“So far we’ve looked at two places where you can put the character emotion you’ve stripped out of your dialogue mechanics–into the dialogue itself and into the language of your descriptions written from an intimate point of view. A third place is interior monologue. Movies and television may be influencing writers to write more visually, using immediate scenes with specific points of view to put their stories across. But fiction can always accomplish something that visual media will never be able to touch.” From Self-Editing for Fiction Writers by Renni Browne and Dave King In other words: The fiction writer …
Tag: 90-Minute Novel
CHARACTERS’ ADVOCATE
I came across this quote from actor Holly Hunter: “I always feel that I am the advocate for my character. More than anyone else on the set, including the director. I’m there to protect my character, in any way.” As writers, we might consider it our job to find an inner advocate for every character on our pages, even–especially–the least sympathetic. Remember the fiction writers’ “P” word: parity.
NO SLUGS, NO SLACKERS…
Today’s quote comes from Thomas McCormack’s excellent book: THE FICTION EDITOR, THE NOVEL, AND THE NOVELIST. “Character is most keenly revealed when it’s confronted with crisis, hard choices, urgent decisions. Thus, insofar as he’s interested in revealing character, the author’s job is to construct setting and circuitry that will call for decisions, for actions.” When you sit down to write today, ask yourself what your characters want and how far they will go to get what they want? Ask what they do about getting what they want–and also what effect their actions have on others? Finally, ask if the reader …
CARTOONS, HORIZONS & OTHER OUTLINES
As part of my family’s spring break, I spent the past few days revising an outline. This novel is already in progress but I’ve been making changes to some of the plot elements and I wanted to “picture” the whole again. I worked up a six-page prose outline. Sure enough, it gave me a new perspective. Still, I wanted an instant picture. My first idea was to use a “horizon” outline. It’s something I do often and it’s simple. I draw a line across a long sheet of paper. I divide the line into thirds to represent the three acts …
THE FORCE FIELD OF RELATIONSHIP
Writers talk a lot about viewpoint characters. The story is told from her viewpoint. Or his viewpoint. Or both their viewpoints. Sometimes we become so focused on maintaining a strict viewpoint, we forget that narrative is about relationships. Relationships. Interactions. Exchanges. Collisions. Between people. And between a person and her world. When you write your next scene imagine an energy field or aura surrounding each of your characters. As you write, put your attention in the space where these energy fields collide. Now imagine an energy field (or a thousand different fields) coming from the physical world–the birds singing …
A Tip for the Day–AHA!
Today’s writing tip is a simple way to avoid “math anxiety” when it comes to reviewing scenes: Remember that your primary character has an objective in each scene. That goes for other characters who are active in the scene. Objectives change–and they may begin as reactive (as in your character reacting to something that happens) but ultimately that reaction translates into action, subtle or profound. These are also called scene goals–each character has her own goal in each scene, and those goals are most often in conflict because we want conflict in story. When it comes to opening scenes, another …
TREBLE THE TROUBLE
Writing fiction? Then Les Edgerton’s nifty book, HOOKED, is a great choice for your holiday gift list. (If you’re like me, you play secret Santa and buy yourself a few pounds of libros for the holidays.) Edgerton covers well-traveled ground when it comes to the how-to of structure. But he does it by focusing intensely on the basics of story setup–the opening hooks and problems–that directly connect to deep story structure. Edgerton defines the Inciting Incident–a term often used in the language of screenplays–as something that “happens to the protagonist that creates his surface problem and introduces the first indications …
A NARRATIVE SENSE OF PLACE
“If character is the foreground of fiction, setting is the background, and as in a painting’s composition, the foreground may be in harmony or in conflict with the background…where there is a conflict between background and foreground, between character and setting, there is already “narrative content,” or the makings of a story.” Janet Burroway, Writing Fiction: A Guide to Narrative Craft As an exercise, Burroway suggests writing a scene in which two characters are in conflict over their surroundings. One wants to stay, the other wants to leave. If you choose to do the exercise, you might try it twice–first …
SCAFFOLD SCENES–Part One
Scenes are basic building blocks of narrative. A scene can be defined as a story episode rendered fully and dramatically in order to make the reader feel she is present and witnessing the action in real time. In effective scenes, things happen and the world shifts. Secrets are discovered. Adversaries are confronted. Revelations arise. Decisions are made. When you write–especially when you rewrite–you should know what each scene accomplishes in your story. Ask yourself what function it serves. Effective scenes do more than one thing at once, but a quick inventory will help you stay on track and in action …
DREAMING CHARACTER–A FICTION EXERCISE
I’ve been cooped in at home all week with a sick child. Today, Pearl is on the mend and I had the chance to hop on my trail bike and take the dogs out for a ride. When I haven’t been on the trail for awhile, I’m always amazed how the New Mexico sky and landscape ground me, and how bike riding fires up my imagination. Along the way, I came up with a writing exercise. If you feel so inspired, try it and let me know what happens. 1) Invent a new character or choose one you’re already working with. Let …