Tomorrow I’m hosting an in person writing event at The Gilded Goat in Fort Collins. If you’re in the area, you can register for it at Writing Heights. It’s free, but it will cost you two hours of your otherwise worrisome Friday night, and give you back a lightness in your heart. For a couple of hours we’ll enjoy playing around with ridiculous prompts, and find a flow, hopefully working on things we couldn’t during the week and all in a supportive and loving space. Even if you can’t join us, I hope that you can try the practice out yourself (write ten of the weirdest sentences you can think of: i.e. “A family’s toilet goes on strike” and follow it with abandon). I hope you can find out something fun, disturbing, and original in your own brain and spark some new projects. You clever writer, I bet they will be fabulous.
This week, in order to give your creative noodle a break, I thought I’d switch more to the editorial aspect of writing. Specifically, the sound of our writing and what it means for our readers.
Whether it’s poetry meant to be read aloud, stumbling through your first chapter at a promotional event, or having your book read by a parent to their child, the flow and sound of your “writing voice” matters and reading it out loud changes a lot about what you can only see on the page.
So, let’s talk about the benefits of using oral…
Okay. Sorry, that was the fifteen-year-old boy part of my brain thinking he’s clever.
Ahem.
Apologies.
This exercise doesn’t take much effort and is an easy way to edit a work in progress that may be in its final stages of completion. Or, if you’re a poet, this is by far the best way to gauge the power and purpose of your work.
Print out a chapter of your novel, a poem, or a short story (I suppose you can use your device or laptop—the girl who loves the feeling of paper between her fingers sighs to the encroaching dominance of technology).
Then read that piece out loud either to yourself or to your unwilling cat.
*note: It isn’t that your cat doesn’t like your work, I’m just saying cats don’t, in general, like anything that doesn’t meet their own needs, and writing that does anything but pay homage to their divinity, tends to fall short in their demographic. (Photo by Pixabay on Pexels.com)
If you don’t have an audience, I encourage you to use a mirror.
Read vibrantly, read purposefully, read with intonation and depth. Meet your eyes in that mirror and feel the story, the dialogue; that stanza of hard cutting thought.
You will start to hear your particular voice emerge and you will also find editorial errors that are invisible during the brash sweep of only eyes without the mouth getting involved.
So, get your mouth involved (*snicker* *snort*)
Oh man… come on!
I think I’ll stop there for the week.
Go read your stuff out loud. Make marks on the paper (or device) where you notice inconsistencies, mistakes, or ‘not right’ words.
Change them, adapt them, smooth them out. It’s already good, just make it a little better.
(image respectfully borrowed from Nick Cocozza’s amazing “selfies” series)
F*&k yeah, I just copied and pasted another great blog I wrote on Character (sorry for using F*&k in the first sentence, Mom). But if you haven’t followed me from the start you might have needed a reminder and I needed to work on some other projects. So… Ladies and Gents, enjoy Part Deux of Character.
From the dark, cavernous recesses of the author’s twisted mind springs forward all sorts of nasty and derelict creations.
Okay, that’s a touch overdramatic.
Frankly most writers will begin by creating a story from people they know or have read about. Sometimes we do it without even realizing it. Characters and personality traits that we admire, or equally cringe at, stay with us in that sometimes-twisted-but-always-magical realm of our subconscious. Realism in characters is important because it adds to their believability and with that, their ability to connect with our readers.
Why is it so important to connect your character to your reader?
We are a society of channel flippers, of instant gratification lovin’, drive-thru eatin’, convenience hounds. We have the attention spans of goldfish. If you can’t connect your readers to your character through the common ground of sympathetic and universal traits they will put your book down. And often, when a book lands on the nightstand, it never gets picked up again.
I shudder to think how many amazing stories were lost to the underside of the coffee table.
If your reader can’t identify with your character in even some small way, they will cease to care about that character and will not follow them, no matter how interesting the story is. The human element is very important.
So along with grabbing them from the beginning with an interesting and challenging first scene, you must hold your reader to a character that they care about, either because they relate to them, or because they are fascinated by their darker side. Their traits and foibles make your readers want to know what’s going to happen to them next. And that keeps them reading.
In the ignorance of youth, I used to think that my character could be anything and do anything. They could be perfect because I was building their world and I could make them flawless. They could be smart, and athletic, and beautiful, always saying and doing the right thing, always in control of their situation and aware of their future. (In the business we call these characters “Mary-Sue”s or “Sunshine Sallys”).
Snooze-o-rama and eye-roll Central.
Nobody, and I mean NOBODY, wants to read about some pristine person who’s practically perfect in every way.
For one, we don’t need perfection rubbed in our face. We get enough from the glaring social media machine. Secondly, a character that always says the right things, does the right things, and looks like a supermodel is not challenged and if they are, they do not fail. Characters that never fail are unrealistic, which means they cannot relate to the nerdy girl in her frumpy sweater and ripped jeans, curled up with your book (Yep, that’s me I just described). And what happens when that person doesn’t relate? The book is given a good chuck over the shoulder with a hearty ‘Good riddance’.
So make your characters dirty. Make them tarnished and worn. If they have to be beautiful, make them fundamentally broken somehow inside. If they are self-assured and intelligent, give them an outward physical challenge that hinders them. When a reader sees your character fail, they see the humanity within their own failures. More importantly, when they see them overcome the faults that stall their growth, they feel hopeful for their own path. They follow that character. They root for that character.
*In an amendmentto this section, I would like to say, due to the overwhelming lack of Mary-Sue characters these days, they’re actually a bit of a phenomenon. So, if you must create a Mary-Sue, own the hell out of it. Make them so staggeringly perfect that its almost comical…or otherwise interesting. Think of the person with extraordinary good luck, that can’t do wrong, even when they try.*
As a beginner writer it’s tempting to live out the life you wish you had in your pages, and it’s okay to write those ideas down. But keep those rarities for yourself. When it’s time to write an amazing story for the world, give the reader a character they can root for.
This advice is straightforward for developing the protagonist’s character traits. But it’s equally important to give this attention to your antagonist.
Something tells me this guy has rope, a damsel, and a train to catch
No ‘good guy’ is all good, and no ‘bad guy’ is all bad. Even the worst ‘bad guy’ has to have reasoning in his actions. They must have something that drives them, and it has to be something we can understand on our basic human level, even if we don’t agree with it.
Having even a slight sympathetic response to an antagonist builds tension between the characters and gives your reader the nail-bite reaction. The opposing forces both come from places that can seem justified and ‘right’ in their position, which makes the battle all the more important on both sides and the outcome so much more brutal or celebratory.
This week’s exercise is to take a hard look at your characters. Do they have some baseline, deep-rooted faults? Are these faults causing interesting and plot-driving stumbling blocks? Are they loveable, and a little bit annoying? Are they dangerous, but still broken?
If you find that they’re not engaging enough, throw in a life-changing event into their past and rewrite them based on their new fault. Divorce, fire, murder, car accident, illness, or the loss of loved one can be good ideas to play with. Take away one of their defining traits and replace it with its opposite. Nothing you play with is set in stone, it’s just a way to grow your character’s depth and help you to know them better.
If you’re looking for a good reference, one of my favorite books on the subject is Writer’s Guide to Character Traits by Linda N. Edelstein, PH.D Writer’s Guide to Character Traits.
Good luck out there, kiddos. I’d love to hear if this helped you out and how!
Good morning, writers! And a happy morning to you (or afternoon, or evening, whenever you tumbled out of bed–or back into it and are catching up on your bloggers). This week, in exploration of the novel, we’ll be talking characters.
I’m telling you now, because contrary to some reports out there, I’m not a complete idiot. A while back I did a decently in-depth study of character and I’m using a lot of that for this post. After all–the quicker I get the blogging part done, the quicker I can get back to my own novel and the characters I’m currently developing.
So without further ado– recycled Character Development:
Since character development is one of my favorite aspects of writing and I thought I’d pay homage to it’s process in a two part post.
So first, let’s address where characters come from.
I’ve had characters come to me in dreams (day or night), sometimes they’re inspired by true stories from news that I trip across. Sometimes they spring from hazy memories of a childhood friend, or the curious behavior of the neighbor across the street who steals decorative rock from the common area and smuggles it away in her purse. Any one adept at studying human nature and observing their fellow human beings can get inspiration simply from watching what our nutty human brethren do (and don’t do) in the course of their day.
Often, though never in their entirety, I write from people I know. By this I mean people I know both casually and intimately are good places to start for characters.
Although real people can help jumpstart the process, they rarely become the character in the final draft, and here’s why.
For one, it would be creepy (and, depending on the story and topic, possibly slanderous) to write about an actual person from your life, unless it is a memoir of said person and they are asking you for your help. Ethically, a writer looking to publish or share their work with the world must adhere to certain rules of respect and common decency concerning using the likeness of other people. That being said, you can (and should) borrow personality traits, history, and physical attributes that enhance your character’s believability, without putting someone’s life down, verbatim, on your page.
Secondly, even when based on someone you may know, something magical will inevitably happen when you put a ‘real’ person on a page and shove them into a conflict (the driving force of your story). Under the demands of a proper story arc, the character you began with will be forced to shift and evolve into someone else. You don’t know how your character will behave in an apocalyptic dystopia and the situations and decisions that they are faced and make will be a magical combination of what the author dreams up spontaneously, the character’s history and what the author needs them to do to move the story forward.
For example, Joe Smith may start off looking like your high school biology teacher but if you write him exactly as he was, including is normal day to day, your audience will be too bored to stick with his story.
Now, if you put the body of an alien in the school science lab’s freezer next to the dissected frogs, Joe Smith, your old biology teacher will automatically become way more interesting. And as he does, he will move away from the real person you started with and morph into a different character. A man of his own, alien-hiding, design.
They double-dog dared him.
A writer can tweak, correct, enhance and play with personality types, turning one, real-world person into a completely different but still realistic character. But it’s important to keep the relatable aspects of the initial ‘muse’, including the physical attributes that you can describe in realistic detail, or the personality types that can be explored in depth from a place of personal interaction.
What can be left behind are names, exact and undeniable physical description (don’t be a creeper) and any ‘boring’ or typical parts that may be cliché or expected. The character will change to be their own person with the natural progression of their role and development within your story.
The other method of character development is to begin with a story and let your mind follow the natural path of who lives it. This is one part plot-driven creation and one part spontaneous combustion.
An atomic bomb goes off, a virulent disease hits the population, a train switches tracks, a car runs through an intersection, an alien shows up in a freezer.
Start with an event and ask yourself; who would it affect most? Who stands to lose or gain the most? Who is equipped to deal with the situation? More interestingly, who is least able to cope with it and how do they survive?
Characters will find their way into your mind. They may look and act like someone you know or they may have a mind of their own. As a writer you will find that as your plotline advances the character will become less and less your creation and more a product of their history combined with their destiny.
We all have these personalities in our heads that sit dormant on the shelves until something shakes them loose. Most writers, (yes, I’m saying it) are a little bit schizophrenic. We are geniuses of introspection and observation. Humans are interesting and a good writer will watch and learn from their interactions how to build characters that could be a best friend or a worst enemy in their reader’s own world. They talk to us as we write their paths, they argue when we move too far away from their true reactions. They trip us up by throwing random but necessary bits of history our way that we hadn’t considered for the bigger picture. It’s maddening and magical all at once.
Next time we’ll talk about developing intricate characters and some tips I’ve picked up along my journey to make them somebody your reader’s will root for, love, and hate. Until then, take a few minutes today to think about some characteristics that you love and loathe in human beings and think about why they draw your attention.
Make a list of character traits that are interesting in both beneficial and detrimental ways.
Also, feel free to write or comment about your favorite characters, and if you’ve ever found yourself ‘accidently’ writing about someone from real life. Next time we’ll have an exercise on character development and I look forward to your responses!
Good Thursday to you, Writers. I hope you have a brand-spankin’ new plot started in your head from Tuesday. Moving from that amazing raw material I’m going to tickle your inner plotting nerd and give you a ‘graph’ of sorts to help you with organize a killer storyline.
-I love tickling nerds–
Last time we discussed ways to help create a basic plot for your novel idea, today we’re going to outline the beats, or arcs, of that story. If you remember from my handy-dandy, bulleted list on Novels, I list Arcs as being an important element. While this blog does cover some of the theory, I will do a more in depth look at crafting an arc that creates the perfect amount of tension.
Back to plot. Some of the best stories follow a pattern, or what I like to think of as a rollercoaster of ever-rising stakes.
Most plots can be split into three acts. The Set Up (beginning), The Conflict (middle), and The Resolution (ending). Each of these acts should have some defined crisis or event which is like a doorway your character passes through and must either change, fight, or overcome more trials until they find resolution. I found this nifty diagram from David Harris Kline’s “Structure Lesson #2: The Three Act Structure” ( http://www.writers-for-writers.com/2017/11/08/structure-lesson-2-three-act-structure/)
As you can see the beginning has to hook the reader into a specific event, starting point, or character problem. Here’s where you introduce your character and show us who they are, what they want, what they are facing. Throw in some foreshadowing and Bam! You just met a small-town farmer from Tatooine.
Act II comes with something that disrupts their normal day to day. (Holy shit, this droid has an important message from the Rebellion!) The character is forced to make a choice (wipe the droid’s memory or try to get the message to old Ben).
Real, live image of me during quarantine.
The middle, as most of us know, can be a bitch to write. This is where the dreaded doldrums hit. The quagmire. The swamp of eternal despair. I’m not going to get too deep into that swamp today except to say that this is where plotting can really help build a bridge across the muck and help your character get to that final, defining climax. This bridge is paved with different obstacles and trials that keep the action and the tension going through out. (Scruffy looking nerfherders and tough-ass princesses, oh my!)
Then, finally, as our hero/ine comes through that final climax (for better or worse) we witness their transformation or acceptance of who they are or what they need to do . The final act is where you tie up your loose ends and give the audience the resolution they’re seeking. Like giving a Wookie a medal.
Wait a goddamn minute…where’s Chewie’s medal?
Well, that’s pretty much all I wanted to cover on plot for this time around. Next week we’ll be talking about one of my absolute favorite aspects of writing: Characters.
Until next week, diagram your plot, think about what events, scenes or characters you can inject to get those bursts of conflict. Think about what your character wants and what obstacles stand in the way of that. How does overcoming them move them/change them for the next bump in the road?
Good luck out there, and may the Force be with you.
Can you believe I couldn’t think of a more creative title? Me neither. Some days are like that. Remember, this is geared towards beginning writers, so most of you long-in-the-tooth novelists may not get the same bang for your buck. But…there are a lot of sexual innuendoes. You’re welcome, or Sorry.
Today, I’m pushing through and rehashing an old, but viable post. Remember? Before the fucking world turned upside down and Elon Musk became president with Absolute Power? Yeah…those were good times. Let’s not dwell, you can call your congress person again (you’re calling right?) and attend those protests (you’re attending right? This IS the time to be the MOST KAREN you can KAREN–see below for my favorite emoji of the species) after this short and entertaining jaunt into PLOT. We’re getting into the meat and potatoes of writing a novel, and this kind of thing needs space. So, without further ado…
What is Plot and Why is it Important?
All right, I get it, it’s a dumb question, we’re all writers and we all KNOW that plot is the basic structure and story of your novel. It is the idea. The “what happened”, and why, and “what’s going to happen next” of any decent story. I’m not trying to dumb it down for you. But the true test of a good plot lies in the simplicity of answering those questions.
Now, you can have books that are character driven (an event happening TO a person, or BECAUSE OF a person). And you can have books that are historical non-fiction, based on one specific moment in time or occurrence. The PLOT of your book expands more than just beyond an event (otherwise The Hunger Games would have been maybe 50 pages long). The plot is the premise or sequence of events. Some novels will follow a very specific order of events that are common to their genre, or as we like to call them tropes. Tropes comes from the Greek Tropos define as “turn, direction, way” and refers to common, recognizable elements or sequences of events.
Many genre specific tropes (I almost prefer ‘formulas’) are embraced by the audience and even expected. Examples include: “the hero’s journey”, “enemies to lovers”, “small towns”, “cold cases”, “missing persons”, “AI gone wrong”, “fairy tale retelling”. But if almost every novel follows a plot formula how is it #1, that readers don’t get bored and #2 that you tell an original story that hasn’t been done before.
It’s an interesting dilemma on the part of a writer. We know which formulas work in fiction and straying from them often makes a plot fall apart or leaves a reader angry or unsatisfied at the end.
(She’s gonna want to talk to your manager)
But how do we follow commonalities in plot structure and still make it a fun, captivating, and surprising journey for our readers? The answer my friends, lies your ability as a writer to do five things: (Fuck Yeah! A bullet list!)
Begin with a unique event or crisis. This comes back to the “scan the headlines” exercise I’ve had you do before. A lot of weird shit goes down in the world. A lot of undercover, shady AF stuff too. Use it as a springboard, to your “what happens then/if” story building.
Tie the reader to your character (through love or hate) and make their reactions to events unique or contrary to the norm. (ie a cheerleader who fights vampires. A small town farm boy who becomes a powerful Jedi. A teenager who comes into supernatural powers without the maturity to handle them and doesn’t use them to download free porn–come on….or *snicker* cum on? Oof, sorry. Uncalled for. Please keep reading, I’ll behave.) Character building will come later in this series but if you create unique ones, their actions will create new takes on formulas.
Use honed writing technique to build tension for climaxes. Yikes, that sounds dirty and here I promised to be good. Tension is one key to making a story more than just series of events. So much of this depends on your voice and writing style. But the big take away here is about risk. Making the risks personally huge for your character, and even the world at large, will keep the plot fresh and drive it forward.
Play with the number and intensity of climaxes (story arcs). I think I’ll start using story arcs (some prefer ‘beats’) because every time I type climaxes I can’t stop giggling. Ok. Story arcs are BIG deals in your plot. Think of these as door ways, crisis-points at the top of your arc, that your character has to move through in order to get closer to what it is they want/need. Once they hit that doorway, or crisis point, they can’t go back. A serious change has occurred either in the setting or with-in the character and they must move forward. Next blog will be all about these arcs so I won’t go into much more detail here.
Consider using unexpected but intelligent twists. The best movies and books I can think of that do this are: “The Sixth Sense”, “Fight Club”, “Gone Girl”, “Mind Hunters”. What better way to shake up an audience than by having them accept one reality for the entirety of the story, only to show them the true reality at the end.
All right, so there are some tips for building an effective plot that carries readers throughout the book. My advice to you this week, is to explore various tropes and patterns, especially those in your genre. Turn a piece of paper (landscape-style) and write out the typical pattern of your story, then overlay events and characters of your proposed idea. See how they match up, see if you have enough tension building scenes, just play around with it. I’m not much of a plotter myself, but even I will do a general outline to keep myself on track and make sure I’m building a solid plot.
Next time, more on story arc, how to climax well (*snork*), and end satisfied (*hahahahaha). Until Thursday, happy writing.
Good morning writers, authors, editors or accidental guests.
I’m trying to find more efficient ways to work this year and I found this old series in my back catalog. Now, I teach writing and support writers for a living but I think these little nuggets of advice (free) are actually still pretty good and relevant. So starting today, and for every Second Thursday on my Blog, I’ll be offering a little writing advice.
I call it the The Beautiful Writers Workshop, based on the quote from Ray Bradbury about filling your cup and letting all of the beautiful stuff pour out. This year-long journey is about developing your craft through exercises in creativity, editing techniques, inspirational prompts, and building the framework for your writing career.
Some of the blogs will inspire. Some blogs will lean more to the technical side of writing. But whatever the monthly topic, you can be assured of two things:
You’ll have a prompt or exercise to help develop your writing (and the opportunity to share it)
I’ll try to keep it spicy enough to be enjoyable.
So let’s get rolling! I searched through nearly all of my favorite books on writing for a perfect topic for our first lesson together but the truth is, there are just too many (good and bad) ideas out there.
So I’m going to start simple and ease you in gently to this process.
If you’re here you are either interested in writing, or are already doing it and are looking for something to add to your tool box. In order to appeal to all levels today’s workshop is centered on the basic purpose of your writing.
Below are a few questions that I’d like you to read, think about, and journal down your answers to. You can share them, you can keep them secret, but DO WRITE THEM DOWN.
Something amazing happens when we write down goals and steps to reaching them. The process becomes manageable; the goals become real. It’s one of the many beautiful and powerful attributes of writing.
Without judgement or discouragement, and being as direct as possible: what is the ultimate, lifetime goal you have for your writing?
What can you do to kick start this goal in the next 12 months? (hint: where do you need to start, where do you need to grow most for the big picture)
Is this yearly goal attainable? WHY OR WHY NOT?
Of your reasons from #3, think about the fears, limitations or concerns that formed these reasons. Name them. What do you foresee keeping you from moving forward on this yearly goal?
Of the fears, limitations and concerns, what are the possible solutions or actions you can take to eliminate them? (hint: each limitation/fear/concern gets its at least one action you can take to overcome it)
If you have a planner or calendar, write down one weekly goal (eliminating distractions, word count requirement, number of submissions out, editing, classes etc) that will help overcome the hurdles you have to your writing.
Looking at these weekly goals, find specific and measured times you have to dedicate to their success and write them down.
Okay, that’s it! I know, it’s a little dry but when building a house you have to have a solid foundation first or none of the pretty architecture above it will survive. So build your foundation, know where you’re coming from and next week we’re going to talk about:
Mission Possible: Drafting your Writing Mission Statement
(that sounds super boring but it will help writer’s across the spectrum. I promise!)
What’s that? Sarah’s finally on her way on that downward slide into mental frailty? Well, maybe but stick with me for the ride because this is about a skill writers, and all of us really, can use in our lives.
Are you a multitasker? Do you pride yourself on all of the plates you keep spinning on any given day? the piles of paperwork, the busy-bee like hoping you do from one to another and back again. All energy and anxiety, and burnt out by the end of each day? Yep. It’s the standard American state. We never wear just one hat, we never do just one job. We never sit still.
So let’s talk about what’s happening with multitasking. You’re not actually doing multiple things at once, your brain is cool, but it ain’t that cool. The truth is that you’re task-switching. Focusing in short bursts of time on one thing, only to move to another before you can fully complete, appreciate, or solve the task you’re on. The real kicker to this is that it’s actually not very efficient, and it can lead to poorly done work, distraction, not finishing, and feeling like everything you did that day was half-assed. And it was. Or…half-brained.
What in the hell does it have to do with tomatoes? Ah, yes, excellent question. Now that we know that multitasking is actually hurting our brains and productivity, I want you to think about monotasking. That is, just as you would think…working on mononucleosis. No. Just kidding. It’s working on one thing at a time.
*gasp* But how will I accomplish it all?
Well, first of all, remember, you don’t have to accomplish it all. Society, work, culture, pressures, none of it is actually real. These are concepts and constructs we’re controlled by so…prioritize first. Pick 5 things. 5 goals for the day or week and if the rest of your ‘to do’ list doesn’t support or contribute to those 5 things, then feel free to drop them to the side. Now you have a paired down and necessary list. Ta. Fucking. Da.
But what about the tomatoes?! Right, right, I’m getting to it. So now that you have your goals, instead of bouncing from one to another and back again, we’re going to try a little technique called Pomodoro. What’s that you ask?
Why it’s Italian for “Tomato”.
Photo by Miguel u00c1. Padriu00f1u00e1n on Pexels.com
This technique was created by Francesco Cirillo who initially used the tomato-shaped timer in his kitchen to keep tabs on his productivity. And it goes a little something like this:
Choose a task, get prepped for it.
Set a timer for 10, 20, or 25 minutes (if this is new, start with ten, if you’ve got mad focus skills, you can work your way up to 50, but no more than that). You can use your phone (away from your desk) the microwave, an alarm clock, an hour glass…It doesn’t need to be a tomato timer. But how fun if it were.
Sit down, sans your distractions (put the phone in another room), and work on the task at hand. Just that task. Whether that’s writing, or bill paying, or marketing, or physical therapy.
Don’t quit, don’t stop, don’t task switch, until that little ‘tomato’ sings the song of it’s people.
Take a five minute break, stretch, move your body, throw some laundry in the washer, play with the dog, get a glass of water, meditate, do some breathing exercises…whatever gives your brain a break.
Reset your timer, and start on the next (or same) task for another chunk of time.
The Pomodoro Technique is more than just a nifty way to manage your time, but it gets your brain into the habit of focus, and with focus (especially for us writers) comes flow state. Flow state is that lovely area where we become engrossed (don’t like that word) in our work and our characters and the rest of the world melts away. Its good for your endorphins, it’s good for your writing, and it’s good for you.
Plus, the small breaks between actually serve another purpose by helping your mind “consolidate” what you’ve been working on. Neural consolidation is an actual thing wherein, after learning or working on something, taking a break will allow your brain to rest, think, and forge new neural pathways so you’ll actually absorb and save the information you’ve worked on. See? The brain is cool.
I’ve been doing this now for a while and I’ve realized that on the days I try to multitask, I get less done and feel more frustrated. But 30-40 minutes of concentrated time, actually equates to a lot more quality work getting done and me being able to give the focus and time to each task like it deserves. I also feel more relaxed and accomplished at the end of the day, instead of flustered and overstimulated.
Give it a shot and let me know how it works out for you.
Hey kids! Today I thought I’d settle back into a little bit of craft. For those of you who are beginning writers, I hope this will be of use. For those of you who are super-sonic, advanced, best-selling writers…what in the hell are you doing reading my blog? Don’t you have launch parties to go to and movie studios to schmooze? As I consider myself a perpetual beginner in all things, I will continue as if this is something you still need work on, because I do.
Backstory…ah yes, all the shit that happened to your character before they land on the page of your novel. All of those pesky details that readers don’t necessarily need to sift through (100000 words or so?) but that are essential to why your character behaves the way they do, why they are where they are, and what fatal flaw we are hoping they fix. So how do we, as writers, weave the important details in without dumping large, boring, sagas of backstory on our readers? Here’s a fine bullet list:
WRITE IT OUT, BUT DON’T PUT IT IN: One of the best practices you can do is write out all those long, sweeping, historical scenes in a separate document. It helps you get to know your character better and to be able to write them from a place true to their history. That document doesn’t have to be seen by anyone else, think of it as writing an entry on your character in wikipedia to be able to better write them authentically on the page. Backstory details will have an easier and more organic presence that way.
CONSIDER YOUR GENRE: Some genres (Literary, YA, Regency Romance) tend to have more personal historical details, and if the main goal of the genre is a transition from the past to the present or future (coming of age, hero’s journey) then the past will play a bigger role and more time can be devoted to it. Readers in these genres expect as much.
MOTIVATION: Everybody has a WHY. If the motivation is obvious (he’s a cop because he believes in justice) it requires no backstory. If, however, they’re in a role or position that seems to clash with their personality or values we need to know a bit about how and why they got there. (She’s a cop because her father was killed on the job by a dirty partner and now she wants to ferret out the current Commissioner).
BE SELECTIVE TO ENHANCE THE FLAWS: If your main character arc is about how a closed down hunk learns to love again, then we need to know why they closed down in the first place. You don’t need to know he was the captain of the rugby team unless his heart was broken by a fellow player. Stick to the details that caused their flaw, or reveal something important about their values and personality that are essential for their evolution, or are the defining handicaps that keep them failing.
BE BRIEF: In this case, a hint is as good as a paragraph/chapter. Some of the best backstory is the kind that is interwoven, seamlessly within a paragraph. Related to the current events but powerful in its small punch. “When he asked if she wanted a peppermint mocha she scrunched up her nose. She hadn’t liked the scent since her grandmother had insisted she rub peppermint lotion on her feet every night. ‘No thanks, just a latte,” she said.” Here we see that she had to take care of her grandmother and it wasn’t pleasant. Young people in positions like that have a heavy sense of duty and often resentment. We learn this from one line about grandma feet.
If you struggle with how to shrink it down, see the above bullets for the most important details and boil those down further. Ultimately it’s about practice and thinking about how your own brain works; how certain smells can bring up memories, or being in a car reminds you of a trauma, etc.
IF IT’S GOT TO BE LONG: Okay, I get it, sometimes exposition is too important to the motivation, character flaw, and story to get cut down. So here’s some rules of thumb, if it has to be longer:
It better be full of gasp-worthy events
Write it in beautiful sweeping prose and be addressing a literary audience that doesn’t mind a good wander.
Make it hilariously funny
Well, there you go. I hope this helped give you a little boost on how to interweave backstory into your work. Good luck on your writing and next week I’ll have some announcements about the big ol’ month of September and what fun things are going down.
I’ve been thinking about this for a long time. And I’m not sure if its an American Capitalism (should be capitalized right?) thing, or a global disease but…at what point did we stop valuing art and creation if it wasn’t…profitable?
I’m an anthropologist at heart. It started when I couldn’t put down the Clan of the Cave Bear series at 12 and continued on through college and my degree, and until…well, yesterday when I read a really cool article about a new Neanderthal skeleton that was recently reconstructed…why does it matter?… well…”Anthropology encourages us to extend our perspectives beyond familiar social contexts to view things from the perspectives of others”. Where was I? Oh yes…art. Humans and art. Do you know how long we’ve been creating art? Paintings on walls, carvings from stone, beadwork, intricate clothing, papyrus, plays (both tragic and humorous…), STORYTELLING…
The point is, humans were born with divine mental capacity. And it extends in times of plenty and scarcity to provide sustenance in a form of mental fulfillment. Then…I dunno…hustle culture happened? Capitalism happened? 1970’s parents started scoffing over martinis that so-and-so’s son wanted to be an *gasp* artist…and what a dreadful shame? That someone would chose to create new and innovative and truthful things over…stamping letters and creating spreadsheets? Because…well…art has no… no money in it.
These birthing pains gave way to an entire generation of people who were forced to work at acceptable jobs and “dabble” in art. Which gave way to people “hustling” in their art and marketing the shit out of their soul’s best guess of humanity, to make it ‘real’ by turning a dollar sign. This is where we are. Art has been reduced to…a commodity. And if it doesn’t sell…it isn’t worthwhile…
There are countries that don’t charge artists taxes. Did you know that? That if they’re producing art (writing, painting, illustration, music, etc.) they are exempt from the toil of paying their country extra money. Why? In America that would never fly! Why should they be off the hook
Let me ask you…What do you do in your free time?
You don’t work more. You don’t put out more spreadsheets, or call more clients, or cut more hair, or take an extra shift for fun…you read. You…go to museums…you watch plays…you visit the botanical gardens… you go to a movie. These little “acts of joy” sometimes even keep you from jumping off a bridge. They inspire your mind, they take you out of the daily grind and…hustle.
…is that not of value? Does feeding your soul not count as a necessity?
I’m on a soap box, I get it. You’ve probably stopped reading. But in case you haven’t, please consider
…humanity has survived and thrived because we have had more than just survival to aim for. There is joy and purpose to feast off of. Art makes life. In the event of an apocalypse… could you even imagine not trying to save the art, the books, the music… the decadent history (and prehistory) of the humanistic howls into the universe that scream… “we are here and we feel”?
What is there to appreciate beyond it? Art brings us together, it connects us, it’s a shared experience and a deeper rooted truth than almost any paycheck. And yet…it has been reduced to: how many followers, how much in royalties, how many people ‘liked’ it, how many people went to your show, what the script writer made and if they have potential for more (we don’t pay if you don’t have at least three seasons)…
I beg of you, if you have funds in the strapped and dystopian financial climate that is America now… support your artists. They don’t even have to be me. Just…find something that you love, that moves you and…tell the artist, write them, speak to them, throw some money their way. Remind them…They are important. They are the story up on the wall of a cave…that proves a defiant resistance to the endless march of time. The voice in the dark, the color in the black and white that speaks; we are here.
We were here.
Art matters. And the only people telling you it doesn’t, are the people that cannot profit from it.
I hope that this blog finds you well and in good health. Over the weekend, I acquired a…virus? And what had planned to be an ambitious weekend, filled with a long-run in preparation for a half-marathon, finishing up my latest Vella, and reworking my two-act play, became the sad potato of me huddled in bed. I don’t get sick often. Certainly not the kind of sick that forcibly dunks me beneath the unconscious depths of two-hour naps. I get frustrated when my body does this. At one point, I even took my laptop to bed, determined that I could let my body rest and my mind could still function.
Brains don’t like fevers. That’s what I’ve learned. And the longer and stronger that fever, the less coherent I was. My brain got frustrated with me. It quickly became apparent, right before I was knocked in the head by the flu-fairy with a large sleepy stick, that nothing I wrote in that state would be worth a damn. So…I put my life aside and gave myself the permission to sleep.
Sounds silly, huh? Just sleep when you need to sleep, you don’t need “permission”! But when you’re a mom, and a woman, and a go-getter, and a do-er…it’s about the hardest thing in the world to grant yourself. Especially to do it guilt free. I lost space and time and the kids were just fine. The laundry still got done, the world did not fall apart. How little grace we give ourselves to rest, I thought, in between workshops of unconsciousness.
Know the best part? Besides the tripped out dreams (holy revisiting of homework-being-late paranoia)? I realized how much I really fucking love sleep. I realized how little of it I actually get in my day to day. I realized that I average about 4 hours a night. And that’s maaaaaybe not enough. I realized that after a day of sleeping, the twenty minutes of writing I did get at night was a lot easier to do.
So here’s my advice for the week. Don’t discredit sleep as a writer and a creative. You may be a super lark or a tenacious night owl, but if you’re not getting in the repair work that only sleep can do, not only will you likely catch more colds, but your brain won’t be its wrinkliest. And a wrinkly brain is a…is a…where was I going with this? *checks temp…feels sleepy* The point is, rest helps you rebuild, it also lets your brain play and take a few hours off of the stupid demands of reality. Play for a brain, translates to creativity and more writing for us.
I’m going to go blow my nose and take a nap. Take care of yourselves and I’ll *yawn, sniffle* see you next week.
Sarah Reichert Author 