(Sixth lesson in my writing class.)
Each scene of your story should be based on three things in this order: Goal, Conflict, Disaster.
Each scene should heighten the suspense of the story until the very highest point of the climax. Each scene should be made up with those three things, Goal, Conflict, Disaster.
The hero has a goal, but he comes into conflict with something, and disaster is the result. This doesn’t mean your story has to be a tragedy, it simply means that your hero doesn’t win every time he’s confronted with a problem.
The reason each scene ends in a disaster is because it’s compelling. If the character gets everything he or she wants, then it’ll be boring. Putting in the Conflict and then Disaster tells the reader that there is really a chance things might not end up well. Something real is at stake.
Of course, you can’t just end a scene with your character being defeated, and then in the next scene he’s already coming up with a new Goal. No, that’s why you need to have a second format for the next scene. A Reaction, a Dilemma, and a Decision.
A Reaction to the Disaster in the last chapter. Your character is regrouping, recovering, maybe even grieving? But definitely defeated and discouraged. If you write it authentically - with an understandable reason for the way he or she is acting - the readers will be sympathetic, and maybe even feel defeated and discouraged with the character. After your character is defeated, give him or her some time to reflect on it. Even the sprightliest of people will get discouraged and it’s going to take them a while to recover - this is the time for the character to react, not act. Not yet, anyway.
The second part of this follow up scene is the Dilemma. When there are several possible solutions the character can make - and they all seem bad. The Disaster was so crucial that there is seemingly no hope. But now, he’s recovered just a little, so that he’s decided he has to continue, or maybe a friend keeps talking to him until he finally gets out of his Reaction stage, when he doesn’t do anything to keep going. Now he’s going in the right direction, but he suddenly realizes he has to make a choice between a few ugly possibilities. I can’t stress how much you want to make these possible choices all bad. If one is an easy pick, add something into it to make it more difficult. Let your character ponder over this.
I suggest you write out a full page of your character simply questioning what options he has. Should he sell his house or his car? Selling the car would be the more preferable choice, yes, but now you need to throw a wrench into the gears. What if his car is the only way he can get to work, even if it is a low paying job? Make the decision matter.
And finally the third part of this second scene; the Decision. Now that he’s thought over the possibilities, he has to make an action. This is a very important part in this scene because once more it’s giving the character the ball. His actions determine his fate. He then decides what Decision he will make. As I said before, don’t make it an easy decision, but make it a decision that the reader will respect, because when a reader thinks about what the possible decisions could end up in, and considers them, he or she will relate to the character, which is always a good thing.
Look at it in another way. What if the reader is holding his breath to see what the character will do, and then suddenly, with no rhyme or reason, the character picks the absolute hardest one. Then the reader will think, “well that was a stupid thing to do.” And that will annoy him. The most important thing for this part of the scene is to get the reader to wonder what he or she would do in that situation, and then give them a satisfying answer as to what the character did. If you can do this, you’ve got a great scene.
Now, as you see, the character knows what he wants to do. The Decision at the end of this scene is what he will do, in the next scene we’re back to Goal again. The character has Decided what his Goal will be.
This is why you interlock the two types of scenes every other time. Using there initials, you can create the pattern they are in.
GCD, which is Goal, Conflict, Disaster.
And RDD, Reaction, Dilemma, Decision.
And repeat it.
GCD,
RDD,
GCD,
RDD,
and so on. It’s a full scale of ups and downs for the reader and the character. It visits both despair and hope in one full cycle. If you keep this up, not only will a reader be interested, you yourself will be compelled to keep writing. The best way to get interested in writing a story isn’t just to write it, it’s to get into it. Write the character’s emotions as if you were there. As if you were just encountered with your Disaster. And now your hurting, and finally you come to the Dilemma. Make the reasons compelling, so that you yourself would say, “which one would I choose?” and then you know you’ve made a great scene.
So have your next scene, be it your first or fifth, planned out in this method.
I want you all to get out a pencil and paper, and write at the top “Scene 1", then on separate lines: Goal, Conflict, Disaster.
Then take out a new sheet and write at the top “Scene 2", and in separate lines below Reaction (to the Disaster), Dilemma, Decision.
Take some time in club today to write beside those words what your character is faced with for that part of the scene, the Decision he makes, and/or the Disaster he faces. Just something simple, just so that you have an idea.
If you do this with all your scenes, you’ll compel not only your reader to keep reading, but you as the writer to keep writing.
Do as many scenes as you can.
Also take time today to share, or listen to, any writings you want to have your audience’s feed back on.
Showing posts with label Writing Class. Show all posts
Showing posts with label Writing Class. Show all posts
Friday, November 1, 2013
Thursday, October 31, 2013
Writing It
(Fifth lesson of my writing class. The goal of the entire class was for each member to have written a short story, and this week we are beginning to write them. Please remember that these lessons are for young writers, and therefore I've only given the basic concepts.)
It’s finally time to actually get to writing your story. When you write, you’re almost certainly going to look back and see something you want to change.
Don’t do it.
Don’t interrupt your sentence, don’t interrupt your paragraph, don’t interrupt your page, keep writing.
The hardest part of just about everything is doing it. Especially with writing. Sitting down and just writing is one of the hardest things you can do. But now that you’ve got an idea for your story, writing it is the next key thing.
If you feel like you should write, but are dragging your feet about it, you’ve probably got a case of procrastination, which is one of the main thing that keeps you away from writing. The solution is simple. Tell yourself that today, all I have to write is one paragraph. That’s it. Just one paragraph.
By the end of that paragraph, you might still feel sick of the story, but more often than not, I’ve found that I tricked myself, and then I write more than that one paragraph because I’m starting to get involved in the story again. If you still don’t want to write, that’s actually okay. Maybe you need a day’s break from the story.
Then again, you might have another form of procrastination. You’ve likely heard of it before - yes, it’s Writer’s Block.
Writer’s Block is very real. But it’s solution is very real too.
You could look up the ‘cure to Writer’s Block’ just about anywhere, and likely they’ll have the same answer: “Just write.”
That has never, ever helped me because Writer’s Block and procrastination are two entirely different things. For procrastinating “just writing” might be the best way, but not for Writer’s Block.
Why? Because Writer’s Block, though related to procrastination, isn’t one in the same. Writer’s Block is usually caused from lack of inspiration. Procrastination, well you’ve just been distracted with other things.
So how do you conquer Writer’s Block? The thing that’s helped me most is just to simply plan ahead. Writer’s Block is basically two things, lack of inspiration, or just simply not knowing where to go in the story.
That’s why we planned out the story a few weeks ago, and that’s why it matters.
Some writers just write without even basic outlines, but when they hit Writer’s Block, it’s really going to hurt. Those who outline will have some padding for the fall if the Block does strike.
It’s not that not outlining is bad, coming up with your own style and voice in writing is critical, but it has flaws (just like outlining does).
So if you have Writer’s Block, the best way to get rid of it is step back from your writing, stop trying to “just write” and plan out your chapter - change the thing about it that you’re struggling with.
There are other ways, however. With both Writer’s Block and procrastination, you can simply look at the current situation. Is something boring you? Is that action sequence just “bleh”?
You need to keep the action flowing in the story. This doesn’t mean its all guns and swords and battle, it just means that something is always happening. Tension is growing higher every minute.
How do you do this? By increasing the stakes. By making the story goal ever more worthwhile.
While we’re talking about Writer’s Block, do any of you have questions about this? Are any of you have problems with your story?
(Yes, I'm opening it up to you on the comments below.)
~R.A.H.Thacker
It’s finally time to actually get to writing your story. When you write, you’re almost certainly going to look back and see something you want to change.
Don’t do it.
Don’t interrupt your sentence, don’t interrupt your paragraph, don’t interrupt your page, keep writing.
The hardest part of just about everything is doing it. Especially with writing. Sitting down and just writing is one of the hardest things you can do. But now that you’ve got an idea for your story, writing it is the next key thing.
If you feel like you should write, but are dragging your feet about it, you’ve probably got a case of procrastination, which is one of the main thing that keeps you away from writing. The solution is simple. Tell yourself that today, all I have to write is one paragraph. That’s it. Just one paragraph.
By the end of that paragraph, you might still feel sick of the story, but more often than not, I’ve found that I tricked myself, and then I write more than that one paragraph because I’m starting to get involved in the story again. If you still don’t want to write, that’s actually okay. Maybe you need a day’s break from the story.
Then again, you might have another form of procrastination. You’ve likely heard of it before - yes, it’s Writer’s Block.
Writer’s Block is very real. But it’s solution is very real too.
You could look up the ‘cure to Writer’s Block’ just about anywhere, and likely they’ll have the same answer: “Just write.”
That has never, ever helped me because Writer’s Block and procrastination are two entirely different things. For procrastinating “just writing” might be the best way, but not for Writer’s Block.
Why? Because Writer’s Block, though related to procrastination, isn’t one in the same. Writer’s Block is usually caused from lack of inspiration. Procrastination, well you’ve just been distracted with other things.
So how do you conquer Writer’s Block? The thing that’s helped me most is just to simply plan ahead. Writer’s Block is basically two things, lack of inspiration, or just simply not knowing where to go in the story.
That’s why we planned out the story a few weeks ago, and that’s why it matters.
Some writers just write without even basic outlines, but when they hit Writer’s Block, it’s really going to hurt. Those who outline will have some padding for the fall if the Block does strike.
It’s not that not outlining is bad, coming up with your own style and voice in writing is critical, but it has flaws (just like outlining does).
So if you have Writer’s Block, the best way to get rid of it is step back from your writing, stop trying to “just write” and plan out your chapter - change the thing about it that you’re struggling with.
There are other ways, however. With both Writer’s Block and procrastination, you can simply look at the current situation. Is something boring you? Is that action sequence just “bleh”?
You need to keep the action flowing in the story. This doesn’t mean its all guns and swords and battle, it just means that something is always happening. Tension is growing higher every minute.
How do you do this? By increasing the stakes. By making the story goal ever more worthwhile.
While we’re talking about Writer’s Block, do any of you have questions about this? Are any of you have problems with your story?
(Yes, I'm opening it up to you on the comments below.)
~R.A.H.Thacker
Tuesday, October 29, 2013
Character Building and Character Arcs
(Fourth lesson in my writing class, going over Character Building and Character Arcs.)
Character Building is a one of the most important things in any story. A story could have an excellent plot, a stupendous theme, and a revolutionary moral, but if we don’t know why the hero is doing what he’s doing, why he is the way he is, we don’t care. Or, even worse, if we don’t give him a personality, we won’t care.
Character Building is making your character. Some writers use long lists of irrelevant questions to “interview” their characters. But Character Building is much more than knowing what color their car is, or even how old they are. Sure, they might come into the story once in a while, but likely they’ll only be mentioned.
The big part of Character Building, what you really want to focus on, is the character’s personality. The readers don’t care about what color hair the main character has, even if it’s hot pink, and that’s why you need to focus on the personality. Now say this person is sort of rebellious against her parents wishes, and she dyes her hair pink spitefully against her mother’s wishes - now that matters, because it shows part of her personality - rebelliousness.
You might already have a rough idea for a character, or maybe not. But when you’re starting out, you’ll usually want to browse over a list of traits, good and bad, and pick out a few that work well together and fit with this character you’re making. For example, don’t pick both submissive and rebellious for the same character, because they’re virtually the same. You can, however, pick shy and rebellious. Why? Because shy doesn’t necessarily contradict rebellious, it just means he or she might not be so outspoken about it.
I have a list of traits here. For starters, pick out two good traits and one bad one. It’s hard to give your hero a bad trait, but you need to realize it doesn’t make your character evil, instead it makes him or her human, realistic, and 3D. 3D as in, the character isn’t all good, their might be some dark secrets he or she is hiding, something that the character doesn’t want to reveal. In the end, you’ll probably want it to be exposed.
But that’s for later.
On that list you’ll see several disagreeable and unlikable traits that you can pick for your character. You’ll likely not be wanting to have the truly evil ones for your character. Then again, you might.
I’ll give you a few minutes to pick out three of them, two likable and one not so likable, or even evil.
So if you haven’t quite got the ones that fit, that’s alright. You can review your character this week, but now, we’ll stick with the ones you have now. You probably have some kind of a character forming in head now, so we can continue on.
I’ve pre-written a scene in which your character is faced with an important decision. Decisions, actions, and reactions are what makes a character shine through the page and become 3D to you and the reader. Your character is shaped in the decisions he makes.
Your character just discovered he has inherited one hundred million dollars from a trust fund, how does he react? Is he just satisfied? Does he hyperventilate? Maybe he is annoyed or refuses to accept if he believes money is the root of all evil. And also, aside from his physical actions, what is he thinking during this time? WHY is he excited about this? Is it because he can now move out of his old apartment, have a vacation, and still afford a lambergini? Or is it because he can now help the community by paying for a new library?
Here’s another situation.
Your character lives in a very poor district of town. He must somehow get food for the rest of himself and the rest of his family. He has two options; 1, to go out and find any sort of second or third job he can get, though its low pay still might not be enough. And 2, to go into the streets and steal bread or other food (and remember, though this might be wrong, your character would have plenty of motivation for it). Of course, if your character was lazy, he might not do anything at all. But for this exercise, pick one of the two above.
And finally for a third situation.
Your character wants a job. But at the first four interviews he’s been rejected, what does he do? Keep trying? Give up despairingly? Try a new plan? Or maybe recruit a friend for help?
The first of those three examples was how a character reacted to getting an enormous amount of money. The second was a decision, and the third was an action.
What your character wants.
What your character needs.
What your character believes (is it a lie?).
What your character thinks he needs.
If each of those questions has different answers, even if they’re just slightly varied, will make a dynamic and realistic character. Those were some good questions to build on the story goal, what the main character is going after throughout the entire story - it also builds on your character and who he or she is.
The characters, in a story, are literally the most important thing. Enjoyable characters make enjoyable stories, make your characters real.
Related Posts: Character Arcs
~R.A.H.Thacker
Character Building is a one of the most important things in any story. A story could have an excellent plot, a stupendous theme, and a revolutionary moral, but if we don’t know why the hero is doing what he’s doing, why he is the way he is, we don’t care. Or, even worse, if we don’t give him a personality, we won’t care.
Character Building is making your character. Some writers use long lists of irrelevant questions to “interview” their characters. But Character Building is much more than knowing what color their car is, or even how old they are. Sure, they might come into the story once in a while, but likely they’ll only be mentioned.
The big part of Character Building, what you really want to focus on, is the character’s personality. The readers don’t care about what color hair the main character has, even if it’s hot pink, and that’s why you need to focus on the personality. Now say this person is sort of rebellious against her parents wishes, and she dyes her hair pink spitefully against her mother’s wishes - now that matters, because it shows part of her personality - rebelliousness.
You might already have a rough idea for a character, or maybe not. But when you’re starting out, you’ll usually want to browse over a list of traits, good and bad, and pick out a few that work well together and fit with this character you’re making. For example, don’t pick both submissive and rebellious for the same character, because they’re virtually the same. You can, however, pick shy and rebellious. Why? Because shy doesn’t necessarily contradict rebellious, it just means he or she might not be so outspoken about it.
I have a list of traits here. For starters, pick out two good traits and one bad one. It’s hard to give your hero a bad trait, but you need to realize it doesn’t make your character evil, instead it makes him or her human, realistic, and 3D. 3D as in, the character isn’t all good, their might be some dark secrets he or she is hiding, something that the character doesn’t want to reveal. In the end, you’ll probably want it to be exposed.
But that’s for later.
- active
- adventurous
- affectionate
- afraid
- aggressive
- ambitious
- amiable
- angry
- animated
- annoyed
- anti-social
- anxious
- argumentative
- arrogant
- attentive
- babyish
- bored
- bossy
- brave
- brilliant
- busy
- calm
- can't keep a secret
- careful
- cautious
- charismatic
- charming
- cheerful
- childish
- clever
- clumsy
- coarse
- cold-hearted
- compassionate
- competitive
- complacent
- compulsive
- conceited
- confident
- confused
- considerate
- cooperative
- courageous
- cowardly
- crafty
- critical
- cruel
- cultured
- curious
- cynical
- dangerous
- daring
- decisive
- dependable
- dependent on others
- determined
- diligent
- discreet
- dishonest
- disloyal
- disobedient
- disparaging
- disrespectful
- dissatisfied
- doesn't learn
- domineering
- doubtful
- dutiful
- eager
- easygoing
- eloquent
- encouraging
- energetic
- enthusiastic
- fair
- faithful
- fearless
- fidgety
- fierce
- finicky
- foolish
- formal
- frank
- friendly
- frustrated
- funny
- generous
- gentle
- giddy
- giving
- glamorous
- gloomy
- grateful
- greedy
- grouchy
- gullible
- happy
- harried
- hateful
- haughty
- helpful
- honest
- hopeful
- hopeless
- hospitable
- humble
- hyper
- ignorant
- ill-bred
- imaginative
- immature
- impartial
- impatient
- impolite
- impudent
- impulsive
- inappropriate
- inconsiderate
- independent
- industrious
- innocent
- insensitive
- insolent
- intelligent
- jealous
- judgmental
- lackadaisical
- languid
- lazy
- liar
- logical
- lonely
- loving
- loyal
- lucky
- malicious
- mature
- mean
- meticulous
- mischievous
- moody
- mundane
- mysterious
- naive
- negligent
- nervous
- never satisfied
- no sense of humor
- noisy
- obedient
- obliging
- obnoxious
- observant
- obsessive
- overindulgent
- prejudice
- procrastinator
- reckless
- rude
- sarcastic
- selfish
- self-pitying
- shy
- smart
- stubborn
- superficial
- tactless
- taking self too seriously
- too trusting
- unable to commit
- uncomunicative
- unconfident
- unmannered
- untrusting
On that list you’ll see several disagreeable and unlikable traits that you can pick for your character. You’ll likely not be wanting to have the truly evil ones for your character. Then again, you might.
I’ll give you a few minutes to pick out three of them, two likable and one not so likable, or even evil.
So if you haven’t quite got the ones that fit, that’s alright. You can review your character this week, but now, we’ll stick with the ones you have now. You probably have some kind of a character forming in head now, so we can continue on.
I’ve pre-written a scene in which your character is faced with an important decision. Decisions, actions, and reactions are what makes a character shine through the page and become 3D to you and the reader. Your character is shaped in the decisions he makes.
Your character just discovered he has inherited one hundred million dollars from a trust fund, how does he react? Is he just satisfied? Does he hyperventilate? Maybe he is annoyed or refuses to accept if he believes money is the root of all evil. And also, aside from his physical actions, what is he thinking during this time? WHY is he excited about this? Is it because he can now move out of his old apartment, have a vacation, and still afford a lambergini? Or is it because he can now help the community by paying for a new library?
Here’s another situation.
Your character lives in a very poor district of town. He must somehow get food for the rest of himself and the rest of his family. He has two options; 1, to go out and find any sort of second or third job he can get, though its low pay still might not be enough. And 2, to go into the streets and steal bread or other food (and remember, though this might be wrong, your character would have plenty of motivation for it). Of course, if your character was lazy, he might not do anything at all. But for this exercise, pick one of the two above.
And finally for a third situation.
Your character wants a job. But at the first four interviews he’s been rejected, what does he do? Keep trying? Give up despairingly? Try a new plan? Or maybe recruit a friend for help?
The first of those three examples was how a character reacted to getting an enormous amount of money. The second was a decision, and the third was an action.
What your character wants.
What your character needs.
What your character believes (is it a lie?).
What your character thinks he needs.
If each of those questions has different answers, even if they’re just slightly varied, will make a dynamic and realistic character. Those were some good questions to build on the story goal, what the main character is going after throughout the entire story - it also builds on your character and who he or she is.
The characters, in a story, are literally the most important thing. Enjoyable characters make enjoyable stories, make your characters real.
Related Posts: Character Arcs
~R.A.H.Thacker
Monday, October 28, 2013
Setting and Theme
(Third lesson in my writing class, discussing Setting and Theme. I've gone over Setting more in depth Here but I didn't discuss the Theme's relevance to the Setting.)
Every good story means something. If it doesn’t, it won’t be remembered. What’s the meaning of a story? It’s theme. But what’s theme? Theme is the idea that goes just under the skin of the storyline.
Every good story impacts you in some way. The story could be advocating against abortion, or maybe promoting a ban on smoking.
The theme is the message of the story. Do you want to warn the world of animal abuse? Then your plot and story have to flow with the message - that’s theme.
Creating a theme is probably one of the more difficult parts of writing anything - even a short story. The reason for this is because you don’t want to be preachy and just stuff the story with the message, and you don’t want it to seem contrived either. The theme has to be something you really feel like you need to write, because if it isn’t, then it won’t impact the reader. So what makes your blood burn? That’s what you need for your story theme.
Probably the most important thing about making a theme is that you can’t outright tell the reader “Abortion is evil” or, “there’s lots and lots of mistreated animals out there.” No, instead, you have to hint at it. Subtle hints. For instance, maybe your character sees a poster advocating some company which keeps animals in confined cages all day - the character scowls at it, but nothing more. He or she doesn’t outright tell the reader what the message is, or that will get preachy.
Trust me, the reader will see what the theme is even if you don’t tell them outright anywhere in your story. In fact, they’ll probably realize the theme even clearer, because they’ll understand it if you hint and it gently.
Throughout your story, you need to think up dozens of ways to hint at the theme, but not tell the theme.
Another very good way to hint at the theme is through the setting. If the theme is a darker one, the setting should be a gloomier setting as well. This doesn’t necessarily mean dark purple clouds on the horizon, or fog enclosing all around, this means that the weight of the story is heavier. This is a very advanced technique because it too involves only hinting, not telling.
Hint at the darkness in your character’s world, raise the stakes by endangering something the main character of the story cares about - a family member? A freedom he dearly values?
Then again, maybe your theme is more lighthearted, in which case you don’t want to lower the stakes, but show that, unlike in a gloomier setting, there is a hope shining in the distance.
One of the main differences between a darker setting and a lighter setting is that the darker one seems like all hope is lost, whereas the with the lighter setting, there is hope, but it’s far off and the character must struggle for it.
The theme is the message - what kind of a message do you want to tell?
~R.A.H.Thacker
Every good story means something. If it doesn’t, it won’t be remembered. What’s the meaning of a story? It’s theme. But what’s theme? Theme is the idea that goes just under the skin of the storyline.
Every good story impacts you in some way. The story could be advocating against abortion, or maybe promoting a ban on smoking.
The theme is the message of the story. Do you want to warn the world of animal abuse? Then your plot and story have to flow with the message - that’s theme.
Creating a theme is probably one of the more difficult parts of writing anything - even a short story. The reason for this is because you don’t want to be preachy and just stuff the story with the message, and you don’t want it to seem contrived either. The theme has to be something you really feel like you need to write, because if it isn’t, then it won’t impact the reader. So what makes your blood burn? That’s what you need for your story theme.
Probably the most important thing about making a theme is that you can’t outright tell the reader “Abortion is evil” or, “there’s lots and lots of mistreated animals out there.” No, instead, you have to hint at it. Subtle hints. For instance, maybe your character sees a poster advocating some company which keeps animals in confined cages all day - the character scowls at it, but nothing more. He or she doesn’t outright tell the reader what the message is, or that will get preachy.
Trust me, the reader will see what the theme is even if you don’t tell them outright anywhere in your story. In fact, they’ll probably realize the theme even clearer, because they’ll understand it if you hint and it gently.
Throughout your story, you need to think up dozens of ways to hint at the theme, but not tell the theme.
Another very good way to hint at the theme is through the setting. If the theme is a darker one, the setting should be a gloomier setting as well. This doesn’t necessarily mean dark purple clouds on the horizon, or fog enclosing all around, this means that the weight of the story is heavier. This is a very advanced technique because it too involves only hinting, not telling.
Hint at the darkness in your character’s world, raise the stakes by endangering something the main character of the story cares about - a family member? A freedom he dearly values?
Then again, maybe your theme is more lighthearted, in which case you don’t want to lower the stakes, but show that, unlike in a gloomier setting, there is a hope shining in the distance.
One of the main differences between a darker setting and a lighter setting is that the darker one seems like all hope is lost, whereas the with the lighter setting, there is hope, but it’s far off and the character must struggle for it.
The theme is the message - what kind of a message do you want to tell?
~R.A.H.Thacker
Sunday, October 27, 2013
The Story Skeleton
(Like the last post, this is one of the lessons I've written up for my writing class. I know I've already discussed this Here but this is different in some ways. I have included that week's worksheet.)
So now that everyone has an idea as to what you’re going to write, today we’re going to start plotting out your short story and getting a rough idea of all the events of the story.
Some writers don’t like to outline their stories, and rather wing the entire story based off of one idea or spark of inspiration. They’re called seat-of-the-pants writings. For my first novel, The Traitors Tale, I wrote it entirely seat-of-the-pants. Looking back, I know that, for me, was a mistake. I had to take out entire chapters because they just didn’t fit with the story.
Now, this is purely my own style, there are many writers out there who use this method, but for this club we’re going to use the plotting way for two reasons.
One, it is much more organized, especially for beginning writers, because we need guidance when we’re starting out on just about everything.
And two, planning out the story saves a lot of time because you don’t have to go over it and edit so much.
So for this club we’re going to use the plotting method. It’s fairly simple, you just need to fill out a form of five basic questions for the plot. The Inciting Incident, which is what starts off the adventure and goes beyond normal days, and then there’s the Rising Action, which is the build up after the Inciting Incident to the third element of plot, the Climax. Everything up until the Climax is a foreshadowing and stage basis. The Rising Action is where the reader and the character connect. If the reader understands the character like a friend, they’ll be dying to find out if the character is alright after the climax. The Rising Action is also where the struggle escalates for whatever prize the end may hold. It’s also where the stakes increase right up until the Climax, which is what keeps readers reading.
Why? Because the reader knows the character, they care about him or her, even though they’re fake.
After the Climax, everything wraps up quickly in the Falling Action and Conclusion. The Falling Action is basically any remaining action that precedes the Climax, while the Conclusion is in essence, “And They Lived Happily Ever After.”
For instance, if any of you have read the Lord of the Rings, you know that the final battle in Morder is the Climax, the moment when Frodo is at the edge of Mount Doom. The Falling Action is just after this when they return to the Shire. There they find Saruman had taken it over.
That conflict, after the Climax, is the Falling Action. The Conclusion then, would be Frodo, Bilbo, and the others going off into the west. The happy ending.
If you haven’t read or watched the Lord of the Rings, that was probably really boring.
Many stories actually leave out the Falling Action for the most part, so you don’t necessarily have to have this in your story.
Each element of the plot has to change the hero of the story, be it internally or externally.
{Worksheet}
What unusual thing makes the day your story begins different? (This is the Inciting Incident).
What action goes on during the Rising Action? What changes the hero in that action? (Try to think more than just physicals - maybe he (or she) is braver now that he or she found courage within, or maybe he’s come to realize something in himself he need to change.)
What two forces clash during the Climax? (This doesn’t have to be a battle, just a clash of morals or a struggle. For instance, a boy could be trying to rescue his lost dog, but then find that another boy had found the dog before him and claimed it, now he must prove that the dog is his.)
If you have a Falling Action Element after the Climax, what makes this important to the story? Does it fulfil what the hero has learned or how he has changed over the course of the story?
What wraps everything up and satisfies the reader? Is it more than just the externals? Has your hero changed?
Over the course of your short story, how does your hero change? (Does he go from a resentful man to forgiving one? Does a shy girl go from a pushover to someone who can stand up for herself? These are just examples.)
~R.A.H.Thacker
So now that everyone has an idea as to what you’re going to write, today we’re going to start plotting out your short story and getting a rough idea of all the events of the story.
Some writers don’t like to outline their stories, and rather wing the entire story based off of one idea or spark of inspiration. They’re called seat-of-the-pants writings. For my first novel, The Traitors Tale, I wrote it entirely seat-of-the-pants. Looking back, I know that, for me, was a mistake. I had to take out entire chapters because they just didn’t fit with the story.
Now, this is purely my own style, there are many writers out there who use this method, but for this club we’re going to use the plotting way for two reasons.
One, it is much more organized, especially for beginning writers, because we need guidance when we’re starting out on just about everything.
And two, planning out the story saves a lot of time because you don’t have to go over it and edit so much.
So for this club we’re going to use the plotting method. It’s fairly simple, you just need to fill out a form of five basic questions for the plot. The Inciting Incident, which is what starts off the adventure and goes beyond normal days, and then there’s the Rising Action, which is the build up after the Inciting Incident to the third element of plot, the Climax. Everything up until the Climax is a foreshadowing and stage basis. The Rising Action is where the reader and the character connect. If the reader understands the character like a friend, they’ll be dying to find out if the character is alright after the climax. The Rising Action is also where the struggle escalates for whatever prize the end may hold. It’s also where the stakes increase right up until the Climax, which is what keeps readers reading.
Why? Because the reader knows the character, they care about him or her, even though they’re fake.
After the Climax, everything wraps up quickly in the Falling Action and Conclusion. The Falling Action is basically any remaining action that precedes the Climax, while the Conclusion is in essence, “And They Lived Happily Ever After.”
For instance, if any of you have read the Lord of the Rings, you know that the final battle in Morder is the Climax, the moment when Frodo is at the edge of Mount Doom. The Falling Action is just after this when they return to the Shire. There they find Saruman had taken it over.
That conflict, after the Climax, is the Falling Action. The Conclusion then, would be Frodo, Bilbo, and the others going off into the west. The happy ending.
If you haven’t read or watched the Lord of the Rings, that was probably really boring.
Many stories actually leave out the Falling Action for the most part, so you don’t necessarily have to have this in your story.
Each element of the plot has to change the hero of the story, be it internally or externally.
{Worksheet}
What unusual thing makes the day your story begins different? (This is the Inciting Incident).
What action goes on during the Rising Action? What changes the hero in that action? (Try to think more than just physicals - maybe he (or she) is braver now that he or she found courage within, or maybe he’s come to realize something in himself he need to change.)
What two forces clash during the Climax? (This doesn’t have to be a battle, just a clash of morals or a struggle. For instance, a boy could be trying to rescue his lost dog, but then find that another boy had found the dog before him and claimed it, now he must prove that the dog is his.)
If you have a Falling Action Element after the Climax, what makes this important to the story? Does it fulfil what the hero has learned or how he has changed over the course of the story?
What wraps everything up and satisfies the reader? Is it more than just the externals? Has your hero changed?
Over the course of your short story, how does your hero change? (Does he go from a resentful man to forgiving one? Does a shy girl go from a pushover to someone who can stand up for herself? These are just examples.)
~R.A.H.Thacker
Saturday, October 26, 2013
Inspiration
(Note that this, and several posts to follow, were written for a class of beginning writers. Therefore, I kept things simple. Unfortunately, I only have about 30 minutes per class, and so the lessons had to be cut accordingly. This is the first lesson, on inspiration.)
First you need to be aware that inspiration has a mind of its own. Inspiration comes when inspiration wants to. You can't force good work out of nothing.
Second, you can't just sit and wait for inspiration to strike you over the head with a club.
Yes, that might seem a little contradictory. But it's not, actually. Likely, sitting and doing nothing won't give you an idea. However, going after it in a hopeless pursuit won't work either. There is, however, something of a happy medium.
The most important thing you need to remember is not to block inspiration out. That might seem a little strange because attaining that inspiration is what you've been trying to do all this time isn't it? Well, yes, but oddly enough many times we'll overlook promising inspiration just because we're looking for a specific idea we want but just can't quite reach.
Keep your mind open. Anything could be an inspiration - I once was inspired by a simple light far off in the distance at around 8:30, how simple was that? And not just visible objects. Some things as simple as a sentence, or a random thought. Consider what it could be. Think about smells, touches, or tastes - any of your senses could offer you inspiration. I recommend having a document on your computer or a notebook easily accessible to jot down any of these ideas – even if they seem random, radical, and ridiculous. There's promise in just about everything, but you need to keep your mind open to the possibilities.
Examining ideas from other stories could spark an idea too. However, if you do, make sure to give it your own spin for two reasons. One, you don't want to be accused of plagiarism. And two, it usually won't feel like your own story if it's just a compilation of others' work, which would likely lead you to dropping the story.
~R.A.H.Thacker
First you need to be aware that inspiration has a mind of its own. Inspiration comes when inspiration wants to. You can't force good work out of nothing.
Second, you can't just sit and wait for inspiration to strike you over the head with a club.
Yes, that might seem a little contradictory. But it's not, actually. Likely, sitting and doing nothing won't give you an idea. However, going after it in a hopeless pursuit won't work either. There is, however, something of a happy medium.
The most important thing you need to remember is not to block inspiration out. That might seem a little strange because attaining that inspiration is what you've been trying to do all this time isn't it? Well, yes, but oddly enough many times we'll overlook promising inspiration just because we're looking for a specific idea we want but just can't quite reach.
Keep your mind open. Anything could be an inspiration - I once was inspired by a simple light far off in the distance at around 8:30, how simple was that? And not just visible objects. Some things as simple as a sentence, or a random thought. Consider what it could be. Think about smells, touches, or tastes - any of your senses could offer you inspiration. I recommend having a document on your computer or a notebook easily accessible to jot down any of these ideas – even if they seem random, radical, and ridiculous. There's promise in just about everything, but you need to keep your mind open to the possibilities.
Examining ideas from other stories could spark an idea too. However, if you do, make sure to give it your own spin for two reasons. One, you don't want to be accused of plagiarism. And two, it usually won't feel like your own story if it's just a compilation of others' work, which would likely lead you to dropping the story.
~R.A.H.Thacker
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