And Another Thing

I learned about writing from Top Chef is:

5) Use just the right amount of seasoning.

A lot of times the deciding factor in who has to "pack your knives and go" comes down to seasoning. Too much salt? You're out of there unless someone cooked something that was inedible. Produce a dish that's too bland? Another good way to get yourself a ticket home.

How many times have you read a story that has a good plot but leaves you flat? Chances are that the author under-seasoned. He didn't give enough description. Maybe the word choices could have been better. An adjective or two might have given it just a touch more flavor.

I've heard some authors say they want the reader to be able to supply the details so they are more involved.  Sorry, I think that's lazy. It's our world and our people, we need to make them real for the reader. Not the other way around.

Then there is the opposite extreme. Purple prose. The overly flowery, adjective-laden, adverb choked prose of an author who is just trying too hard.

I have a feeling I like description a bit more than most people do. I want to be able to picture where a story is taking place, what the characters look and act like, feel the sun on my face or the wind in my hair. So I have to make sure some of my first readers are those who like spare prose. I need to see if I've overwhelmed them or if they don't notice what I've done. Then my readers who are more like me have to weigh in on whether they felt the story was too bland.

How do you strike a balance when seasoning your writing? Do you prefer blander stories or ones with a little more flavor?

Maybe Not Just Flaws

Over on her blog, Jenny writes today about how character flaws create complications in P.G. Wodehouse's books. And that made me want to stop work and start in on letting my characters' flaws complicate things.

Since I couldn't really stop working, I let the idea percolate. I tried to think of other stories where character flaws complicated the story. I came up with quite a few. But something else dawned on me. All character traits can create complications, not just the flaws.

Spoiler warning if you watch Being Human and haven't seen Saturday night's episode.  

Sometimes the positive traits cause just as much havoc. Being Human (the BBC version) is gearing up for the season finale. The penultimate episode this season piled one complication on another. A lot of this stems from Annie deciding to help a police woman figure out who massacred a train car full of people. She likes the woman and wants her to succeed. She wants the families to have what little comfort they can get from knowing the murderer is behind bars. She wants to feel useful. The problem is that the murderer is someone close to her. His flaws created the initial problem. But it's Annie's good side that really complicates things for everyone in their group.

End of Spoiler Warning

Either way, it's a wonderful insight into how complications happen. And just another reason why Jenny's blog rocks. And Jenny, for that matter.

**Stay tuned for another thing I learned about writing from Top Chef.

It's The Story

A few weeks ago, I visited Disneyland in California with my nephew, his wife and their six-year-old daughter. Everywhere there are stories. Each ride is a mini-story. The performances are stories. Even the fireworks tell a story.

This is very different from the last time I was at Walt Disney World in Orlando. The fireworks existed as something to distract people standing in line. Now there is music and narration. The theme of the year--another recent addition--is "Let the Memories Begin." The fireworks story is about that theme. About the first time you came to a Disney theme park, the first Disney movie you saw, the first Disney television show you watched.

Okay, you could say it's a fifteen minute advertisement for their movies, etc., but it was so much fun to watch. As was the photo show on the side of "It's A Small World." Still photos and home movies from family visits to the park, interspersed with images from television and movies. We just happened upon it the first night and stood, transfixed as it played out.

In California Adventure they have "The World of Color" show. Dancing waters with images projected on them. Again, very much like the fireworks story and the photo show at "It's A Small World." Just done differently, and with breath-taking results.

Why were they so much fun? The story of Walt Disney and all he created is inspiring--whatever you, personally, think of the result. The story of the families who have made a visit to one of the parks their vacation of a lifetime is moving. The story of the memories we all Disney movies--our first, our favorite, or the one we watched and realized we'd grown up too much to enjoy it (I haven't reached this stage yet, thank goodness) are something we all share.

I think we writers tend to get too caught up in all the rules and advice. We must have a knock-out opening so the agent/editor/reader doesn't put the book down halfway through the first page. Every word has to count. Each scene has at least six purposes for being included. Dialogue must sparkle like we Turtle Waxed it.

But what we often lose in all of that is the story. What we're really doing is telling a story. And if the story is good enough, the readers really won't notice the other stuff. Because they'll be entertained.

In one of my previous critique groups, I'd often find myself saying to a talented but sometimes too clever for his own good writer," Just tell the damn story."

I think I'll apply that advice to my own writing. How about you? How important it story to you? Can a good story overcome otherwise flawed writing?

What I Learned About Writing From

Top Chef

In the original version of this television series, a group of working chefs compete for $100,000 to start a restaurant. The challenges vary, sometimes making them team up. Other times they compete individually. There have also been a few season of Top Chef Masters, involving celebrity chefs. This week is the finale of the first Top Chef All-Stars. These chefs are those who made it to the final rounds of their season, but didn’t win.

1)      Do your research ahead of time

As with all of these skill-based reality shows, the contestants are not allowed to use the equivalent of notes—no recipes on Top Chef, no patterns on Project Runway, etc. So the chefs have to know their stuff ahead of time.

It’s been surprising that so many don’t bother to learn what others consider “the basics.” Pastry seems to trip them up time and again. If you’re going to the final and it’s held in Singapore, perhaps you might want to familiarize yourself with some local cooking methods. 

I love doing research. Time slips away as I look up locations on the Internet. I have wasted a lot of time mid-project trying to find the perfect Italian surname for a character or a particular detail about how a locksmith might try to pick a lock. 

While I can’t foresee every thing I might need to know to write a particular book, I’ve learned to anticipate as much as possible, and do the work ahead of time. Time slips away as I look up locations on the Internet, as does money when I order several books on the same general topic.  But it’s better to use that time before I sit down to right.

How much research do you like to do for a project? When do you research?

2.      Don’t make gnocchi unless you’ve done it—successfully—a million times before

For whatever reason, the chefs love to make gnocchi to try to impress the judges. [Gnocchi is a kind of potato dumpling, but can be made with other starchy items, like pumpkin.]  So many have gone home because of over- or under-cooked gnocchi that I’ve lost count. You can see the doubt on the judges faces when a plate of the stuff is set in front of them.

The ones who do pull it off, however, will win whatever challenge they are in. Because it is so hard to make a good gnocchi, the judges reward those who actually can do it.

Take whatever unusual writing style or format or voice or point of view you can think of and substitute it for “gnocchi.” If you want to write in multiple points of view or use first person past perfect or write the story backwards, please make sure you can and have done it successfully before you send it off. And don’t just take the word of your best friend or mother.

Doing something different and difficult can be a way to make your story stand out.  But, please, make sure it’s in a good way. Are your critique group members taking big steaming forkfuls or are they pushing it around on the plate?

3.      Keep it fresh

“Oh look, Jaime’s making scallops. Again.”

In order to avoid potential gnocchi-style disaster, many of the chefs keep returning to a go-to ingredient or style. The judges notice this. Even if they’re the best damned scallops ever, the question becomes, “Can she cook anything else?”

If you write romance, that doesn’t mean you have to switch to horror. But if your heroine is always a raven-haired peasant girl and your hero is always a tawny-maned noble, perhaps it’s time to shake things up. Can you change the settings? The status of the characters? Maybe the time-frame.

A friend of mine writes mysteries, and she realized she was relying on strangling as the means of murder in both of her series. So now she’s shaking it up.

One of my critique group mentioned that all of my heroines have dark-blonde hair. Oops. 

How could you freshen up your stories without having to resort to trying gnocchi?

4.      The better the chef, the less back-stabbing takes place

Many of the chefs are known for trying to trip up other contestants. If allowed to pick a protein first, they’ll pick a favorite of someone else so that chef can’t use it. They’ll taste another’s dish and not say that it’s under-seasoned. Or they’ll try to get into someone else’s head and make her doubt what she’s cooking.

Top Chef Masters, however, was a revelation. They shared ingredients and tools, gave real feedback on dishes and rooted for each other. The final four drew names and had to shop for that other chef. Whatever ingredients were purchased had to be used in a dish that would get one of them eliminated. What did they do? Every one of the four bought items they knew the other chef liked to use. “It’s not a real win if I’m not competing against his best,” one of the chefs said.

This is one of the reasons I enjoy hanging out with other writers. For the most part, we encourage and support each other. That doesn’t happen very often elsewhere.

But I have seen those few writers who relish tearing down others. The critiques that, at first glance, seem to be trying to be helpful, but that simply undermine the writer’s confidence. The offhand remark about a character trait or plotline that cuts to the heart of someone who has put their work out there for the first time.

What’s your experience with other writers been? Are Masters or line cooks? How about you? Do your do your best to encourage while critiquing?

I don’t know that I always succeed, but I do try to emulate the Masters.

In Defense of "Was"

We've all heard it, right? Avoid all "to be" verbs. They weaken your writing. Find a stronger verb.

I've used Dickens as a defense. "It was the best of times, it was the worst of times, it was the age of wisdom, it was the age of foolishness, it was the epoch of belief, it was the epoch of incredulity . . ." I've also heard that countered with, "But he wrote like 500 years ago." The person I was talking with wasn't all that bright, I admit.

Okay, here's one that's a little more current. From the best-seller "The Girl Who Played with Fire." We have learned that Lisbeth Salander has a twin sister. A twin sister quite different from Lisbeth, if only twenty minutes younger. Here is what Larsson writes:

"Lisbeth was first. Camilla was beautiful." 

Six words, two of them "was," that made me stop and say, "Wow." Didn't need much more than that to tell me volumes about these two.

And another thing about this, Larsson is not only using the dreaded to-be verb, but he's telling not showing. And it's better. He could have gone on for pages, and would have had to, to show us the same thing he tells us in six words.

I read a lot of criticisms about The Millenium Trilogy" that centered on Steig Larsson's story-telling style. That he tells too much, and this keeps the reader at arm's length. I must have short arms, because I've been right there with Blomqvist and Salander through two books, and I made sure I had the third on hand before I finished the second.

Your mileage may vary when it comes to the trilogy.  However, the next time you're struggling to get through a passage in a book (whether reading or writing), check to see if maybe that act of showing is what's slowing it down. Perhaps a line or two of telling could get the point across better and let you get on with the rest of the story.

Just saying.

And Another Thing

I learned about writing from Joss Whedon.

5)      People may assume things about you, based on your writing

If you didn’t get it from the previous points, I will say flat out, “I love Joss Whedon.”  His shows are fun and exciting to watch.

However . . .

He seems to repeat a certain pattern.  Namely, the teenage girl/young woman with superhuman strength.  Buffy as in The Vampire Slayer and River in Firefly can both take out a room full of men three times their size.  Echo in Dollhouse can be programmed to do just about anything.

Also, the vampire, Angel, has been cursed with a soul by a group of gypsies.  He will become evil again if he experiences a moment of true happiness.  Does he revert to evil when he saves the love of his life?  Nope.  When his son—a miracle he never thought possible—is born?  Nope.  He becomes evil after having sex with the girl he loves. 

Hmmm. 

In any case, Joss Whedon has given us a lot of wonderful characters and amazing stories.  If he never wrote another thing, he’d be well ahead of most of us.  And it would be a shame. 

I’d love to write one character who is as fully realized as most of Joss’.  Something to aspire to.

What I Learned About Writing From

Joss Whedon

If you don’t recognize the name, you will probably recognize his work.  Joss is the creative force behind Buffy the Vampire Slayer, Angel, Doll House, Dr. Horrible’s Singalong Blog and Firefly.  After that list, I may not have to say anything else.

But I will.

1)      Write strong characters

And I don’t just mean physically strong, although Joss does tend to like his characters to have some sort of physical strength.  Even the characters who don’t have a particular physical prowess have other strengths—intelligence, humor, tenacity, sympathy, healing, teaching.

Every protagonist in the Whedonverse is surrounded by a group of friends, or colleagues, or crew.  Each one of these supporting characters serves a solid purpose within the group.  Take any one away, and the group suffers.

I’m not there yet with my cast of characters.  But I’m trying.  Reruns of his shows help.

2)      Be original

Yes, there was a Buffy the Vampire Slayer movie before the series.  Joss Whedon was the writer, but not the director or producer.  The movie didn’t quite live up to what he had in mind, so he penned the series. 

Let’s look at a few of Joss’ creations:

--A teenage girl with superhuman strength, born to kill vampires and demons.

--A vampire who was cursed with a soul by gypsies.

--A girl whose mind is wiped clean and replaced with memories and personalities of another person

--A spaceship captain with criminal tendencies who ends up saving people

--A wannabe mad scientist who really just wants to get the girl (set to music)

One of these creations would be a coup for me, but Joss just keeps churning them out.  One great character after another.

3)      Well-placed humor can both relieve and heighten tension

Joss Whedon’s shows are full of action and suspense.  And humor.  Quirky, often unexpected humor.  Smart humor.  Things like "If every vampire who said he was at the crucifixion was actually there, it would have been like Woodstock"

Then there are the quips mid-action.  After watching a few of the shows, the viewer realizes that a character who cracks a joke during a fight may just be the next victim. 

Do you use humor in your writing?  Is it used to relieve tension?  Build it? 

4)      Sometimes it’s okay if your protagonist isn’t very likeable

Buffy is a teenager.  A teenager with a huge responsibility.  Occasionally she gets a bit cranky.  Especially when her vampire boyfriend gets all evil and stuff.   Or if she’s trying to protect someone who won’t listen to her.

Angel can switch to the evil Angelus at time.  Even with friends all around him, he keeps secrets.  Secrets that can be dangerous to those friends.

Captain Mal is often sharp-tongued, saying mean hurtful things to his crew.

Yet, we love these characters, because they are flawed.  They work all the time to be better, do better.  But they aren’t perfect, and never will be.  Just like us.  

Are your characters too perfect?  What unexpected flaw could you give them?