mbarker: (BrainUnderRepair)
[personal profile] mbarker
Original Posting 5/27/2019

Writer's Digest, January 1994, on pages 44-46 has an article by Hal Blythe and Charlie Sweet talking about anecdotes. As the subtitle says, "Anecdotes told by one character to another are an effective means of accomplishing a host of storytelling objectives."
 
They start out by recounting part of Jaws, when Robert Shaw and Richard Dreyfuss are waiting for the great white shark to attack, and Shaw tells a war story. Even while it lets us the viewers catch our breath, it adds to the tension. Now, having characters tell anecdotes to other characters is fairly common in stories, on paper, stage, and movies. So, how can you add this tool to your toolbox? Why would you want to? Well, it at least provides variety, right? But it also has a number of other advantages.
 
First, it helps you deliver information. Sure, writers may get away with infodumping, but playwrights and others usually dramatize information. Even little stories about other characters can help with this.
 
Second, anecdotes are engaging for the audience! Show, right? Well, anecdotes make things very clear. "In short, the more your audience can picture what's happening (instead of trying to decipher abstractions), and the more they wonder about what's going on, the more involved though be in your story." Simple, right?
 
Third, anecdotes often are used to illustrate themes. "An effective means of simplifying a difficult concept is to create a narrative that dramatizes your story's major insights." These anecdotes "translate complex ideas into more easily understood situations, characters, and actions."
 
Fourth, anecdotes can deepen characterization. Readers need insight into characters, and a well constructed anecdote can give them that insight. Often, they can explain motivation.
 
Fifth, anecdotes can save words. You can accomplish multiple goals. Exposition, engaging the audience, characterization, and theme? All in a short anecdote.
 
So, what if you wanted to let your audience in on a character's motivation for a dream? Well, you could just describe it, perhaps in a flashback. But you want to emphasize it, so, think about dramatizing it. When one character tells another character about something, that anecdote gets a little extra polish. They provide an example in their article. Engagement, exposition, theme, characterization, all compressed into a few words. Not bad!
 
Now, to make the-story-within-the-story most effective, use it sparingly. If a short story has four or five anecdotes, people are likely to notice. You can vary the presentation, picking a different speaker and listener, and maybe changing the length. Remember that the anecdotes don't have to be autobiographical every time, for that matter, they don't have to be about humans. The old stories about animals may be just the right anecdote for your story. Do try to have your anecdotes serve multiple functions. It's not just content. "The fact that a character chooses to tell a story, how he relates it, and to whom he tells it can all divulge something about the teller."
 
So, kind of like the cream filling in an Oreo, think about adding a-story-within-a-story, an anecdote, to your story! Where can it add just the right touch?
 
tink
[identity profile] mbarker.livejournal.com
Original posting 30 April 2009

I missed at least one of these, but this was a recent special on Japanese TV, counting down the top 100 movies? They had little clips from each of the movies, and some commentary about what it was about these movies that made them special. Kind of interesting.

Since I only managed to list the top nine, why don't you pick a number from 1 to 9? Have you got your number? Okay, here's what you picked.
9. Miracle on 34th St. -- Magic in everyday life
8. Breaking Away -- the underdog
7. Grapes of Wrath
6. ET -- child grows up and letting go
5. Mr. Smith Goes to Washington -- the little guy who wins
4. Rocky -- keep on fighting
3. Schindler's List -- man's inhumanity to man
2. To Kill a Mockingbird -- stand up for the right
1. It's a Wonderful Life -- what one life means
Feel free to disagree with those short little blurbs about each of the movies. Think about what your movie, the one you picked, means to you. Then think about trying to put that theme, that insight into human life, that conflict and resolution, into a story of your own. Simple, right?

Incidentally, I suspect this was from one of the AFI specials -- don't ask me which one. Plenty of lists over here http://www.afi.com/tvevents/100years/movies.aspx in case you want to try another list.

Write?

Somewhere over the rainbow...
[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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