Dec 7, 2017

The Write-A-Story Calendar Day 7: Thinking Thematically




Nope, we're still not starting to write. I know theme is a slippery subject, and many writers prefer to let it develop organically, as in they don't give it conscious thought before writing, but as you now have a rough sort of outline, it might be beneficial to see if something stands out.

Here are a few questions to think about:

  • What are you trying to say with your story?
  • Is the story accidentally saying something offensive that you absolutely don't want to say? If so, how to fix it?
  • Are you making an argument with the story? Are some of the characters symbols? Do they represent different sides of the issue? Have you given space for different viewpoints without taking sides, letting the characters speak for themselves?
  • Does the story come across as preachy? (Nobody likes being lectured to.)
  • Why this particular story? Is it saying something important to you or are you figuring out some issue in your own life by writing the story? (You probably are, even if you don't see it right away.)
  • are there multiple themes?
Once you've figured out some of these questions, you might think a bit about your story title. Ideally it will resonate with your theme or be a metaphor for that theme on some level while making sense, story-wise.

Dec 6, 2017

Happy One-hundredth, Finland!




Finland is one hundred years old today! Here are some pics from celebrations here in Turku.















The Write-A-Story Calendar Day 6: Arc-ane Knowledge





Now that you've tinkered about with the structure of your story, let's talk a bit about character arcs. Is you main character on a positive change arc, a flat arc, or maybe a negative change arc?


  • The positive arc is basically the 'hero's journey,' where the character embarks on an inner journey to become a better person (involves rejecting 'the lie she believes' and discovering a fundamental truth about herself that allows her to solve the outer conflict of the story (the plot)). You can even think of the plot as a metaphor for the character's inner journey, a handy tip I learned from reading K. M. Weiland's blog.
  • The flat arc is about a character changing the world, not herself.
  • The negative change arc, or the fall arc, has the character going from bad to worse, usually. Or from good to evil, maybe.


As with story structure, with character arcs I'll refer you to K. M. Weiland's excellent series of posts for a thorough review of the subject.

So that's one way to look at it. You could also try Chuck Wendig's method of coming up with three beats for the character, like if you were describing the Count of Monte Cristo, it might be: naive sailor -> mysterious figure without pity seeking vengeance-> lets go of vengeance and embraces mercy, man at peace with himself.

However you approach it, some kind of change is usually a good idea in a short story, or you might discover that you don't actually have a story at all, just a vignette or an essay or a mood piece.

And don't forget about the secondary characters. They could benefit from a character arc too.



Dec 5, 2017

The Write-A-Story Calendar Day 5: Structural Integrity





Want to learn story structure? The place to go is K. M. Weiland's blog Helping Writers Become Authors. I'm not going to repeat all that here, because I couldn't explain it half as well as she does, but I do recommend you check out the site if you're not familiar with it.

A short story has more room for playing around with experimental structures than a novel, so the traditional structure might not fit, but if you're doing an adventure/action story, you might benefit from hammering together a crude structure before beginning. Once you know the key scenes of the story, it's much easier to write it without running into a narrative brick wall at some point. And how to do it? Don't worry, it's easy:


  • inciting event
  • 1st plot point (25 % of story)
  • 1st pinch point 
  • midpoint spectacle (50 %)
  • 2nd pinch point 
  • 3rd plot point (75 %)
  • climax (90 %)
  • denouement
Basically, that's all you need. The inciting event draws the character into the story, the first plot point is the disaster that locks her in. The pinch points have the antagonist show her power and illustrate what's at stake. The midpoint is where the character goes from reacting to acting because of a revelation about the nature of the conflict, and as this bit can feel a bit slow, that's usually a good place for a few explosions and other exciting stuff. The third plot point is the moment of despair before the final showdown which forces the protagonist to make some hard choices. Climax is the final showdown, and denouement is a humorous, warm and fuzzy, or contemplative moment that allows the reader to say goodbye to the characters.

I'm not saying you need to use this structure for your story, but if you do, you can be pretty sure the story will work on a structural level.

Previous posts:

Day 1: The Big Idea
Day 2: Cool Characters

Dec 4, 2017

The Write-A-Story Calendar Day 4: A Stunning Setting




You've probably thought a bit about setting already, but let's take it to another level, shall we?

World-building is a lot of fun and very important for your story; if you're writing speculative fiction, doubly so. Too often speculative writers resort to those old, worn settings, like the ubiquitous medieval fantasy setting, when the setting could be virtually anything, the only limit is your imagination.

Writing a mainstream story and think you can get off scot free, world-builng wise? Sorry, you need to build your version of the real world setting, too, and it can be even tougher because the place actually exists. If you get something wrong, the reader can call you on it. So do your research. It might also simplify things to use a made-up neighbourhood in a real city, for example, to avoid these kinds of issues.

For a short story you don't need a story bible, but pick an interesting environment and make up what you need as you go. As with all description, the key is to pick interesting and unexpected details and to present them in an intriguing way that tells us something about the character experiencing them. Use mood and internal monologue to your advantage, here.

So now you've got an interesting setting. Is that enough? Maybe, but here are a few more things to consider:


  • Is the setting the best pick for your story? Can it enhance the story's message, or help you use dramatic irony to your advantage? 
  • Can the setting act as a metaphor for something in the story, or make a scene more poignant, or maybe add conflict? 
  • Do you want the setting to enhance the mood of the scene or to add contrast? A boneyard of broken ships can evoke images of lost dreams, or a mother feeding her child in front of a wrecked spaceship might be code for life continuing after a crisis. Another fun trick is to use the same setting with a contrasting mood in a different part of the story, maybe the opening or closing.
  • Does your world have an inner logic to it? You can't bend the rules just to make the writing easier. Actually, the creative solution within the rules is usually more intriguing anyway.


Play with your setting, make it a character in its own right.

Previous posts:

Day 1: The Big Idea
Day 2: Cool Characters

Dec 3, 2017

The Write-A-Story Calendar Day 3: Plot Play





Okay, so you've got your idea and a bunch of interesting characters. What now?

Time to get plotting. (Cue mad scientist laugh.)

Without rehashing to the old pantser/plotter argument, I do feel it's good to have some loose idea of the plot before you start writing your story. Bare minimum? The ending. It might change as you write, it probably will, but at least you know what you're aiming for.

There is something to be said for a short outline, though: it's much easier to spot and fix plot holes at this stage. If you jot down the major twists and turns of the plot and then think about what the reader expects you to do, you can come up with something very unique and original instead. If the reader expects you to zig, maybe you should zag? It's a fine line, though. Do too much of this and you'll risk alienating the reader. Sometimes it's fine to do what's expected, especially if it's something that defines the genre. People reading a love story expect the characters to end up together. If they end up getting horribly killed by mutant zombie dinosaurs instead, your readers might get a bit miffed.

For a short story, side plots can add extra weight, but they can add depth as well. Does the side plot explore the story's theme from another point of view, or maybe mirror the main character's journey in a way? How will the side plot merge with the main plot at the end? For a cohesive story, the side plot should have a point to it in the context of this particular tale, not be separate from the main storyline. Figure out what's best for your story.

We'll talk about story structure and character arcs later, but for now, think about how your protagonist will change during the story. Is the change positive or negative? What will she learn? Or is it a flat arc story, as in the protagonist changes the world in some way instead of changing herself?

If you want an example of great plotting in the speculative fiction genre, check out any book from Jim Butcher's Dresden Files series. I guarantee you won't see the plot twists coming. Harry gets into all kinds of scrapes, but he never takes the most obvious way out, or often it's not an option, so he has to be more inventive, which makes for a very entertaining story.

Previous posts:

Day 1: The Big Idea
Day 2: Cool Characters


Dec 2, 2017

The Write-A-Story Calendar Day 2: Cool Characters




Okay, now that you've got your story idea, you need characters. I realise that for some writers it's the other way around, which is probably even better in terms of having the characters create the story. However you go about it, you want your characters to have agency, have them shape the story instead of being swept along, or worse, being just mindless automatons you're moving around on a whim.

For a short story, it's better to have a limited cast, only a few fully realised characters. Of course you get to have some extras and secondary characters with more limited roles, but you don't want to squander your word count on nonessential personnel. Short stories are all about economising, so think about which characters you need for the story. Can some of them be combined so one character will do instead two? Can they perform multiple functions on another level, too, like acting as an archetype (a mentor, for example) and also be a mirror character (more on these in a later post, but they provide a reflection of the protagonist, distorted or clear).

Have the main characters figured out? Okay. Which one's your protagonist? Are you sure? She should be the one with the most to lose and she should be interesting enough that people will want to stick with her for the duration of the story. Fine, sometimes you want the bland everyman protagonist or the story isn't told from the protagonist's point of view, like Dr Watson narrating Sherlock Holmes' adventures to maintain a distance and mystery, but this should be a conscious narrative choice, not stumbled into.

All your main characters should feel individual and not like stock characters or stereotypes. A lot of the time it helps to add backstory (not necessarily into the story, but you should know it) and some quirks and habits to the character. Think about what the audience would expect this kind of character to be and then subvert that expectation.

So, what makes a character interesting? Think about the people you know, anyone interesting there? Does someone stand out? Why? Is there a trait you could borrow for your main character? Google eccentric individuals and think about what makes them tick, or pick a favourite character from a movie or book to base your main character on. Don't copy a character outright, but make him or her your own. What if you too the basic essence of that character, separate from the story he inhabits? Changed his gender, added twenty years and different life experiences?

To have agency you need to have the character want something, and there needs to be something at stake. Don't think too small with the stakes, go for broke. Odds are your story will be more interesting.

You'll probably need an antagonist too, although the environment can also act as the antagonist, for example. Take the same care with building the antagonist as you did with the protagonist and the secondary characters. Also this about the story from the antagonist's point of view. She is the protagonist of her own story. And don't make the antagonist pure evil. Shades of grey are much more interesting. She doesn't have to be a good person, but we should understand why she does what she does.

I'll talk about dialogue in a later post, but do take a moment to think about how your character talks. Does she have an accent? Does she use big words? How does her gender and background affect how she speaks? And most important, what about her personality, how does that affect word choice, what she says, and how she says it?

Also think about what the characters look like, how they move, things like that. Is there something you can use to "tag" the character in the reader's mind, something that they subconsciously associate with the character?

You can also start to think a bit about how the character will change during the story, but we'll get to the specifics later.
 
Okay, that's it for today. Happy character building!


Previous posts:

Day 1: The Big Idea