ARWZ

How happy is your ending?

mephisto — Tue Sep 07, 2010 12:46 pm

Author: mephisto

Posted: Tue Sep 07, 2010 12:46 pm

I prefer happy endings, or sad and poigniant endings. Like Captain Kirk, I don't believe in the no-win scnario, but sometimes "winning" requires sacrifice. And things have to have some logic and make sense.

I recently watched "Ghost Writer" with Ewan McGregor and Pierce Brosnan and directed by Roman Polanski. It was excellent up until the ending. Their whole idea was to make the sequence of events throughout the story be very logical, and it was, up until the high-school antic of passing a note to one of the bad guys to let on that he had solved the mystery that people were getting killed over, and then he runs outside and is immediately hit by a speeding car before the message reciever had an opportunity to let anyone else know he had figured it out, let alone plan a "handling." If he was smart enough to run, he would be smart enough not to tip-off the bad guys he was on to them before running. In their efforts to avoid the Hollywood ending and do things differently, they botched the ending of what otherwise would have been a great story.

I don't read to be depressed, so I avoid depressing endings and I don't write them. But again, sad and poigniant works too; as long as the "unhappiness" serves a purpose in the minds of the characters. But don't make it unhappy when there was a pretty easy and logical way to end it happy if your characters hadn't suddently got stupid or fatalistic.

Story Cross-Pollination

mephisto — Tue Sep 07, 2010 12:27 pm

Author: mephisto

Posted: Tue Sep 07, 2010 12:27 pm

It depends how fgar into a story I am; the further in, the less I will be inclined to work on something else. If I am headed for the final climax, I won't want to work on or start anything else until I am done.

Mainly I guess I have a number of things going until one really bites, and then I ride that one through to the end.

Structure

mephisto — Tue Sep 07, 2010 12:23 pm

Author: mephisto

Posted: Tue Sep 07, 2010 12:23 pm

Hmm ... I hadn't heard that about the events of a chapter making the events of the following chapter possible, but that is essentially how I operate. Let's see, I haveto admit that when I first start I don't have much structure, but I can't get very far that way. First I have to orient myself to the main character and the setting and really get an idea of the "starting point," even though I may come back and change that later. One I have the starting point I can map out some kind of course; where the story will end up, some major events along the way, and that sort of thing. Then I start to connect the dots; how do I get there from here? Since I know where I will end and I know the next major event, I can move the story forward in the right direction and plant any needed seeds along the way. Of course, there are occasionally detours and nothing is cast in stone. Feints and false clues can be handy too, just don't over do it or you will piss off your readers.

Character Development, on the page or off?

mephisto — Tue Sep 07, 2010 12:11 pm

Author: mephisto

Posted: Tue Sep 07, 2010 12:11 pm

It varies with how centrally the character's role is to the story. For important characters, I usually start out with a general concept of the type of person the character is. Sort of like archetypes; not in the sense of role but personality. Things like how serious the person acts, how loyal, how responsible, how rational, how flawed. Is this character formal or casual in conversation? Is it a Snape-like character that is unlikable and yet an ally?

While that appears to be an off-page origin for the character, the precursor to developing the characer concept comes form the story. As I get my story going, it asks me for certain character types. Of course, one should avoid stereotypes. The Gandalf/Alanon mysterous wizard/mentor character who never tells you everything and despite knowing what has to be done can't, for some obscure reason, be the one to do it has just been done to death. In fact, I brought one into my story just so I could kill him off in the next chapter. Well ... that wasn't the only reason, but he had served his purpose and it was time to exit stage left.

I do tend to use archetypes and stereotypes for peripheral characters .. you know ... the gruff inkeeper, the friendly inkeeper, the inkeeper with a heart of gold and unsavory connections, yada yada yada.

I think it is a good idea to present the appearance of the stereotype and then go the opposite direction with it. Then you get things like the inkeeper with the heart of gold and unsavory connections that sells you out because the only heart of gold he REALLY has is the one he cut out of the chest of his last victim. But even that one is not too uncommon. Not to mention more realistic; most people who really have unsavory connections are themselves unsavory.

But I digress (as is my wont).

For me, the character need comes from the page, is developed in general terms off paper, and then is solidified, developed, and evolved on paper. It's a collaboritve effort between me and the story. The story says to me, "Dude, if we go down this road we are going to need another character or three, and here's some things we can do with them..." I review the options and pick the one that best aligns with the direction of the story without being predictable. I insert the character into the story and see how well the story accepts it. "If it doesn't fit, I make adjustments" (Silverado).

Talent or Practice?

mephisto — Tue Sep 07, 2010 11:32 am

Author: mephisto

Posted: Tue Sep 07, 2010 11:32 am

That question is raised on just about any subject. In my leadership classes, the question is often posed as to whether leadership is an inborn trait or learned. My answer here is the same as my answer there. evryone has strengths and weakensses. People learn some things easier than others, and some subjects are difficult for some to learn. I remember when I was a kid learning to play the guitar; it was very easy and it never took much effort to learn. I take ballroom and Latin dancing, and I learn faster than most other students, yet I have seen the clunkiest beginner excel with private lessons and pass me up. I remember the excruciation in high school of getting a D- in algebra because the teacher refused to fail a student who was really trying, and the satisfaction I got last year when I took algebra in college and (with much tutoring) actually EARNED a strong B. When I was younger I was not naturally "mechanically inclined" but through effort and force of will I became so.

Whether we start life with a totally blank slate or one that has a few notes already scribbled on it (or things not completely erased) is more of a metaphysical question.

Anything that a person can do, another person can learn to do. The amount of effort it will take to learn to do it well will vary, but it will always take some effort (practice) to really excel at anything. As easy as guitar always was for me, I could be a famous, world-class guitarist. So why aren't I? Because I never put in the effort. If I had I could be up there with Segovia. No matter how easy something is for you, if you don't put in the practice and effort you propbably won't reach a superior level.

At least .. that's my nickel on it.

Start with dialog?

mephisto — Tue Sep 07, 2010 11:01 am

Author: mephisto

Posted: Tue Sep 07, 2010 11:01 am

Hi Vio,

You were always good at coming up with great questions.

In reference to Queen's "con" (or is it Qota for short?) the writing really shouldn't have anything that doesn't forward the story line. (And before you bring up characterization, Vio, I believe that characterization does forward the story line - you can't really have a story without characters.)

The goal at the beginning of a chapter, especially the first one, is to pull the reader in. There are a number of ways to do that. A few options are: 1) you can plunge the reader into an action sequence, 2) you can start an intruguing narrative, and 3) you can start with an intersting and revealing dialog (not too revealing though, just enough for orientation and to raise intersting questions.)

Of course, equally important is how to end a chapter in a way that ensures the reader will be interested in continuing. I know I am not the only one here who has read late into the night, vowing to stop at the end of the chapter to sleep but the author simply wouldn't allow it and you had to keep reading.

Who's got some input on that one?

Meph

Post the first line you wrote today...

Violanthe — Thu Sep 24, 2009 12:47 pm

Author: Violanthe

Posted: Thu Sep 24, 2009 12:47 pm

Hi Elly! Welcome to ARWZ!

Getting back in the saddle.

Nik — Fri May 08, 2009 9:35 pm

Author: Nik

Posted: Fri May 08, 2009 9:35 pm

I've had grim gaps of several years when I could not string two words of fiction together...

I've had times when life was too hectic or bleak for creativity.

I've spent years working on programming, electronics, 3D modelling and CAD to the exclusion of 'linear words'...

I've had times when my literary efforts were trashed so thoroughly that I turned to other things...
---

One years-long outage ceased when I picked up a notebook with a tale's opening that I'd abandoned in mid sentence. I just finished the sentence, kept writing until the novelette was done. That was 'Autumn' & 'Forever Autumn' in my 'Convention' arc. The last page was set a generation later ...

...
quote from the very end of 'FA':

We call the planet Autumn for its clime. Across the major, Equatorial continent, each night is cool and damp, each dawn is drenched with dew. By noon, the clear blue sky is strewn with white. Later, the roiling thunderheads exchange salvoes, then douse the lime-stone savannah with rain and hail.

In the coastal margins live the xenocidal Brownies, Autumn -anthropus mcdonaldii crypto -sapiens. On the smaller, Northern continent live the Klikta, recently admitted to our Worlds Council. Some day, the Brownies, too, will join. This continent, their land, is held in trust until then.

"But why?" whispered Rita, voicing our thoughts.
I held her close.
"Some day, they'll say. And then we'll understand. We MUST."

Hip-deep in another surreal tale...

Nik — Wed Mar 04, 2009 10:18 pm

Author: Nik

Posted: Wed Mar 04, 2009 10:18 pm

Well, I've now completed the fourth tranche of my current tale and edited it into submission. This covers three days, dawn #07 up to end of #09, and is almost 70 kb textfile. Can't tell you the exact word count because of my habit of leaving one space between text and a ! or ?.

I had just enough laser paper, but the last few sheets fed together, crinkled in the printer. Fortunately, I had a pack of *good* paper tucked away on a shelf...

Now those 25 sides are stuffed into ring-binder pockets, ready for reading in context with tranches 01~~03.

I've also got an idea for a surprise in subsequent chapter. Two of the important characters are staying in a nearby B&B. The feisty lassies expect problems with a flooded road, but not a lightning strike that sends them fleeing in their 'Hello Kitty' pajamas. Cue lots (*) of dialogue when they meet rest of group...

Along the way, I had to scour baby-name lists for a very specific name to enable a pun-- I knew it when I saw it !!
---

(*) I find writing ANY dialogue difficult, and small-talk nigh impossible. Giving the characters something meaningful to discuss reduces the task to hard work...

With a leap, he was free...

Nik — Thu Dec 11, 2008 10:47 am

Author: Nik

Posted: Thu Dec 11, 2008 10:47 am

https://en.wikipedia.org/wiki/Mary_Sue

Been a year since I wrote more than a few words, but then the dam burst...

About ~20,000 words into my current writing spree, I suddenly realised that I was perpetrating a classic 'MarySue'.

Gah ! Spit !!

I tried re-writing the most awful sections, they just got worse. And worse. And worse. In fact, like a 'swiss roll' avalanche, my monster swept downhill, collecting every ghastly clich� in its path...

Panic !! Double Panic !!!

Then inspiration struck-- I'd forgotten the episode's context: Like 'Blazing Saddles', it could be FARCE.

My stricken protagonist recognised her role. When the viewpoint pulls back from 1stPerson to 'godview' as the credits roll, he could doff the VR helmet, shake off that appalling Avatar and hiss, 'I HATE MarySues !!"

Steve Westcott...

Nik — Sun Nov 30, 2008 11:01 am

Author: Nik

Posted: Sun Nov 30, 2008 11:01 am

Found Steve Westcott sitting, forlorn and bored, behind signing-table in local Borders...

https://www.stevewestcott.com/default.htm

Cheered him up with several quips about the woes of an unappreciated Author, wished him well...

Creative Writing Class

Ian — Tue Nov 18, 2008 11:53 am

Author: Ian

Posted: Tue Nov 18, 2008 11:53 am

I took one once in London but the teacher wasn't very creative. Because I had written a script about a killer dog on the loose all she could say was what have I got against dogs.

Time Spent Writing Each Day

Ian — Sun Nov 09, 2008 2:23 pm

Author: Ian

Posted: Sun Nov 09, 2008 2:23 pm

I have not read many of Nik�s posts but I would not consider using the word �muse� to be posing, especially if it has gone on a sabbatical! It is a shorter word than inspiration. Of course �muse� is clich�d but that is what makes it usable in an everyday situation. I don�t think she was claiming to be anything out of the ordinary.

Now if you�ll excuse me I�m going to put on my smoking jacket and wait for inspiration whilst sipping a glass of Madeira. My head resting delicately on my slender hand.

Is anything 'off limits' in your writing?

Ian — Sat Nov 08, 2008 4:49 pm

Author: Ian

Posted: Sat Nov 08, 2008 4:49 pm

I feel I instinctively know what is right and wrong. I just trust my instincts.

Where to start with research?

Ian — Sat Nov 08, 2008 4:25 pm

Author: Ian

Posted: Sat Nov 08, 2008 4:25 pm

The internet is usually my first port of call.