Remember that little Civil War short story I was working on a few months ago? I’m thrilled to announce that it’ll be included in a US Civil War anthology from Drollerie Press, including stories by Laura Anne Gilman and Angela Korra’ti! Watch for it to be released end of October. Isn’t the cover lovely?
This month, our theme is music, and I’m honored to host Nora Fleischer. Mark your calendars for the next Drollerie Press chat on September 27th at 4 PM Eastern. We always have a ton of fun and usually end up talking about zombies, Muppets, Sting, and everything in between!
(My post will be posted sometime today at Sarah Avery’s livejournal here.)
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I love setting stories in the early twentieth century, partly because I like the popular novelists of the era (dig up The Wall Street Girl, if you can, for a fun read), but mostly because they’re the first generation to be recognizably modern. They have cars, bicycles, and telephones. For the first time, young women get educated and work in jobs that use their education. (They called them New Women.) And, for the first time, people are able to record music.
Recording music must have been a great thing for musicians– can you imagine knowing that your art would disappear as soon as it was completed?– but it might have been even better for the average music lover. Imagine living in a period when hearing good, professional-quality music was a rare treat, not something you could get for free just for snapping on the radio! When if you wanted to hear music, you’d better learn to play an instrument.
Garrett Hathaway, the hero of my novella, Over Her Head, set in 1905, is a huge opera fan, and he treasures his Victrola. What sort of thing might an opera lover in the early 1900s be able to listen to? Here’s a recording from the Library of Congress’s American Memory site: http://memory.loc.gov/mbrs/berl/131113.mp3. The sound quality makes me very happy to have an iPod! But here’s the challenge for me as a novelist– people like Garrett were very proud and excited about all the opportunities that modernity brought to them. I hope, by showing the way Garrett enjoys listening to music, I’m able to convey that excitement to today’s reader.”
Are you sick of plotting yet? I certainly am. I’ve almost come to the place where I’m going to start writing, even if I don’t have all the details figured out. I feel stuck, mired in the mud, and I need progress. Again, we come back to “do what works for you.” If the process becomes painful, boring, or tedious, why are you still doing it? However, I know from past experience that if I rush too much, I’ll have more revisions to make in order to tighten the story up. The more thinking and planning I do now, the better the first draft will be. I don’t want to spend a year revising this story — in fact, I’d really be happy if I could submit it by the end of the year. (That’s my unofficial goal.)
Loosely, this stage ties to the spreadsheets I showed in the last post — but they’re not quite exactly the way I was taught by the Witch. Originally, I learned to take a story and break it into 10 chunks, called blocks since they’re the building blocks of the story. Act 1 contains 3 blocks, Act 2 contains 5, and Act 3 contains 2. The hero’s journey lies very nicely on top of the blocks:
This helps you define the structure and pacing of the story and for the most part, this really resonates with me. Where I ran into problems (creating those spreadsheets) was with the Maya thriller, where I had three major story lines all converging in the last half/third of the book. I needed a bit more space to keep track of what was happening — so I technically added more “blocks” to the Acts. It was more of a spacing/usability decision than a structure decision — I couldn’t fit all the details I needed into 2 tiny columns (blocks) for Act 3!
The point I’m trying to make is that structure is well and good — but it should be fluid and flexible too. If the story you’re writing feels like it needs 3 blocks for Act 3 instead of 2, who cares. The important part is that you recognize Act 3 should be roughly the last 1/4 of the story and should move very, very quickly. Act 2 should be the meatiest and encompasses roughly 50% of your story. Exactly how many blocks that means is up to you. So feel free to modify this process for yourself, and for each book.
With Victor’s story, I don’t need nearly as much space to write out the rough details of the Block. I only have 2 POVs. I have the main story line of Victor and Shiloh’s romance, wound into the premise of the story, that it takes place on a reality show. I have a subplot about an industry spy. And that’s it! The real meat of the story is the relationship and the conflicts that arise because of the show — which feeds directly into the romance, because Shiloh crafted this show down to the littlest detail, for him.
One fun thing that can help you think about structure and story at the same time is to NAME the blocks something meaningful to you and the story. I had the idea this morning that I should base the blocks on the idea of episode titles for the show. Not all of them are show titles, but this will definitely give you an idea of what kind of story this is going to be.
Block One – The Pitch
Block Two – Try Outs
Block Three – Premiere
Block Four – Serving Your Master
Block Five – Loving Your Master
Block Six – Do You Know Your Master’s Hand?
Block Seven – At Your Master’s Pleasure…or Displeasure
Block Eight – Miss Belle’s Thanksgiving
Block Nine – Coming Out Ball
Block Ten – V’s Gift
After all our brainstorming and character building fun, now it’s time to begin adding structure to your story. This is where you weld into place the foundation and girders that will hold up your storyscraper.
When I first began writing, I didn’t think about structure at all. I had a story to tell, and I told it. As I learned more about Story and the writing craft, I realized there were some things I’d done involuntarily. These things are inherently part of storytelling — keeping the reader involved in a story, speeding up the pacing or slowing it down, throwing more rocks at your character stuck up in that tree. But for awhile, I remember being terribly confused. I suddenly knew why I’d done certain things, but then the how began to waiver. If I’d done something naturally, how could I force it to happen now?
Trust the magic. It’s there. You’ve been mixing a potion from the very start of storybuilding. Adding a framework for the story to hang onto will not damage the magic. On the contrary, it will give it a place to shine.
Knowing the structure of the story helps you guess the length too. Say you have a really big “candybar scene” already in mind, but you have no idea how far into the story that scene will play out. Is it in the first third? The last third? Somewhere in the middle? Thinking about structure — and specifically the hero’s journey — will help you figure out in which “Act” the scene lies.
The level of detail you define at this point of Storybuilding is entirely up to you and the story you’re writing. Don’t be surprised if one story wants more work than others — my process changes a little with each story I write. I’ve known people who plotted out to great detail with pages and pages of outline and scene details. I’ve also known people who only have a vague idea of the ending and that’s what they’re writing toward.
The whole point of this exercise is to get a story to the place where you can successfully begin writing. By “successfully” I mean that you’re setting yourself up to FINISH THE BOOK. In the end, that’s the only victory. Do whatever you need to do to finish the book. Plot a lot — plot only a little. Write up detailed character sketches — or just a few emotional letters. Whatever you need to. Finish. The. Book. You can plaster over holes, demo entire rooms or floors of the storyscraper if you need to, LATER. You can’t see enough of the Story structure and how it fits into the skyline you envisioned until you finish the first draft. Renovation Nightmares will begin later. 
If you at least know the ending of the book, then you have a target to shoot for. If you know the major inciting incident that sets the story in motion, then you know how to write the first 100-120 pages of the book. If you can get a few additional key scenes or surprises laid out in your mind, then you’ve got something to write to in the middle. How much more detail you add at this point is entirely up to you.
Personally, how much work I do depends on the length of the story. Ironically, very short and very long pieces take about the same amount of work. In a short story, you need to choose the scenes very, very carefully. A good short story is still going to have a character changing in some memorable way, and the few precious words must reflect those changes quickly. A long (e.g. 100K or more) story has a lot of Deadly Middle Ground to conquer. If I don’t have a few key turning points already identified, I’m going to get stuck halfway over the mountain, and that’s not a good place to be.
There are a ton of great Hero’s Journey links available on the internet. Also check out our character clinic and Left Behind & Loving It categories; my friend Jenna wrote up a great post about how she uses the hero’s journey. I refer back to Vogler’s The Writer’s Journey constantly.
Minimally, I like to know the following journey points of a story before I begin writing (and why). I do a lot of this brainstorming on paper, and then when I know the rough idea of the “scene,” I write out a card for it. One card may spawn another idea, so I jot that down. Think about reactions – you can get another card or so for each main POV character after a turning point scene. How did Victor feel when THIS happened? What’s he going to do now?
Now you may feel as exhausted as your characters, but I promise, nothing, absolutely NOTHING, compares to the rush you’ll feel when you type:
The End.
P.S. If spreadsheets don’t scare the crap out of you, you may find these helpful. These are filled out for the Maya thriller. The character rows are the major players that I needed to track through the story, even if they didn’t have a POV. Note that I didn’t do this much plotting before the first draft — this level of detail came during Revision Xibalba.
The Bloodgate Codex spreadsheets
If you’re interested in the blank templates, I’ll post them later — I don’t have them handy on this computer.
You may not have noticed, but Drollerie Press has several different imprints, including Pen Flourish, the romance/erotica line. We plan to begin posting some spicier excerpts and free reads on the site. Since these posts will be adult, you’ll be asked to register and declare your age. Stop by and register — I plan to post some spicy excerpts soon! Who knows, maybe it’ll be a new free read. *winks*
Continuing our brainstorming fun, pull out your notes from the character post. Character IS Plot, so one of the best ways to get some plotting ideas is to take your characters in hand and put them through their paces. For each of the three main techniques I use to develop character, I ought to be able to get some scene ideas. If not, then I haven’t spent enough time making this character deep and compelling. I’m going to do this for each main character, and each technique. For blog purposes–and to keep the story fresh for the readers who might be tagging along–I won’t post every single thing here.
So pull out your index cards, paper, etc. whatever you’re using, and get crazy with those ideas!
1. Greatest Strength/Greatest Weakness. There are several ways you can use this to generate plot ideas.
2. The Character Letter: The whole purpose of the character letter is to explore backstory — in particular, defining moments. What still haunts this character? What are his regrets? Deep down, what’s he really afraid of? The character letter provides a wealth of angst. Remember that you’re the God of your Story. If you include something, a hint of the character’s past, for instance, then it should be important to the Story. It must have some IMPACT on the plot or the character arc. The character should have to face and overcome that old shadow before the story is over, or else why mention it at all?
These defining moments help you define the character’s arc, providing the major stumbling block(s) from his past that made him who he is today (when the story opens) — and must now overcome before he can make the Leap of Faith (Emotional Toolbox).
3. The Emotional Toolbox, or the Hero’s Journey: The emotional toolbox highlights the character’s journey. Back and forth, the character battles need vs. want until finally, I force him to make a Leap of Faith. Hopefully you’ve noticed that the techniques above have already crossed over into this one. They all begin to blur and meet. That’s a good thing — everything should tie together and make sense. The greatest strength is tied to the mask, and the trouble traits, which lead to the greatest weakness.
Next up, we’ll take a closer look at the hero’s journey. The story needs STRUCTURE — a framework that defines the story layout and gives the rest of the details something to hang onto.
Today was one of those days where I swear the stars are aligned against me.
I had to take two of the three monsters to two different schools (at different times) to deliver their school supplies. (Don’t ask how many trips I’ve made to Wal-mart to pick up said supplies). The other monster (Middle) had already met her teacher, etc. but she wasn’t feeling well, so I decided to get her to the doctor before school starts. Since I worked today, I had to time everything around my lunch and getting off work.
So first I ran one kid to school and then to urgent care. I swear, everyone in town must have a last minute injury, sickness, or physical required, because we waited forEVER. Gah. I had a meeting at 1:00 and I was really starting to stress that I wouldn’t make it home in time. Finally, we saw the doctor, yes, she has an ear infection, and away I raced to drop off her prescription at Walgreens.
Of course, we got behind an irate customer who’s going to Zurich tomorrow and MUST have her prescription and she’d been calling since Sunday and WHY don’t they have it ready, blah blah blah. Finally, it’s our turn, and now I find that Walgreens has no record of this child on their system. Never mind that she’s the sickest of the three monsters. She’s had three surgeries, ear tubes before she was even one year old!
So I had to send over my insurance card and answer all the questions about where we live, etc. Time’s a ticking. Finally, we zip home and That Man handles their (late) lunch while I return to work.
Fast forward to after hours, and we took the other monster up to her school to drop off her supplies since it’s on the way to Walgreens to pick up Middle’s prescription. We go through drivethru and lo and behold, they had a problem with my insurance.
Never mind that at least half my life savings has been spent in Walgreens over the years, now, suddenly they have a problem with my insurance. We pulled out of drivethru and I went inside the store, to sit for 45 minutes while they called my insurance company. Good thing all we needed was a basic antibiotic!
I love my insurance, though. I do. They saved me $142 on this ONE prescription.
So I’m a bit frazzled tonight, but in the end, nothing can ruin my mood. Why? Because the monsters go back to school tomorrow!
Wheeeeeee. Let the return to school party begin!
On the writing front, I finished reading a friend’s story and now I’m working through my beloved sister’s wip. I also have Jenna Reynold’s Sweet Spot on my iPhone that I’m highly enjoying (thank you, thank you, I had something to read while I sat at the doctor’s office and Walgreens today).
Victor is present and we’ve been talking. Gregar’s being a jerk. I might have to write up a complaint post later if he doesn’t cooperate.
Not for the synopsis, unfortunately.
School starts next Wednesday! *snoopy dance*
I always feel so much more organized and prepared when the kids are in school and we have a set routine. This year, they’re all riding the bus too. It’ll be soooo nice not to have to drag them to school and worry that I might have a meeting the one day That Man can’t take them himself. Princess Monster is going to a new school this year, and she starts an hour earlier than her sisters, so definitely, bus is in order. (Her sisters are ecstatic – her, not so much.)
So it’s frantic shopping, supplies, orientations, meet the teacher, etc. the next few nights, but it’ll be sooo worth it.
By September, I’m hoping to be back to Dark & Early mornings. Who knows, maybe I’ll work up to a Fast Draft so I can grind out Victor’s story. *winks* I’ve been doing lots of research for it and the plot ideas are coming from all directions. I’m almost ready to sit down and see how much story I’ve actually got and where my holes are.
So let the back to school party begin!
(Oh, and my laptop is home, yay! Even better, my bill was only $18! The prong was not damaged — but something was wrong with the connection on the cord itself. My bet: somebody stepped on it.) New connection on the end and I’m all set. So I’m pulling up that unfinished synopsis now…)
I know, I’ve not been updating very faithfully here. There’s just not a lot to say. I’m editing/revising a short-ish story (just over 17K) and hope to get it turned in this weekend. Yeah, my opening sucks. Doesn’t it always? Still putzing with it. I’ll post a small excerpt later this weekend once I get everything worked out.
My main laptop is in the shop, so I’m chained to the Mac desktop, when I can fight the monsters off with a big stick.
I’m in full promo mode for The Rose of Shanhasson. I may even have an EVENT! We’re working on nailing down the date now. I need to create a new bookmark template this month and order at least 5K to participate in the RT mailing. Yeah, I never thought I’d order 5K of anything except words.
My Beloved Sister came up yesterday so I took the afternoon off from the Evil Day Job. We watched Hellboy 2 (fun movie), talked writing, as usual, but mostly tinkered around with her domain she purchased a few months ago. I might work on websites for the EDJ but I don’t mess with the actual server level stuff much. She taxed me to my limits! We finally called on Deena for assistance, and it turns out she didn’t have the right hosting package to run WordPress on her domain anyway.
And she brought me PB cookies! Yum. Think I’ll have one for breakfast.
The laptop is in the shop.
Okay, I can’t know for sure that the monsters are to blame, but since they’re the ones who’ve been using the laptop the most to play Webkinz, I’m pretty sure they contributed–significantly–to the problem. Once again, I’m having prong issues. Not as bad as Toshiba #1–when the prong broke off completely, and yes, that was totally all me–but there’s something goofy with the connection and it won’t recognize that it’s plugged in unless I jiggle the cord and hold the beast exactly in the right position.
I’ve seen Middle Monster trip on the cord a few times, so I guess I shouldn’t be surprised.
So I’m working on George the Mac and the monsters are computerless. Since they’ve done enough chores to earn a new Webkinz (they’re supposed to arrive today), I suppose I ought to unpack their old boat-anchor desktop after work tonight. It’s as slow as Princess Monster getting out of bed in the morning, but it’ll be better than nothing.
And yes, all writing WIPs (work in progress) were backed up and nothing will be lost. (I e-mail my work to myself daily, so I have it in two different external sites.)
The monsters, on the other hand, might die if they can’t play Webkinz!
