18 Mar - 24 Mar: Once Upon a Time...?
Every writer faces the challenge of convincing a reader that he or she should invest time in a character and their journey. What makes a reader want to turn past page one when so little is known about the people introduced there? How does a writer draw in readers and make them care about what happens?
In the Writer's Digest article The Very Beginning: The Opening Scene, Nancy Kress suggests that an opening should represent a promise. A promise of being entertained, educated, tantalised, or scared silly in the middle of the night.
In The Art and Craft of the Short Story, Rick DeMarinis suggests opening a story with a history in mind, so that the reader is introduced to a character who is already in 'a situation.' If the situation raises interesting enough questions for the reader, he or she is likely to turn the page to find the answers. History can mean any number of things: relationships, origins of character flaws, and, of course, deep dark secrets.
This approach suggests that an effective opening will provide the reader with only parts of the picture, and the reader must go on to find the missing elements through observation and deduction.
John Gardner notes that the usual opening to a novel is "some disruption to order," so that the reader is presented with something unexpected, and is impelled to go on to see how things turn out.
Jordan E. Rosenfeld's article 10 Ways to Launch Strong Scenes, provides excellent discussion and advice on different types of scene openings, including action, narrative, setting description and summary.
Exercise 23. Write an opening paragraph that raises at least one question, eg. Why did he do that? Who is she talking about? How did he get into that situation? etc.
Exercise 24. Write a first page (about 200 words) that includes introductions to a) the main character, b) the main conflict, and, c) the setting. Give only snippets of information on each and think about how the initial details will contribute to development of the overall plot.
During Week 13, I'll look at the opposite bookend, The Ending.
Wednesday, March 28, 2012
Sunday, March 25, 2012
Week 11 - Outlining
11 Mar - 17 Mar: Pegging it Out
Whether to develop an outline or not seems to come down to personal preference. In his Memoir on the Craft, Stephen King admits to being an instinctual writer, that is, he starts with a situation (i.e. applies the 'what if?' question) and goes from there, concentrating on how his characters react to each situation that arises.
R. L. Stine (author of the Goosebumps children's books), starts with a title and writes from whatever inspiration this alone provides.
I've read about other writers that meticulously outline for ten pages or more, and know exactly how their story will end, before sitting down to write the first draft.
In Bird by Bird, Anne Lamott suggests breaking down story components into smaller, manageable chunks if the notion of sitting-down-and-writing-a-novel is too daunting (hence, the title of her book).
Roy Peter Clark enforces this idea in 50 Essential Strategies for Every Writer. He suggests that breaking a written piece into headings and subheadings (such as parts and chapters), and incorporating the inevitable white space that results from such an approach, makes text more inviting. One could argue that this concept is just as useful in the drafting stage.
Personally, I like to develop a fairly tight outline, especially for longer pieces. I think this has something to do with my years of technical writing, and my preference, as a reader, for structure within a story. Loose ends and abstract endings tend to annoy me a little (especially when I write them). Or perhaps I like to outline because my memory fails me on a regular basis?
Regardless of how my brain might choose to function on any given day, it is important to remember that an outline is just that, an outline, and not a restriction to creativity.
(For more detail on outlining methods, check the Writer's Digest article on outlining.)
Exercise 21. For writing instinctually, take a novel (any novel), open it to page 22, look at the second sentence of the second paragraph (or thereabouts), paraphrase it, change names (if applicable) and use it as the opening sentence of a short story.
Exercise 22. Develop headings for the three to six major parts of a novel, non-fiction piece or play. Now develop sub-headings or chapter titles within these parts, and jot down key plot points under each chapter heading so that the story flows from one part to the next. (Hey, it worked for Shakespeare, didn't it?)
Week 12 (already?) finally gets us to Page 1, and will look at 'how to begin.' That is, what makes an engaging opening to a story.
Whether to develop an outline or not seems to come down to personal preference. In his Memoir on the Craft, Stephen King admits to being an instinctual writer, that is, he starts with a situation (i.e. applies the 'what if?' question) and goes from there, concentrating on how his characters react to each situation that arises.
R. L. Stine (author of the Goosebumps children's books), starts with a title and writes from whatever inspiration this alone provides.
I've read about other writers that meticulously outline for ten pages or more, and know exactly how their story will end, before sitting down to write the first draft.
In Bird by Bird, Anne Lamott suggests breaking down story components into smaller, manageable chunks if the notion of sitting-down-and-writing-a-novel is too daunting (hence, the title of her book).
Roy Peter Clark enforces this idea in 50 Essential Strategies for Every Writer. He suggests that breaking a written piece into headings and subheadings (such as parts and chapters), and incorporating the inevitable white space that results from such an approach, makes text more inviting. One could argue that this concept is just as useful in the drafting stage.
Personally, I like to develop a fairly tight outline, especially for longer pieces. I think this has something to do with my years of technical writing, and my preference, as a reader, for structure within a story. Loose ends and abstract endings tend to annoy me a little (especially when I write them). Or perhaps I like to outline because my memory fails me on a regular basis?
Regardless of how my brain might choose to function on any given day, it is important to remember that an outline is just that, an outline, and not a restriction to creativity.
(For more detail on outlining methods, check the Writer's Digest article on outlining.)
Exercise 21. For writing instinctually, take a novel (any novel), open it to page 22, look at the second sentence of the second paragraph (or thereabouts), paraphrase it, change names (if applicable) and use it as the opening sentence of a short story.
Exercise 22. Develop headings for the three to six major parts of a novel, non-fiction piece or play. Now develop sub-headings or chapter titles within these parts, and jot down key plot points under each chapter heading so that the story flows from one part to the next. (Hey, it worked for Shakespeare, didn't it?)
Week 12 (already?) finally gets us to Page 1, and will look at 'how to begin.' That is, what makes an engaging opening to a story.
Wednesday, March 14, 2012
Week 10 - Perspective
4 Mar - 10 Mar: What a View!
In the 50 Essential Strategies for Every Writer, Roy Peter Clark suggests turning the notebook into a camera and writing a story as you would shoot a movie. By placing the camera in the hands of one, or many players, and allowing the narrator to zoom in and out, perspective can help develop characters and set tone.
Clark suggests considering the following cinematic viewpoints:
1. Overview - this is like an aerial shot where the scene is set;
2. Establishing shot - the narrator focuses on the immediate area of action;
3. Middle distance - characters and their interactions are described;
4. Close-up - the narrator is able to detect and describe mood and emotions;
5. Extreme zoom - the most intimate details are related in accordance with the point-of-view.
The following exercises aim to use point-of-view and perspective to aid description and set tone.
Exercise 19. Describe falling snow from the perspective of:
Exercise 20. Zooming out and in with your notebook camera, write a short description of a desert from the perspective of an Inuit or the arctic from the perspective of a Bedouin, noting both similarities and extreme differences of environment.
Now that I've thought a little about (and hopefully practised) some of the whys, hows and whats of writing, I'm hoping to pull it together in the next few weeks by exploring overall composition, starting with Outlining in Week 11.
In the 50 Essential Strategies for Every Writer, Roy Peter Clark suggests turning the notebook into a camera and writing a story as you would shoot a movie. By placing the camera in the hands of one, or many players, and allowing the narrator to zoom in and out, perspective can help develop characters and set tone.
Clark suggests considering the following cinematic viewpoints:
1. Overview - this is like an aerial shot where the scene is set;
2. Establishing shot - the narrator focuses on the immediate area of action;
3. Middle distance - characters and their interactions are described;
4. Close-up - the narrator is able to detect and describe mood and emotions;
5. Extreme zoom - the most intimate details are related in accordance with the point-of-view.
The following exercises aim to use point-of-view and perspective to aid description and set tone.
Exercise 19. Describe falling snow from the perspective of:
a. A
mother who has lost a child (without mentioning the child, death or cause of
death); or
b. A
young man newly married and who has just been promoted in a job he loves
(without mentioning marriage, his wife, his job or his promotion).
(Adapted from exercises in John Gardner's, The Art of Fiction).Exercise 20. Zooming out and in with your notebook camera, write a short description of a desert from the perspective of an Inuit or the arctic from the perspective of a Bedouin, noting both similarities and extreme differences of environment.
Now that I've thought a little about (and hopefully practised) some of the whys, hows and whats of writing, I'm hoping to pull it together in the next few weeks by exploring overall composition, starting with Outlining in Week 11.
Saturday, March 10, 2012
Week 9 - Point of View
26 Feb - 3 Mar
I am sitting in a hotel room after a week of packing, aeroplanes and time zone changes. The climate could not be more different to what I left behind. There is not a snowflake in sight, but there is plenty of sunshine; there are no skiers or snowboarders, but there is a beach full of swimmers and snorkellers. The hotel is lovely, but I am, nevertheless, homeless.
"That's not my real name, you know?"
And how, exactly, would I know that? "Russell," is what his name tag reads, so "Russell" is what I would assume his real name to be.
"It's Jerry."
Okay, so my waiter's name is Jerry, not Russell, as his name tag would imply. Why would he wear someone else's name, do you think?
Russell hovered around the woman, and flashed crooked teeth whenever she beckoned for more coffee. He had seen her every morning for the past week, a conspicuous white face in a sea of Japanese tourists. Most mornings, she was with a little girl with red hair and blue eyes, and the child had refused to eat anything but Frootloops. This morning, however, the girl ate meso soup with rice and seaweed whilst the woman regarded her daughter with amused bewilderment.
Exercise 17. Use so-called 'writer's block' (or procrastination) to play around with point-of-view. Start by writing anything in first person present tense, eg. "here I am bored, and not knowing what to write." Turn it into second person, eg."you can imagine how frustrating it is to want to write but finding your brain has turned to mush," or third person, eg. "Harold was bored with staring at the computer screen......"
(Adapted from an exercise in The Art and Craft of the Short Story by Rick DeMarinis).
Exercise 18. Think of a person you know or have known who has annoyed, angered, frustrated or depressed you. Write a paragraph that describes a specific action by that person which aroused (or does arouse) that emotion. Express it in first person present tense. Now rewrite it in third person past tense and decide which has a more effective tone.
During Week 10, I will look at the role perspective plays in telling a story and setting a tone.
I am sitting in a hotel room after a week of packing, aeroplanes and time zone changes. The climate could not be more different to what I left behind. There is not a snowflake in sight, but there is plenty of sunshine; there are no skiers or snowboarders, but there is a beach full of swimmers and snorkellers. The hotel is lovely, but I am, nevertheless, homeless.
"That's not my real name, you know?"
And how, exactly, would I know that? "Russell," is what his name tag reads, so "Russell" is what I would assume his real name to be.
"It's Jerry."
Okay, so my waiter's name is Jerry, not Russell, as his name tag would imply. Why would he wear someone else's name, do you think?
Russell hovered around the woman, and flashed crooked teeth whenever she beckoned for more coffee. He had seen her every morning for the past week, a conspicuous white face in a sea of Japanese tourists. Most mornings, she was with a little girl with red hair and blue eyes, and the child had refused to eat anything but Frootloops. This morning, however, the girl ate meso soup with rice and seaweed whilst the woman regarded her daughter with amused bewilderment.
Exercise 17. Use so-called 'writer's block' (or procrastination) to play around with point-of-view. Start by writing anything in first person present tense, eg. "here I am bored, and not knowing what to write." Turn it into second person, eg."you can imagine how frustrating it is to want to write but finding your brain has turned to mush," or third person, eg. "Harold was bored with staring at the computer screen......"
(Adapted from an exercise in The Art and Craft of the Short Story by Rick DeMarinis).
Exercise 18. Think of a person you know or have known who has annoyed, angered, frustrated or depressed you. Write a paragraph that describes a specific action by that person which aroused (or does arouse) that emotion. Express it in first person present tense. Now rewrite it in third person past tense and decide which has a more effective tone.
During Week 10, I will look at the role perspective plays in telling a story and setting a tone.
Saturday, February 25, 2012
Week 8 - Honesty
19 Feb - 25 Mar: The Truth Will Set You Free
I have read the advice "tell the truth" on many occasions, and struggle with the idea of sharing my deepest, darkest secrets with others (even those who don't particularly care, but just wish to be entertained by a good story).
When I read Stephen King's excellent book on writing, I had to ask myself if I could publicly reveal the low points of my own life with such frankness, and unfortunately, I admit that I couldn't. Having said that, Stephen King's story made me realize that 'the truth' isn't necessary about me, it's simply about 'the truth.' It's about human nature; the hopes and fears that live within us, and that niggling meanness that most of us manage to suppress in the name of good taste and decency.
I found it fascinating to read that Stephen King had been accused of being foul-mouthed, a racist and cruel to animals, among other things, I'm sure. The author would apparently reply to critics with the sentiment, "it isn't real, you know." But what a compliment!
Exercise 15. Study your reflection in a mirror for a minute or two and then write about what you see, using whatever style you wish.
Exercise 16. Write a short piece based on one of your fears, physical or psychological (or both).
Week 9 will return to the technical basics by looking briefly at Point of View.
I have read the advice "tell the truth" on many occasions, and struggle with the idea of sharing my deepest, darkest secrets with others (even those who don't particularly care, but just wish to be entertained by a good story).
When I read Stephen King's excellent book on writing, I had to ask myself if I could publicly reveal the low points of my own life with such frankness, and unfortunately, I admit that I couldn't. Having said that, Stephen King's story made me realize that 'the truth' isn't necessary about me, it's simply about 'the truth.' It's about human nature; the hopes and fears that live within us, and that niggling meanness that most of us manage to suppress in the name of good taste and decency.
I found it fascinating to read that Stephen King had been accused of being foul-mouthed, a racist and cruel to animals, among other things, I'm sure. The author would apparently reply to critics with the sentiment, "it isn't real, you know." But what a compliment!
Rust Hill's, Writing in General makes the following comment: "Slick (popular
fiction) partakes of the daydream; quality fiction partakes of the
night dream." This is such a simple concept, and a good one, I think, for differentiating between 'making stuff up' and 'telling the truth.'
The following exercises aim to revisit the ideas of weeks 1 and 2, that is, to suppress the inner and outer critics so that we might tell the truth. (If the idea of first person narrative is too personal, try writing in third person).
Exercise 15. Study your reflection in a mirror for a minute or two and then write about what you see, using whatever style you wish.
Exercise 16. Write a short piece based on one of your fears, physical or psychological (or both).
Week 9 will return to the technical basics by looking briefly at Point of View.
Wednesday, February 15, 2012
Week 7 - Character Development (cont...)
12 Feb - 18 Feb - The Good, the Bad, and Everything in Between
For a story to be a story, a protagonist should undergo some sort of change (usually) through interactions with other characters, and as a result of situations that they are forced to react to.
In Writing in General and the Short Story in Particular, Rust Hills differentiates between 'character shift,' where a character changes inexplicably to facilitate a certain action, and 'movement of character' where things happen that lead to the change in character (for better or worse). In other words, don't force the plot onto your characters.
In Burning Down the House, Charles Baxter does insist, however, that a writer sometimes needs to nudge his or her characters toward "interesting trouble" so that they make "interesting mistakes" that are worth reading about. Lamott's Bird by Bird also stresses that a writer should not protect characters from their own misgivings.
So, does the secret to successful character development lie in the successful portrayal of flaws and imperfections of the protagonist? Or adversely, in the strengths and 'goodness' of an antagonist? I have no idea, but it makes sense that such contrasts might lead to surprising, and perhaps shocking discoveries that draw a reader (and writer) into the story.
The following exercises aim to explore the idea of contrasts for developing characters within the context of a story. (These exercises have been borrowed from a creative writing course I attended; I am not aware of the original source).
Exercise 13. Fill in the following table with qualities relevant to a potential story, for a) a protagonist, and b) an antagonist:
Exercise 14. Using the following table, describe a character with a secret from a) his or her perspective, and b) from the world’s perspective.
During Week 8, I intend to return to the idea of honesty in writing, just as a reminder, before returning to the technicalities (mundane perhaps, but this is how my methodical brain likes to learn).
For a story to be a story, a protagonist should undergo some sort of change (usually) through interactions with other characters, and as a result of situations that they are forced to react to.
In Writing in General and the Short Story in Particular, Rust Hills differentiates between 'character shift,' where a character changes inexplicably to facilitate a certain action, and 'movement of character' where things happen that lead to the change in character (for better or worse). In other words, don't force the plot onto your characters.
In Burning Down the House, Charles Baxter does insist, however, that a writer sometimes needs to nudge his or her characters toward "interesting trouble" so that they make "interesting mistakes" that are worth reading about. Lamott's Bird by Bird also stresses that a writer should not protect characters from their own misgivings.
So, does the secret to successful character development lie in the successful portrayal of flaws and imperfections of the protagonist? Or adversely, in the strengths and 'goodness' of an antagonist? I have no idea, but it makes sense that such contrasts might lead to surprising, and perhaps shocking discoveries that draw a reader (and writer) into the story.
The following exercises aim to explore the idea of contrasts for developing characters within the context of a story. (These exercises have been borrowed from a creative writing course I attended; I am not aware of the original source).
Exercise 13. Fill in the following table with qualities relevant to a potential story, for a) a protagonist, and b) an antagonist:
Protagonist
|
|
Strengths
|
Weaknesses
|
1
|
1
|
2
|
2
|
3
|
3
|
4
|
4
|
Opportunities
|
Threats
|
1
|
1
|
2
|
2
|
3
|
3
|
4
|
4
|
Antagonist
|
|
Strengths
|
Weaknesses
|
1
|
1
|
2
|
2
|
3
|
3
|
4
|
4
|
Opportunities
|
Threats
|
1
|
1
|
2
|
2
|
3
|
3
|
4
|
4
|
Exercise 14. Using the following table, describe a character with a secret from a) his or her perspective, and b) from the world’s perspective.
Character Perspective
|
World Perspective
|
|
Looks
|
1
|
1
|
2
|
2
|
|
3
|
3
|
|
Sounds
|
1
|
1
|
2
|
2
|
|
3
|
3
|
|
Feels
|
1
|
1
|
2
|
2
|
|
3
|
3
|
During Week 8, I intend to return to the idea of honesty in writing, just as a reminder, before returning to the technicalities (mundane perhaps, but this is how my methodical brain likes to learn).
Tuesday, February 7, 2012
Week 6 - Character Development
5 Feb - 11 Feb: The Art of People-Making
Okay, so we're thinking of our protagonist as a passionate competitor who will employ whatever trick he has in his arsenal to achieve his goal or solve his problem. The guy might be an intellect who out-thinks his rival, or a woman of action who physically challenges her adversary. Or he may have an assortment of psychological and physical tricks up his sleeve.
Of course, he doesn't count on the strengths of his opponent (or conflict), and he cannot control the circumstances in which he sometimes finds himself. So how does she react when faced with obstacles?
To answer this question, it helps to know this guy or gal. Really well. Where was she born? What are his siblings like (if he has any)? What do her parents do? What is her relationship with them? Is he in a romantic relationship? What have his past relationships been like? What does he do in his spare time? What books does she have on her bookshelf? (These types of questions can be found in many "How To Write" books that explore character development.)
The answers, of course, are not necessarily going to appear in the story, unless relevant to the plot, but greater familiarity with one's characters will undoubtedly lead to them being more believeable.
Personally, I like to have a physical picture of a character in mind, and so I cut out photos in magazines and jot down notes about people I see in public, and store these things in my notebook. Once I can 'see' a character, I start to think of those little idiosyncrasies that might make them interesting. I watch how real people stand, how they laugh, what they wear, and what they do with their hands. Then, I like to think about the inner workings of a character: is he outgoing or reserved; is he flippant or serious; what is he passionate about?
In Bird by Bird, Lamott suggests infusing aspects of your own personality into those of your characters, (especially those deep, dark, secret ones that you're too ashamed to tell anyone about).
The trick, of course, is to paint the picture of the character using interesting and original language, and using tools that contribute to the flow of the story, rather than detract from it. In 50 Essential Strategies for Every Writer, Roy Peter Clarke suggests avoiding 'cloudy' or abstract adjectives to describe characters, (eg. popular, scared, generous) in preference to allowing the characters to demonstrate these traits through their actions.
The following exercises aim to develop believable characters through dialogue and/or descriptive narrative without using abstract adjectives.
Exercise 11. Observe a number of people in a public setting (supermarket, sporting event, etc) and write down cloudy adjectives that you think describe aspects of their personality (eg. rude, caring, serious etc). Now, write down the observations that led you to each conclusion.
(This exercise is from 50 Essential Strategies for Every Writer by Roy Peter Clark).
Exercise 12. In a public place (again), eavesdrop on a conversation and write a scene or short story based on what you hear, concentrating on the individuals involved, what they say and how they say it, and their body language. Try to capture the 'mood' of the interaction.
Week 7 will explore character development within the context of a story.
Okay, so we're thinking of our protagonist as a passionate competitor who will employ whatever trick he has in his arsenal to achieve his goal or solve his problem. The guy might be an intellect who out-thinks his rival, or a woman of action who physically challenges her adversary. Or he may have an assortment of psychological and physical tricks up his sleeve.
Of course, he doesn't count on the strengths of his opponent (or conflict), and he cannot control the circumstances in which he sometimes finds himself. So how does she react when faced with obstacles?
To answer this question, it helps to know this guy or gal. Really well. Where was she born? What are his siblings like (if he has any)? What do her parents do? What is her relationship with them? Is he in a romantic relationship? What have his past relationships been like? What does he do in his spare time? What books does she have on her bookshelf? (These types of questions can be found in many "How To Write" books that explore character development.)
The answers, of course, are not necessarily going to appear in the story, unless relevant to the plot, but greater familiarity with one's characters will undoubtedly lead to them being more believeable.
Personally, I like to have a physical picture of a character in mind, and so I cut out photos in magazines and jot down notes about people I see in public, and store these things in my notebook. Once I can 'see' a character, I start to think of those little idiosyncrasies that might make them interesting. I watch how real people stand, how they laugh, what they wear, and what they do with their hands. Then, I like to think about the inner workings of a character: is he outgoing or reserved; is he flippant or serious; what is he passionate about?
In Bird by Bird, Lamott suggests infusing aspects of your own personality into those of your characters, (especially those deep, dark, secret ones that you're too ashamed to tell anyone about).
The trick, of course, is to paint the picture of the character using interesting and original language, and using tools that contribute to the flow of the story, rather than detract from it. In 50 Essential Strategies for Every Writer, Roy Peter Clarke suggests avoiding 'cloudy' or abstract adjectives to describe characters, (eg. popular, scared, generous) in preference to allowing the characters to demonstrate these traits through their actions.
The following exercises aim to develop believable characters through dialogue and/or descriptive narrative without using abstract adjectives.
Exercise 11. Observe a number of people in a public setting (supermarket, sporting event, etc) and write down cloudy adjectives that you think describe aspects of their personality (eg. rude, caring, serious etc). Now, write down the observations that led you to each conclusion.
(This exercise is from 50 Essential Strategies for Every Writer by Roy Peter Clark).
Exercise 12. In a public place (again), eavesdrop on a conversation and write a scene or short story based on what you hear, concentrating on the individuals involved, what they say and how they say it, and their body language. Try to capture the 'mood' of the interaction.
Week 7 will explore character development within the context of a story.
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