On our plot skeleton, the legs represented two reactions to all the protagonist had gone through. We see many novel, movies, television shows that have a negative or "no change" ending. The author if asked would probably say they prefer to be a realist. Things aren't always Polyannaish. Right? I mean we live in a real world they might add.
Now here is my moral question for you all. I understand we won't all agree, but I want to hear what you think. Is it our moral duty to end with a positive happy ending? Think about it and give your answers plus reason why.
I look forward to hearing your answers,
Dan
Saturday, June 14, 2008
Friday, June 13, 2008
The Plot Thickens
Hey gang, I want to add one thing to the plot skeleton and clarify the story worthy problem.
Sharon's minutes from the last meeting were great, but they made me aware of something I didn't communicate clearly.
The second eye = the story-worthy problem
In the Wizard of Oz the story worthy problem is deeper than finding Oz. Dorothy needs to be content with her current family. This is a universal and timeless issue. Hopefully not to many of us were orphaned, but we all are thrust into new family situations-- We marry, gain in laws, have children with their unique personalities, lose a parent or sibling, watch our kids become teens, gain more in laws as our kids marry, gain grandchildren, maybe even lose a spouse-- like it or not our family unit is in constant flux. We can relate to Dorothy's life lesson. It really is a sovereignty issue. Will we trust God? Will we choose to bloom where He planted us.
I'm reading Hooked (write fiction that grabs readers at page one and never lets them go) by Les Edgerton. Great book by the way. One of her points is you need to be aware of the story worthy problem from page one. You may not write to it specifically, but it will affect your direction from the get go.
Add a nose to our skeleton. Motivation.
This is vital. For both the eyes, the two goals, surface problem and story-worthy problem there needs to be a motivation. A object at rest prefers to stay at rest unless something moves it. Could be greed, love, longing for family, the work of the Holy Spirit, hatred, physical pain, rent is due... but something has to drive characters toward that goal.
I hope this helps clarify.
Metaphors be with you,
Dan
Sharon's minutes from the last meeting were great, but they made me aware of something I didn't communicate clearly.
The second eye = the story-worthy problem
In the Wizard of Oz the story worthy problem is deeper than finding Oz. Dorothy needs to be content with her current family. This is a universal and timeless issue. Hopefully not to many of us were orphaned, but we all are thrust into new family situations-- We marry, gain in laws, have children with their unique personalities, lose a parent or sibling, watch our kids become teens, gain more in laws as our kids marry, gain grandchildren, maybe even lose a spouse-- like it or not our family unit is in constant flux. We can relate to Dorothy's life lesson. It really is a sovereignty issue. Will we trust God? Will we choose to bloom where He planted us.
I'm reading Hooked (write fiction that grabs readers at page one and never lets them go) by Les Edgerton. Great book by the way. One of her points is you need to be aware of the story worthy problem from page one. You may not write to it specifically, but it will affect your direction from the get go.
Add a nose to our skeleton. Motivation.
This is vital. For both the eyes, the two goals, surface problem and story-worthy problem there needs to be a motivation. A object at rest prefers to stay at rest unless something moves it. Could be greed, love, longing for family, the work of the Holy Spirit, hatred, physical pain, rent is due... but something has to drive characters toward that goal.
I hope this helps clarify.
Metaphors be with you,
Dan
Thursday, June 12, 2008
Brief writer's tips
Here's a couple of outstanding reminders as you are writing from session to session.
"One technique I've found really useful is to try and connect with my characters every day as often as I can. Some days I just don't get to the computer, but I still try to find at least 5 minutes to close my eyes and try to hear my characters speaking... This helps a lot. If I manage to connect a bit with it each day, it's much easier to start writing when I finally find a moment, even if it's only once a week."
Padma Venkatraman
The inciting incident in the plot of your story is the moment when the desire and need of the protagonist move into the world of action. Something happens—perhaps even some small thing—that propels a character into the events of the narrative. In his book The Anatomy of Story, John Truby says this is the moment the protagonist is "out of the frying pan and into the fire." Take a moment to read the first few chapters of your manuscript to see if you have a specific inciting incident that propels your novel forward. Truby says the best inciting incident is one that allows the character to think his or her problems are solved, but actually provides the most difficulty. If your inciting incident is missing or is a little too subtle, crank it up! Make your readers worry about your characters from the moment the action begins, and you're on your way to a better story. Helen Hemphill
Write on! Sharon K.
"One technique I've found really useful is to try and connect with my characters every day as often as I can. Some days I just don't get to the computer, but I still try to find at least 5 minutes to close my eyes and try to hear my characters speaking... This helps a lot. If I manage to connect a bit with it each day, it's much easier to start writing when I finally find a moment, even if it's only once a week."
Padma Venkatraman
The inciting incident in the plot of your story is the moment when the desire and need of the protagonist move into the world of action. Something happens—perhaps even some small thing—that propels a character into the events of the narrative. In his book The Anatomy of Story, John Truby says this is the moment the protagonist is "out of the frying pan and into the fire." Take a moment to read the first few chapters of your manuscript to see if you have a specific inciting incident that propels your novel forward. Truby says the best inciting incident is one that allows the character to think his or her problems are solved, but actually provides the most difficulty. If your inciting incident is missing or is a little too subtle, crank it up! Make your readers worry about your characters from the moment the action begins, and you're on your way to a better story. Helen Hemphill
Write on! Sharon K.
Monday, June 9, 2008
Developing a "Voice"
Hello All!
I just came across a wonderful discussion on Rachelle Gardner's blog about how writers develop their own voice. I know this is something I have struggled with and wonder if maybe I'm finally beginning to see the difference between style and voice. The comments following Rachelle's post were very helpful. Here's the link: The Writer's Voice.
I hope to see you all Tuesday!
Dona
Monday, June 2, 2008
Test
Hey guys,
One small step for most of civilization, one huge step for Dinosaur-Dan.
You all are a blessing to Denise and me. My hope is this group will be a place where your gifts may flourish.
Thanks Ashley for dragging this old coot into the blogasphere. :)
D and D
One small step for most of civilization, one huge step for Dinosaur-Dan.
You all are a blessing to Denise and me. My hope is this group will be a place where your gifts may flourish.
Thanks Ashley for dragging this old coot into the blogasphere. :)
D and D
Sunday, June 1, 2008
Test Post from Jackie
This is a test to see if I have done this correctly.
Dan & Denise: Thank you for the plot skeleton you gave us on Tuesday. That will be very helpful as I continue my work on Silent Screams.
Ashley: I used my yahoo email (jackieharts@yahoo.com) to set up the blog. I hope that does not cause any problems. And thank you for introducing me to the world of blogging. Please feel free to delete this.
God bless you all,
Jackie Harts
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