Thursday, November 11, 2010
Happy Veterans Day
Thank you to all those who have served, are serving, or who have waited at home for someone serving in the armed forces.
Monday, November 8, 2010
And Another Thing
that "Lost" did so well.
10. Make every character vulnerable, and not just the Nikkis and Paolos.
Nothing kills suspense in a scene like knowing that a character is bullet-proof. If a series is built around a few core characters, we're pretty sure that those characters are going to survive. Back when the Cartwrights road the range, we weren't all that concerned when Little Joe was shot.
"Lost" shook up that sense of security. Near the end of Season One, a major character is injured and dies. This adds fuel to the rivalry between Jack, the leader who is a man of science, and John, the leader who is a man of faith. It also means that everyone is in jeopardy. Now when one of the group is in harm's way, we get nervous for them.
Throughout the series, other major characters died. Each was wrenching and, I think, each was necessary to move the story forward. A few times newer characters that weren't working out were also killed, but those didn't have the impact of the others.
I'm often told I'm too nice to my characters. Why not? I like these people. But I'm learning to beat up on them for the sake of the story. Will I kill off any of my main characters? Don't know. It would certainly shake things up.
How about you? Have you every killed off a major character? What was the reason?
10. Make every character vulnerable, and not just the Nikkis and Paolos.
Nothing kills suspense in a scene like knowing that a character is bullet-proof. If a series is built around a few core characters, we're pretty sure that those characters are going to survive. Back when the Cartwrights road the range, we weren't all that concerned when Little Joe was shot.
"Lost" shook up that sense of security. Near the end of Season One, a major character is injured and dies. This adds fuel to the rivalry between Jack, the leader who is a man of science, and John, the leader who is a man of faith. It also means that everyone is in jeopardy. Now when one of the group is in harm's way, we get nervous for them.
Throughout the series, other major characters died. Each was wrenching and, I think, each was necessary to move the story forward. A few times newer characters that weren't working out were also killed, but those didn't have the impact of the others.
I'm often told I'm too nice to my characters. Why not? I like these people. But I'm learning to beat up on them for the sake of the story. Will I kill off any of my main characters? Don't know. It would certainly shake things up.
How about you? Have you every killed off a major character? What was the reason?
Monday, November 1, 2010
What I Learned About Writing From
Welcome to a new, regular blog feature. I was asked to contribute a regular blog post to the Pikes Peak Writers blog. They allow reprints so it's okay for me to post here as well. My idea for a fortnightly post is to talk about what writing lessons I take from a variety of sources. It could be a book, movie, television show or something one wouldn't immediately equate with writing. I hope it's fun and informative. We'll see.
The first entry has been percolating since last April. It's What I Learned About Writing From "Lost."
1. It’s a good thing to raise questions from the start.
The opening shot of the series is a close up of a man’s eye. He stares up through a bamboo forest. He’s flat on his back, obviously hurt, and he’s wearing a suit and tie. A yellow Labrador runs by. After the man struggles to his feet, he finds a tiny bottle of vodka in his pocket.
Okay, I’ve got a bunch of questions already. Who is this guy? Why is he in what looks like a jungle? Was that his dog? How’d he get hurt? Why does he have booze in his pocket? Is he an alcoholic? Was he on a plane? Because it looks like what you get on a plane. What’s up the suit and tie in a jungle?
Get the idea? If this had been a book, I’d be punchy from lack of sleep, because I’d be turning pages all night to find out answers to those questions.
2. BUT it’s a good thing to reward your readers with a few answers along the way.
The man hears a loud noise, people calling for help, and he runs toward the sound. When he stumbles onto an expanse of beach, he finds chaos. A crashed jetliner—that’s where the booze is from—and people in a panic, many injured. He takes charge of the situation, performs medical procedures, introduces himself as Jack to someone, and so on. We find out his last name is Shepherd.
Now I have some answers, but I have more questions. Is he a doctor? Is that last name significant? Which of these characters are going to be important? Etc.
The creative minds behind the show—J.J. Abrams, Carlton Cuse and Damon Lindelof—took some heat for raising more and more questions as the series went on without giving any answers—at least as far as many fans were concerned.
This can be a fine line to walk when you have a long story to tell. There should be some surprises later in the story, but it can be dangerous to keep too much too close to the vest. Let the reader in on some of the secrets along the way.
Which leads me to:
3. Know the end before you start.
Abrams and Cuse created a series ‘bible’ at the beginning which outlined the major plot points for an ideal 5-6 season run.
This is a good rule for stand-alone books, although you can always change things as you go. It’s really important for a series so that a character’s eye color doesn’t change or her house doesn’t inexplicable move from one side of town to the other between books 3 and 4. The writer may forget, but the reader won’t.
4. Knowing the end doesn’t always help the middle.
When the show became a bona fide hit, there was the possibility that it could go on for years beyond what Abrams and Darlton (the moniker fans gave Cuse and Lindelof) had dreamed. The middle got bogged down with more possibilities for what was happening on the island and a growing cast of characters.
A problem that’s easier to deal with when writing a book, because we can go back and fix the middle before anyone else gets to see it. Woo hoo! One for us.
5. It’s okay to have a large cast of characters, but you have to handle it right.
For most of it’s run, “Lost” listed around fifteen main characters with another dozen or so supporting players. Focusing on a few key people each episode helped fans keep things straight. That didn’t mean the others weren’t around, but they would fade to a supporting role. It helped the viewer get to know them all.
Introduce characters slowly—something I’m learning—and let each one have their own spotlight. It can be tricky to give each one enough time to complete the scene but not so much that the reader forgets some of the others.
Tread carefully. And—something I’m still struggling with—give each one a distinct personality. If Fred can stand in for Frank, maybe I don’t need Frank.
6. The Nikki/Paolo Rule.
Two new characters were abruptly introduced at the beginning of the third season. That wouldn’t have been unusual—new people showed up every season—except the regulars acted like these two had been around all along. And the couple seemed to add nothing to show. Darlton admitted the pair were brought in to answer the fan question of what the other survivors were up to. Since they were “universally despised” by the fans, they were killed off.
In a book, unless it’s part of a series, you can’t do that in response to reader feedback. So make sure any new additions are there for a good reason. Since I tend to overpopulate my books—one reason I love the previous rule—I am ever vigilant about this one.
7. Trust that your audience/readers are as smart as you are.
“Lost” did this beautifully. The writers never talked down to viewers. They gave characters names, often of philosophers, to help fans figure out what role that character was going to play. Aspects of different religions and mythologies were introduced without explanation. Either you got it or you didn’t. If you didn’t, you could still follow what was happening, but there was an extra layer of fun and meaning if you did.
This is another fine line I have to walk in my own writing. I’m trying to just write whatever reference feels right. If I get a lot of questions from my critique group, then I’ll go back and explain.
8. Playing with timelines can heighten suspense.
Another thing “Lost” did with great success. They used flashbacks from the first to help give background on the characters. But in Season 3 the creators introduced the flash forward. A glimpse of Jack and Kate in the future. Intriguing. What did it mean? Others followed in subsequent episodes.
Then in the final season, there were what Darlton called flash sideways. Was it a parallel timeline or universe? Could it be the future? We didn’t find out until the final episode.
Think about how altering the way you tell your story could up the tension. Does it need to be told in a chronological order, or would mixing it up be better? I have one story that it works with, but another would just be frustrating to the reader. How about multiple POV characters. Play a little with it.
9. Ultimately, you can’t please everyone.
The resolution of the flash sideways was controversial among fans. I loved it. Others? Not so much. The same with the answers to the big questions. And there were those who were disappointed that not every single little question was answered at the end.
This can happen with books as well. Do you spend time tying up every single loose end? Or do you let a few dangle so the reader can come to her own conclusion? I tend to prefer the latter, as long as there aren't too many major questions unanswered.
The first entry has been percolating since last April. It's What I Learned About Writing From "Lost."
1. It’s a good thing to raise questions from the start.
The opening shot of the series is a close up of a man’s eye. He stares up through a bamboo forest. He’s flat on his back, obviously hurt, and he’s wearing a suit and tie. A yellow Labrador runs by. After the man struggles to his feet, he finds a tiny bottle of vodka in his pocket.
Okay, I’ve got a bunch of questions already. Who is this guy? Why is he in what looks like a jungle? Was that his dog? How’d he get hurt? Why does he have booze in his pocket? Is he an alcoholic? Was he on a plane? Because it looks like what you get on a plane. What’s up the suit and tie in a jungle?
Get the idea? If this had been a book, I’d be punchy from lack of sleep, because I’d be turning pages all night to find out answers to those questions.
2. BUT it’s a good thing to reward your readers with a few answers along the way.
The man hears a loud noise, people calling for help, and he runs toward the sound. When he stumbles onto an expanse of beach, he finds chaos. A crashed jetliner—that’s where the booze is from—and people in a panic, many injured. He takes charge of the situation, performs medical procedures, introduces himself as Jack to someone, and so on. We find out his last name is Shepherd.
Now I have some answers, but I have more questions. Is he a doctor? Is that last name significant? Which of these characters are going to be important? Etc.
The creative minds behind the show—J.J. Abrams, Carlton Cuse and Damon Lindelof—took some heat for raising more and more questions as the series went on without giving any answers—at least as far as many fans were concerned.
This can be a fine line to walk when you have a long story to tell. There should be some surprises later in the story, but it can be dangerous to keep too much too close to the vest. Let the reader in on some of the secrets along the way.
Which leads me to:
3. Know the end before you start.
Abrams and Cuse created a series ‘bible’ at the beginning which outlined the major plot points for an ideal 5-6 season run.
This is a good rule for stand-alone books, although you can always change things as you go. It’s really important for a series so that a character’s eye color doesn’t change or her house doesn’t inexplicable move from one side of town to the other between books 3 and 4. The writer may forget, but the reader won’t.
4. Knowing the end doesn’t always help the middle.
When the show became a bona fide hit, there was the possibility that it could go on for years beyond what Abrams and Darlton (the moniker fans gave Cuse and Lindelof) had dreamed. The middle got bogged down with more possibilities for what was happening on the island and a growing cast of characters.
A problem that’s easier to deal with when writing a book, because we can go back and fix the middle before anyone else gets to see it. Woo hoo! One for us.
5. It’s okay to have a large cast of characters, but you have to handle it right.
For most of it’s run, “Lost” listed around fifteen main characters with another dozen or so supporting players. Focusing on a few key people each episode helped fans keep things straight. That didn’t mean the others weren’t around, but they would fade to a supporting role. It helped the viewer get to know them all.
Introduce characters slowly—something I’m learning—and let each one have their own spotlight. It can be tricky to give each one enough time to complete the scene but not so much that the reader forgets some of the others.
Tread carefully. And—something I’m still struggling with—give each one a distinct personality. If Fred can stand in for Frank, maybe I don’t need Frank.
6. The Nikki/Paolo Rule.
Two new characters were abruptly introduced at the beginning of the third season. That wouldn’t have been unusual—new people showed up every season—except the regulars acted like these two had been around all along. And the couple seemed to add nothing to show. Darlton admitted the pair were brought in to answer the fan question of what the other survivors were up to. Since they were “universally despised” by the fans, they were killed off.
In a book, unless it’s part of a series, you can’t do that in response to reader feedback. So make sure any new additions are there for a good reason. Since I tend to overpopulate my books—one reason I love the previous rule—I am ever vigilant about this one.
7. Trust that your audience/readers are as smart as you are.
“Lost” did this beautifully. The writers never talked down to viewers. They gave characters names, often of philosophers, to help fans figure out what role that character was going to play. Aspects of different religions and mythologies were introduced without explanation. Either you got it or you didn’t. If you didn’t, you could still follow what was happening, but there was an extra layer of fun and meaning if you did.
This is another fine line I have to walk in my own writing. I’m trying to just write whatever reference feels right. If I get a lot of questions from my critique group, then I’ll go back and explain.
8. Playing with timelines can heighten suspense.
Another thing “Lost” did with great success. They used flashbacks from the first to help give background on the characters. But in Season 3 the creators introduced the flash forward. A glimpse of Jack and Kate in the future. Intriguing. What did it mean? Others followed in subsequent episodes.
Then in the final season, there were what Darlton called flash sideways. Was it a parallel timeline or universe? Could it be the future? We didn’t find out until the final episode.
Think about how altering the way you tell your story could up the tension. Does it need to be told in a chronological order, or would mixing it up be better? I have one story that it works with, but another would just be frustrating to the reader. How about multiple POV characters. Play a little with it.
9. Ultimately, you can’t please everyone.
The resolution of the flash sideways was controversial among fans. I loved it. Others? Not so much. The same with the answers to the big questions. And there were those who were disappointed that not every single little question was answered at the end.
This can happen with books as well. Do you spend time tying up every single loose end? Or do you let a few dangle so the reader can come to her own conclusion? I tend to prefer the latter, as long as there aren't too many major questions unanswered.
Monday, October 4, 2010
More Of The Same
My October Goals are a rehash of my September Goals. Bad month for writing. And it sounds like it was that way all around.
DB had her first feedback from CWC last night. I'll let her tell you about it herself. But it was interesting that she said every single member of the group was blocked in one way or another. Either this one just wasn't feeling the story, or the stress of everyday stuff was taking up all that one's brain power. Weird. I wonder if all critique groups have that happen. That everyone seems to get into a mental/emotional sync.
Maybe I'm missing the group and the deadlines. Don't know. All I can do right now is get everything ready to go. And then maybe play a bit. See if there are any short stories that want to be told--although that's not very likely. Ali suggested poetry to DB. Maybe I'll give that a shot. Nobody else needs to see it, right?
Here's to everybody breaking through the wall this month!
DB had her first feedback from CWC last night. I'll let her tell you about it herself. But it was interesting that she said every single member of the group was blocked in one way or another. Either this one just wasn't feeling the story, or the stress of everyday stuff was taking up all that one's brain power. Weird. I wonder if all critique groups have that happen. That everyone seems to get into a mental/emotional sync.
Maybe I'm missing the group and the deadlines. Don't know. All I can do right now is get everything ready to go. And then maybe play a bit. See if there are any short stories that want to be told--although that's not very likely. Ali suggested poetry to DB. Maybe I'll give that a shot. Nobody else needs to see it, right?
Here's to everybody breaking through the wall this month!
Wednesday, September 22, 2010
Swirlies
I have a new definition of the word. It's when all of the things you need/want to do spin around in your head so that none of the ideas in there can fully form. A few of the ones spinning in my head right now?
--Big Project at work looks huge close up
--It's progressing nicely, though
--What's going to blow up since it cant possibly be that easy?
--Need to follow up on loose ends from last project
--Dance class tonight
--Did I pack everything?
--Did I practice enough?
--No, I didn't practice enough and must practice more this week
--Banjo class may be canceled
--Am I sad or relieved about that?
--Would like to go to banjo camp in January
--How much is banjo camp?
--Do I want to waste vacation days on something called banjo camp?
--Maybe I should work on the "other" parts of MMG first
--But it would be better to start at the beginning and write all the way through for continuity's sake
--Wouldn't it?
--Maybe I should work on Vesta instead
--Or TKoS, I've got some really good ideas for that one
--I said I wanted to clean up some of my short stories and submit them-I could do that
--Speaking of cleaning, I need to clean out and organize the kitchen cabinets
--And finish clearing out stuff from the basement
--Do I have time to maybe make some Christmas gifts?
--If they cancel the banjo class, should I try to contact the woman I took lessons from before to see if she's still teaching?
--No, I definitely need to start at the very beginning of MMG. That's why there's an outline.
--I said I was going to use the whiteboard and corkboard. I need to hang those up
--Man, I'm hungry, but I told Giovanna she could go to lunch first.
--Do I have snacks here?
You get the idea. I'm going to try lists. Lists are our friends. I just happen to have a notebook here at work. On my lunch break--which is still way too far away--I'll make lists for home, work, classes, writing, etc. Then the stuff won't have to be in my head.
Will that leave enough room for the writing ideas to get out?
I'll keep you posted.
What do you do when The Swirlies attack?
--Big Project at work looks huge close up
--It's progressing nicely, though
--What's going to blow up since it cant possibly be that easy?
--Need to follow up on loose ends from last project
--Dance class tonight
--Did I pack everything?
--Did I practice enough?
--No, I didn't practice enough and must practice more this week
--Banjo class may be canceled
--Am I sad or relieved about that?
--Would like to go to banjo camp in January
--How much is banjo camp?
--Do I want to waste vacation days on something called banjo camp?
--Maybe I should work on the "other" parts of MMG first
--But it would be better to start at the beginning and write all the way through for continuity's sake
--Wouldn't it?
--Maybe I should work on Vesta instead
--Or TKoS, I've got some really good ideas for that one
--I said I wanted to clean up some of my short stories and submit them-I could do that
--Speaking of cleaning, I need to clean out and organize the kitchen cabinets
--And finish clearing out stuff from the basement
--Do I have time to maybe make some Christmas gifts?
--If they cancel the banjo class, should I try to contact the woman I took lessons from before to see if she's still teaching?
--No, I definitely need to start at the very beginning of MMG. That's why there's an outline.
--I said I was going to use the whiteboard and corkboard. I need to hang those up
--Man, I'm hungry, but I told Giovanna she could go to lunch first.
--Do I have snacks here?
You get the idea. I'm going to try lists. Lists are our friends. I just happen to have a notebook here at work. On my lunch break--which is still way too far away--I'll make lists for home, work, classes, writing, etc. Then the stuff won't have to be in my head.
Will that leave enough room for the writing ideas to get out?
I'll keep you posted.
What do you do when The Swirlies attack?
Friday, September 17, 2010
The Plantser Becomes a Planner
There is a belief that writers fall into one of two camps: either they plan out every detail of a story before they start writing (Planner) or they completely wing it (Pantser). The reality is there's a spectrum that we all fall on. Some plan a lot, but then let the story lead them once they start writing. Others wing it until they feel like they're getting lost, then sit down and figure out how to proceed. Jenny plots a few chapters ahead. I like to have an idea of how the main plot starts and ends with a few of the emotional beats I want to hit along the way.
That changed after our brainstorming session. I already took a lot away from the feedback I got from CWC in May. Then Jenny let me bounce ideas off her so I know where I need to be to continue. The discussion straightened out some things, curved some others. I have a better feel for exactly where I want to go with this revision.
One of the main things that came from it is that I need a detailed outline now. I have to plan out the main story arc and the secondary arcs step by bloody step. I also have to make sure the "other" methods of storytelling that I'm using support those arcs. Hence, a plan. A real plan. Not a loosey goosey plan (see previous post). Charts, graphs, maybe even the white board and cork board I bought a while back.
At first I was afraid that it would stifle any creativity. That the writing would seem--I don't know--dry. But I'm seeing now that the plan is actually liberating. I can play with it, because I'm not worrying about where to take the plot next. The plot's there. The characters are fully formed so I know how they will act.
It will probably be a while before I start something brand new. Vesta and TKoS both need rewrites. But I might have a more solid plan in place before I start whatever that new thing is. So I can play more.
That changed after our brainstorming session. I already took a lot away from the feedback I got from CWC in May. Then Jenny let me bounce ideas off her so I know where I need to be to continue. The discussion straightened out some things, curved some others. I have a better feel for exactly where I want to go with this revision.
One of the main things that came from it is that I need a detailed outline now. I have to plan out the main story arc and the secondary arcs step by bloody step. I also have to make sure the "other" methods of storytelling that I'm using support those arcs. Hence, a plan. A real plan. Not a loosey goosey plan (see previous post). Charts, graphs, maybe even the white board and cork board I bought a while back.
At first I was afraid that it would stifle any creativity. That the writing would seem--I don't know--dry. But I'm seeing now that the plan is actually liberating. I can play with it, because I'm not worrying about where to take the plot next. The plot's there. The characters are fully formed so I know how they will act.
It will probably be a while before I start something brand new. Vesta and TKoS both need rewrites. But I might have a more solid plan in place before I start whatever that new thing is. So I can play more.
Thursday, September 2, 2010
September Goals
Once again, a month got away from me.
However, I did set down a loosey goosey outline of what I want to do with MMG going forward. The big thing that will get me moving in the right direction is having a brainstorming session this weekend with Jenny.
Some writers can't talk out a book before they work on it--especially first drafts. They say that it feels as if the book has already been written so it's boring to work on it after that. I'm not one of those writers. I want to talk and play with the plot and characters before I get too far into a project.
I know this isn't a new project. But some of the changes I need to make will, in some respects, make it brand new. So I need to have a session with someone who knows the work. Not only the latest version, but what it was on day one. Jenny's really the only one who has seen all the iterations of MMG. Besides, she loves brainstorming as much as I do.
Other goals for the month?
Reading some books on the craft of writing. I'll revisit some old favorites and check out a few I haven't read. The nice thing about craft books--whatever the craft--is that once you are past the beginner stage, you can skim for what you need.
I'm feeling optimistic about getting some words down this month. Besides, it's cooling off. Fall is when my energy spikes. The stars may be aligning for this revision to move forward.
However, I did set down a loosey goosey outline of what I want to do with MMG going forward. The big thing that will get me moving in the right direction is having a brainstorming session this weekend with Jenny.
Some writers can't talk out a book before they work on it--especially first drafts. They say that it feels as if the book has already been written so it's boring to work on it after that. I'm not one of those writers. I want to talk and play with the plot and characters before I get too far into a project.
I know this isn't a new project. But some of the changes I need to make will, in some respects, make it brand new. So I need to have a session with someone who knows the work. Not only the latest version, but what it was on day one. Jenny's really the only one who has seen all the iterations of MMG. Besides, she loves brainstorming as much as I do.
Other goals for the month?
Reading some books on the craft of writing. I'll revisit some old favorites and check out a few I haven't read. The nice thing about craft books--whatever the craft--is that once you are past the beginner stage, you can skim for what you need.
I'm feeling optimistic about getting some words down this month. Besides, it's cooling off. Fall is when my energy spikes. The stars may be aligning for this revision to move forward.
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