Archive for the ‘Plot’ Category

How YOU can Write a Short Short Story

February 17, 2014

Benjamin Franklin says it all: “I have already made this paper too long, for which I must crave pardon, not having now time to make it shorter.” Henry David Thoreau wrote, “Not that the story need be long, but it will take a long while to make it short.”

The most common question which pops up in various contests I’ve judged, is: “My story is longer than the guideline’s length. May I submit it all?”

No! Writing short requires a much-needed skill. Revise so your story is written succinctly.

Below is advice on writing a short story of 100 words. It can be applied to all stories.

My favorite tidbit is this: “Think of the story in terms of a question and answer.”

Your answer will become the plot of your story. But brainstorm lots of options! If it’s too easy, your option may be too convenient.

http://www.rdasia.com/how-to-write-story-100-words

Writing Prompt:
1. Take a story you’ve written and tighten it. Can you cut out 100 words? More? Once you challenge yourself, the process can be fun and addicting!
2. Read your story aloud. Where have you “told” information? Can you show it with an action verb instead?
3. Choose a poem you’ve created and do the process of #1 and #2. Is the end result more vivid?

Cutting out vague words sharpens your writing and respects the reader to make conclusions. Use this new technique with all of your writing!

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Deepen Your Writing with Symbols

February 11, 2014

I turned the page of my book, soaking in the story, silence, and reveling in peaceful solitude. Not total solitude, since my Yorkie, Zoie’s rhythmic breathing relaxed me as she slept in my lap.

MOO!

Straightening up with a jerk, I woke my deaf dog.

What was a mooing cow doing INSIDE this room?

Could it have been from an electronic device? Perhaps my husband neglected to take his phone with him. I smiled at the irony of this sound in my suburban California home. Maybe Dad was saying hello from the other side? He spent the first half of his life farming with dairy cows in southeastern Wisconsin, and as a baby and toddler I lived on that family farm, too. Hi Dad, I thought, glad he’d retained his sense of humor.

As I settled back into my story, Zoie, reassured by my calm demeanor, snoozed again.

MOO!

The realistic animal sound came from our family room cupboard. I got up to investigate. Nothing in the stacks of paper, pens, and recipes gave a hint to the mystery. Old video tapes didn’t look as though they’d moo, either. But when I reached Zoie’s dog toys, I knew the puzzle’s answer. A black and white fabric ball must contain the noisemaker. Although it hadn’t worked in years, and I didn’t know it had held a noise device when I threw it in the washing machine, that process could have reactivated it.

Or.

Dad greeted me.

I prefer this answer.

Whenever we try to make this ball produce sound effects, nothing happens. But on its own . . .

MOO!

Writing Prompts:

1. What signs or symbols can you discover within the book you’re reading? Through their repetition, what is its underlying meaning?
2. What sign or symbol can you develop within the project you’re writing? Through carefully placed repetition, your motif may strengthen your theme, characters, and/or plot.
3. Create an artistic representation of your symbol. How does it relate to you? Perhaps this may become another layer of its meaning.

10 Tips for Winning Writing Contests, Scoring an A, or Attracting an Agent/Editor

January 27, 2014

1. Hook your readers with a vivid scene right away. How? Read on.

2. Specific senses will get your reader to experience your story.

Example: Gary D. Schmidt’s Lizzie Bright and the Buckminster Boy begins like this: Turner Buckminster had lived in Phippsburg, Maine, for fifteen minutes shy of six hours. He had dipped his hand in its waves and licked the salt from his fingers. He had smelled the sharp resin of the pines. He had heard the low rhythm of the bells on the buoys that balanced on the ridges of the sea. He had seen the fine clapboard parsonage beside the church where he was to live, and the small house set a ways beyond it that puzzled him some. Turner Buckminster had lived in Phippsburg, Maine, for almost six whole hours. He didn’t know how much longer he could stand it.

3. Show the protagonist’s problem right away. Turner’s is shown in his feelings shown in the last sentence.

4. Character dialogue must move the story forward. If it’s just talking back and forth to talk, remove it.

5. Use adverbs sparingly. Change them to verbs.
Example: He said loudly. Change to: He shouted.

6. Create suspense with tension. Author Steve Mooser employs the element of time. He says, “If the bad guys are due into town at sunset, if Friday is the day of the school play – that’s the easiest way to build tension.” In Frank L. Baum’s The Wizard of Oz, the hourglass shows how much time Dorothy has to live.

David Almond created atmosphere with action verbs and specific images in Heaven Eyes:
Mud. Black, sticky, oily, stinking mud. It was January who dared to lean out of his raft first. He dipped his hand into what should have been water. He touched mud, black mud. It oozed and dribbled from his fingers. The raft settled, and mud slithered across its surface, onto our clothes. It seeped through to our skin. It seeped through the tiny gaps between the doors. I took my flashlight out, switched it on, saw the doors disappearing as they sank . . . saw that we were being slowly sucked down into the sodden earth . . . Our feet, our hells, our knees were caught in mud . . . I grunted, whimpered, groaned. I slithered forward. . . My head filled with the mist and darkness.

7. Everyone loves humor. The unexpected is funny. Two unlike characters or objects placed together can be funny.

8. Read your piece out loud. Is it balanced? Not big chunks of description or pages of pure dialogue, but evenly paced?

9. Eliminate vague words: Possibly, many, pretty, terrible . . .

10. What has the protagonist learned or how has your character changed in some small way?

After several drafts, put away your manuscript for a while. When you return, read it aloud with fresh eyes. Are you having fun? If not, rework the story until it’s just right. You’ll feel that tingle of excitement when it works!

Summer Vacation Vs. Back to Writing: 10 Tips to Unblock Your Plot

August 13, 2013
Bryce Canyon

Bryce Canyon

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I’ve returned from a lovely vacation in Utah, where family members met and hiked in Bryce Canyon and Zion National Parks. There is one slight problem with vacations, however. They end! When writers return to work, many of us occasionally have difficulties with getting back into the creative flow. The past few days I’ve done laundry, walked the dog, and even – – don’t faint – – IRONED – – in order to avoid my office.

But writers must write. How do you get back to your fiction?

Writing Prompts for Me and You:

1. Write about ANYTHING. Just get your pen moving, or type words on the computer screen.

2. Write an imaginary account of what happened on a summer vacation with the photos above. Make it as outlandish as you can.

3. So you want to get back to your novel? First, read what you have already written. Revise to make it better. Stuck on what happens next? Remember, everything goes back to your characters.

4. Write a journal entry in your main character’s point of view about what’s happening in your story. How does she/he feel about everyone else? What actions does she wish she could take? What does she want more than anything else in the world? What stops her from getting it?

5. What is the main character’s relationship with every other character in the story? What are each characters’ epiphanies? How do they get them?

6. If you are stuck on #5, write more back story for your characters, or have them interact in current scenes that may or may not appear in your book. Just get them together and see what happens.

7. Read another author’s good writing. Good reading inspires good writing.

8. Wonder about your characters. Wonder about them as you walk, wash dishes, or gaze into space. Wondering is often the most important step in writing.

9. How can you make the scene you are writing more difficult for your protagonist? More emotional or suspenseful? Push your writing to the limit. Have you used all of your senses? Enough specific details?

10. Ask your subconscious for help before you go to sleep. Don’t worry about your book. Just wonder what will happen next. Keep paper next to your bed. As you wake up, the answer may be part of your dream or a clear word or image.

On Writing Crappy and Writing Great (or at Least Better)

May 24, 2013

I guess reporters don’t know which column will be published when, or else the California Writers Club Young Writers Contest article and photo just didn’t make it into my edition of the Contra Costa Times on May 23.  Next time I’ll only post it here when I see it in the paper myself. 

***

As I’ve been working on a project, I’ve found myself being concerned with the marketing aspect and how the publicist would  react to the story.  After the day’s work, I closed my computer and purposely didn’t re-read my words. 

The next morning, I printed out my chapter and took a clipboard to revise and work on another scene.  Reading what I had written, my jaw dropped.  Who was this stilted writer who had composed these awkward sentences?  Do I know this person?  Where did she come from? If she was in my writing class, I’d take her aside and tell her to forget the final phases of book production, and free herself by going back to the basics.  Think about character!  Relax.  Wonder about the story, don’t let the final outcome block the writing process.

I set aside my previous day’s disaster, and started over.  This time, I let my mind wander over my characters and their world.  “No worries,”  I told myself.  “Have fun with these people.  Get to know them.  You don’t have to write the very next chapter.  Just write a scene where they talk to each other. What’s the worst problem they can get into together?  What will they do?”

Writing Prompts:

1.  What is a dramatic or interesting conflict you can have your character get into?  Can it somehow be based on her greatest fear?

2.  What emotion does your scene evoke?  What do you want your reader to feel?

3.  What is the motivation for why the characters in your scene act the way they do?

4.  Write about your characters BEFORE this scene.  What is their back story?

5.  Within your writing, can you locate where you are showing and where you are telling?  Highlight the telling.  If you have too much highlighting, where can you show in a scene rather than tell?  Or where can you cut out the telling all together?  If it doesn’t move your story forward, cut it out.

Memorable Movie Moments Help Our Writing

February 5, 2013

Every great movie has one or more ultimate memorable moments. A few lines of memorable dialogue:

* In “All About Eve” Betty Davis says, “Fasten your seatbelts, it’s going to be a bumpy ride.”
* In “The Wizard of Oz” Dorothy proclaims, “We’re a long way from Kansas!”
* In “The Wizard of Oz” the witch cries, “I’m melting!”

Then there are the images which stay with you forever.

*Also from “The Wizard of Oz,” the sand running through the large hourglass timer
*E.T. and friend riding their bicycle across the face of the moon
*Wile E. Coyote hanging suspended in air

Every scene, whether it is from a short story or a movie, must include four things:
Desire, Action, Conflict and Change. (Thank you, Robert McKee!) Your character desires something more than anything in the world, takes action in some some or large way, runs into someone or something creating conflict and the character changes. The change can be slight, but there must be change. At the end of the scene, to be truly memorable, it should have a punch – a line of dialogue or an action that gives it an extra oomph.

Writing prompts:

1. What is a memorable moment from a movie you have recently seen? Why do you think it is indelibly etched within your memory?
2. Learn to identify these memorable moments within movies and the books you read as well as the desire of the characters, their actions and conflicts and their changes.
3. Write a scene with a character you have created or know well. After you write your piece, identify any memorable moments within it. If you can’t find any, structure the pacing of your story and the tension so as to create them. Remember desire, action, conflict and change.
4. Write a personal narrative scene with these same elements.

Got Plot? Need Character?

September 20, 2012
 
 
Author David Corbett
Deconstructing Chinatown
Master Class in Character and Plot
            October 6, 2012, 9 a.m. to 12 noon             
 
$50 in advance and $60 on the day of the workshop
Includes continental breakfast
                 Upstairs at the First Street Café                        
 
Critically acclaimed author David Corbett will lead a writing workshop on October 6, 2012, from 9 a.m. to 12 p.m. in Benicia, California, Upstairs at the First Street Café. David notes, “Almost everything you need to know about writing a great story can be learned from wisely analyzing the classic, entertaining film Chinatown — which students will come to recognize as a modern update of Oedipus the King by Sophocles.” David will lead the class in a group analysis of the story to explore such techniques as:
 
–Understanding how character determines plot.
–Orchestrating the opposition from an offstage opponent.
–Employing “four-corner conflict” to create moral complexity.
–Developing a symbol system to underscore your thematic concerns.
–Using subtext in dialog.
 
For more information, contact Carolyn Plath at carolynplath2003@yahoo.com or visit our website at www.benicialiteraryarts.org. To register by mail, send $50 and your contact information to Benicia Literary Arts, c/o Marc Ethier, the Benicia Herald, 820 First Street, Benicia, CA 94510.  www.benicialit.org. Read more about the author at http://www.davidcorbett.com/