in a French language course. Your typist is French. Do you write it in English and asked her to translate it?
  5. You suspect the cleaning woman is sipping your booze when you're out. Do you mention it to her?
  6. You are visiting an unmarried, elderly aunt. On the table is her will. When she is out of the room, do you glance at it?
There you go. Six little problems from the game A Question of Scruples.

Okay? Now the questions. Take your problem and consider:
  1. Who will this hurt? Pick out your protagonist/point of view based on who has the most trouble in this situation.
  2. What can go wrong? Aha, that's the conflicts! Make a list.
  3. What's the larger issue? Go ahead, think about the big scope of your story.
  4. Who pays? Who loses what? There's the climax.
Grind it out. And you might want to make a little matrix -- secrets or conflicts and characters, to help you see what all is going to happen here.
[identity profile] mbarker.livejournal.com
Original posting 9 January 2009

Turning Ideas into Stories

Writer's Digest, September 2005, Fiction Essentials column by Nancy Kress has the title, "From Idea to Story." The focus is on how to go from the germ of an idea to a more rounded or complex story. How do you turn things like:
  • a Russian submarine captain decides to defect to the United States
  • an aristocratic lady has an adulterous love affair
  • scientists clone dinosaurs from DNA preserved in amber
into books like The Hunt for Red October, Anna Karenina, or Jurassic Park? Obviously, take one idea, add characters, plot, outcome -- stir well, and there's your story, right? Well, that does sort of assume that you know how to develop characters, plot, and outcome. But at least these four questions will help you put some meat on the bones.
  1. Who will this hurt? Answering this question helps you decide who will be the protagonist and the point of view characters. After all, there are always lots of people who could be involved in your story. How do you decide who to focus on? "Pick someone who stands to be really hurt." Someone with an emotional stake. Someone who may be crushed by the story events.
  2. What can go wrong? "Fiction is about things gone awry." Now that you know who your key characters are, list possible things that can go wrong. Think disasters, thinks surprises, think antagonism. List everything you can think of, and then think about what happens next and what goes wrong with that! Somebody got killed? Okay, what can go wrong with the investigation?
  3. What larger issue is at stake? By picking main characters who will be hurt, you also have an idea about what's at stake for that character. Now back up and ask what's at stake in the larger picture. Think about theme or moral point. Think about big scope, giving your story more depth.
  4. Who pays? In fiction, in particular, someone has to pay the price. Who is it going to be? And what is that price going to be? Usually characters are caught on the teeth of a dilemma, and the solution often requires that they give up something even if they win. "The basic rule is inviolate: somebody loses, and somebody pays." It's up to you to decide who and what.
So take that germ of an idea, and use these four questions to help turn that idea into a story. Who gets hurt -- there's your characters. What can go wrong -- that's a plot! What larger issue is at stake -- there's the theme to go with the plot. And who pays -- there's your outcome.

Go ahead, thrash those ideas against the questions, and see what you come up aswith.
[identity profile] mbarker.livejournal.com
Original posting 21 June 2008

Make a Scene, chapter 9: Subtext

So we're taking a look at Make a Scene by Jordan Rosenfeld. We're deep in Part 2 looking at various core elements and the scene. Setting, senses, character development and motivation, plot -- and now in Chapter 9, a look at subtext.

"Scenes often need depth or subtext, texture that links the scene to the themes and larger plot of your narrative, and fleshes them out." And Rosenfeld points out that building in subtext is often a task for the second draft or revisions, when you know the story and the characters better, and have a better understanding of the message or idea or moral of the story.

Rosenfeld suggests that good scenes have a surface -- the visible parts -- and an underbelly, the subtext, where the emotional baggage, agendas, secrets, and motivations roil. There are several techniques for creating subtext.

Thematic imagery or symbols. When you use the images that metaphorically or symbolically tie-in to the theme, this can help remind the reader of the large idea even in the middle of the tactical plot and scene. This doesn't have to be overdone -- a couple of highlights can be plenty. Plant symbols subtly, without rubbing the reader's nose in them.

Innuendo. Characters in fiction often come across truths that they don't want to admit to themselves or others -- and all too often, someone insists on reminding them. Teasing, accusation, wordplay -- this can be fun! Use innuendo to subtly point fingers, adding complication to the scene and the dialogue.

Unconscious or uncontrollable behavior. Most of the time, characters do things on purpose -- intentionally. But those unintended actions can speak louder than anything else.

Foreground and background. Even though the reader's attention is on what's happening in the foreground, you can use the background for subtle messages and emotional layers. Sure, the protagonist is about to declare his undying love -- but what's his little brother doing gagging behind him? What are the secondary characters doing while the primary characters take over the foreground?

Think of your scenes as multidimensional. You want them to be deep and complex -- so give them a rich subtext.

The assignment this week is much like that of other weeks. Start with a scene in a novel that you like or one that you're working on. Now go through and see if you can identify pieces that provides subtext in this scene. Are there images or symbols? Do characters use innuendo to suggest things? Are any of the characters doing things without thinking about it? Is something happening in the background that adds a bit more depth? Are there other techniques helping to provide subtext for this scene?

For extra credit, you can always take an entire story or novel, and think about the theme or moral underlying it. Then consider at least five ways that you might weave that theme into a scene of your choice. What imagery or symbols might you use? Is there something you could plant in the characters' dialogue? How could the unconscious behavior of one or more characters reflect that theme? What might happen behind your main action to reflect the theme?

Go ahead, write!
[identity profile] mbarker.livejournal.com
Original Posting 16 October 2007

Complicating Plot and Structure (19)

Wandering through the book Plot & Structure by James Scott Bell, we find our way to chapter 8 where Bell talks about complex plots. Straightforward fast plots are easy enough, but how do you make it a little bit more complicated. Readers remember little bit more complex plots, but only if they seem simple. That's a contradiction you might want to keep them in mind.

The first suggestion about making memorable complex plots is to think about theme. This is a value or lessen or insight -- a new way of seeing things -- that you want the reader to take away from your story. One way to help clarify it in your own mind is to write it down in one line or sentence. You don't want to force your story to fit the theme, you want your characters and their struggle to create a theme.

The second suggestion is subplots. Add in those extra strands and themes, weave them in so that they feel organic, and make sure that they add to the overall effect. Sometimes these are the personal or interior reflections of the overall theme.

The third suggestion is to think about symbols and motifs. This is tricky because it can be overdone so easily, but done carefully and lightly these can add quite a bit. Symbols represent something else, while motifs are repeated images or phrases. These often come out of the sensory detail that you write into the scenes.

The fourth suggestion has to do with long novels. Especially with the current trend towards thick bricks of books, you may be dealing with a sweep of time and space that is just plain bigger than old-time novelists had to deal with. Bell suggests breaking it into shorter pieces and dealing with each one of them using the LOCK and three act structure.

Parallel plots. Simply two or more plot lines running in parallel. One of the nice things about these is making each plot complete and having a suspense build each time you switch to the other plot.

Structure and style games include nonlinear stories of various kinds. One of the keys to making these work is remembering that the reader wants to know what happened. One way or another, they want a coherent story. Presenting things in a nonlinear way -- the readers will try to fit it into a coherent narrative. Make sure that at the end of your novel they have the pieces they need.

Okay. This chapter is sketchy, since frankly this is the advanced piece. Still, Bell provides several interesting exercises. First, take a piece of paper (or a word table) with three columns. In the first column, list rich or outstanding details from your scenes. In the middle column, list the main characters. And in the last column, list the major settings. Then look across the table for connections between the columns. Pick two or three connections that really stand out, and consider how you might emphasize these in your novel as motifs or symbols.

Second, figure out what you want the reader to learn from your novel. Write it down in one sentence. Then consider ways to bring this out naturally. Avoid the old-fashioned "and the moral of the story is . . ." but make sure there are natural places to see this.

Third, relax and see what images you think of for your novel. You might try playing some music that stirs you, and just let it wash across your mind. Jot down the images and scenes that float up while you're doing this. Repeat this occasionally while writing and revising your novel. You may be surprised at what your subconscious wants to put into the novel.

So that's the chapter on complex plots. Next we'll take a look at character arcs.

Of course, in the meantime, write!
[identity profile] mbarker.livejournal.com
Original posting: Fri, 29 Jun 2001 20:53:00 -0400

At 06:53 AM 6/28/2001 -0700, TheWonderfullRabb wrote:
I have tried to instill in her the values I was brought up with. Respect your elders, do not interrupt, thou shalt not steal, lie or cheat, stay out of trouble, walk away from a fight, think for yourself and respect yourself and body.
Okay...

So, here's the thought.  Take a set of values (such as those above).  Take another set (wildly different or just a little tweak here and there).

Consider these as characters.  Put them into a situation, and rub well.  See if the friction causes flames, smoke, or just noise.

I.e., suppose one person holds "Respect your elders" as a core value, while another believes that the elders should be quickly disabused of any expectation of respect for aging (or perhaps simply believes that only the young really deserve respect, old folks just waited longer :-)  Now put them in the situation of taking care of their invalid mothers in a hospital, perhaps with the old moms in side-by-side beds?

Something to play with, eh?
[identity profile] mbarker.livejournal.com
Original Posting: Mon, 07 May 2001 22:23:17 -0400

First, the thought:

There is a rhythm -- a flow -- to life.  When we move with it, all things help us along.  When we fight it, when we resist the flow, everything seems to resist us.

Go with the flow!

Now, the work...

Consider this little observation about life.  Can you turn it into a story?  (and the little voice answers: how about a poetry!  to which we answer: write it and we'll read it!)

What kind of situation might show the truth (or falsity?) of this observation?  Can you picture someone fighting hard, and perhaps finding this observation in their fortune cookie, and what kind of change occurs?  (kind of long for a fortune cookie... how about a fortune noodle?)

Scribble, scribble, scribble...
[identity profile] mbarker.livejournal.com
Make a Scene, chapter 9: Subtext

So we're taking a look at Make a Scene by Jordan Rosenfeld. We're deep in Part 2 looking at various core elements and the scene. Setting, senses, character development and motivation, plot -- and now in Chapter 9, a look at subtext.

"Scenes often need depth or subtext, texture that links the scene to the themes and larger plot of your narrative, and fleshes them out." And Rosenfeld points out that building in subtext is often a task for the second draft or revisions, when you know the story and the characters better, and have a better understanding of the message or idea or moral of the story.

Rosenfeld suggests that good scenes have a surface -- the visible parts -- and an underbelly, the subtext, where the emotional baggage, agendas, secrets, and motivations roil. There are several techniques for creating subtext.

Thematic imagery or symbols. When you use the images that metaphorically or symbolically tie-in to the theme, this can help remind the reader of the large idea even in the middle of the tactical plot and scene. This doesn't have to be overdone -- a couple of highlights can be plenty. Plant symbols subtly, without rubbing the reader's nose in them.

Innuendo. Characters in fiction often come across truths that they don't want to admit to themselves or others -- and all too often, someone insists on reminding them. Teasing, accusation, wordplay -- this can be fun! Use innuendo to subtly point fingers, adding complication to the scene and the dialogue.

Unconscious or uncontrollable behavior. Most of the time, characters do things on purpose -- intentionally. But those unintended actions can speak louder than anything else.

Foreground and background. Even though the reader's attention is on what's happening in the foreground, you can use the background for subtle messages and emotional layers. Sure, the protagonist is about to declare his undying love -- but what's his little brother doing gagging behind him? What are the secondary characters doing while the primary characters take over the foreground?

Think of your scenes as multidimensional. You want them to be deep and complex -- so give them a rich subtext.

The assignment this week is much like that of other weeks. Start with a scene in a novel that you like or one that you're working on. Now go through and see if you can identify pieces that provides subtext in this scene. Are there images or symbols? Do characters use innuendo to suggest things? Are any of the characters doing things without thinking about it? Is something happening in the background that adds a bit more depth? Are there other techniques helping to provide subtext for this scene?

For extra credit, you can always take an entire story or novel, and think about the theme or moral underlying it. Then consider at least five ways that you might weave that theme into a scene of your choice. What imagery or symbols might you use? Is there something you could plant in the characters' dialogue? How could the unconscious behavior of one or more characters reflect that theme? What might happen behind your main action to reflect the theme?

Go ahead, write!

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