Tag: writing advice

Wrestling with Character

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My current work-in-progress is a superhero story about a guy who hates superheroes and therefore becomes a villain. And I just today wrote the start of a scene that kind of shocked me.

Without spoilerating my own story, this guy has a hostage problem to solve with no easy way out. (Which is exactly the sort of problem a good novel needs, right?) And in flinging myself against this problem, a solution occurred to my protagonist and myself simultaneously. Usually solutions for writers are good things, but this one is a little bit mixed.

It fits the character perfectly. It fits the narrative perfectly. But it makes me uncomfortable, because it’s a little rape-y. Not in the sexual assault way (it’s not that kind of book), but in the willful taking-by-force of a thing from a more or less helpless victim. A victim who was once something like a friend. And this taking … well, it’s pretty much going to color the relationship between these two forever, assuming I leave it in (and I don’t see how I can leave it out, at this point). It’s forceful. It’s traumatic. It has left me feeling a little bit icky after the words came out.

So, it makes me seriously uneasy, but it also really gets me fired up about the story, because it fits so well. And it hit me — this is the sort of thing that’s been missing from this story all along. My protagonist, much as I have been thinking of him as a villain, hasn’t done much that’s outright villainous; so for him to finally break bad like this feels a little shocking. Then again, at the same time, it feels long overdue, coming in the final third of the book.

But now I’m all conflicted. This isn’t the sort of thing I envisioned my protagonist doing, but now that the moment has presented itself, it’s hard for me to imagine him acting any differently. It’s not the act itself that has me vexed, though. The real quandary that’s sticking in my craw is that I don’t know if this guy (or this girl, for that matter) can come back from this. I don’t know if a choice like this can be redeemed, and that could be a problem in future installments of this story.

So many questions. Is this scene right? Is it happening at the right moment in the story, or should it happen sooner (establishing him as a real rotten dude right from the go would clear up some of the waffling he’s done thus far … then again, if this moment comes late, it feels more like a final step on a terrible path)? Can a character come back from something like this? And, for that matter, should he?

On the plus side, the last couple days’ writing has poured out of me like from a ruptured water main, so that, at least, makes me feel like I’m on the right track.

Trump’s Election Confirms: God Exists

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A theory:

Conventional writing advice states that an author should, generally, step on the throats of his protagonists. Occasionally , you shift your weight and allow the poor bastards to catch a little air, but mostly, you keep them down until they’re almost dead … and then you stomp on them some more.

One could argue, then, that this campaign season has been an extended size 13 to the windpipe. It abated, for the briefest of moments, as the election drew near and it looked like Clinton would win.

And then the boot came down for a crushing blow, and what the hell do we do now?

So: God exists, and he’s an evil fiction writer.

Hopefully he’s set us up for some sort of triumphant third act.

But I kind of doubt it.

Winnie the Pooh is a Masters’ Level Writing Class

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I’m sitting here watching The Many Adventures of Winnie the Pooh with my kid. You know, the one from the 70s that’s less a movie and more a bunch of cartoon shorts slapped together with honey-flavored caulking.

Now, there’s a lovely little book that came out some time ago called The Tao of Pooh, which takes the silly old bear and infuses him with all sorts of Zen mysticism. (Actually, the mysticism was in him all along, we just didn’t always realize it.) And that book has a companion called The Te of Piglet. Fantastic reads that you can pick up and put down as often as you’d like; the kind of books that grow with you. The kind of books that mean something entirely different to your full-of-piss-and-vinegar twenty-something self and your tired-as-fargo-from-wrangling-toddlers-all-weekend thirty-something self.

But I realized, watching the cartoons just now, just this instant, that you don’t need a zennified book to appreciate the dubious wisdom of Pooh. The beauty is in the simplicity. And as a writer, the simplicity resonates on several levels.

Let’s take the opening short.

We meet Pooh in his house, and Pooh wants some damn honey. Why? Because he’s a stuffed bear, and fargo your reasoning; his honey stores in the house are empty, so he’s got to go get some more. But he doesn’t have a grocery store with a plastic bear full of honey to overpay for; he’s got to go straight to the source. Who makes honey? Bees do, so Pooh goes after the bees.

He climbs a tree and tries to just straight-up jack some honey, but the bees aren’t playing that, and the twiggy brances at the top of the tree can’t support his honey-eating behind, so he falls all the way back down. Is Pooh discouraged? Not for a minute. Along comes his pal, Christopher Robin, with a balloon of all things, and Pooh says, hey CR, let me snag that balloon so that I can use it to get some honey. CR is no fool, and he asks the question that we’re all asking, watching this: how are you going to get honey with a balloon?

Don’t be silly, says the bear, I’m going to use the balloon to float up there. The bees will think I’m a raincloud, and they’ll let me have the honey. Now, this is patently idiotic, and being a good friend, CR points this out to him — you don’t look like a raincloud.

Right, says Pooh, let me roll around in some mud so I’m all dark like a thundercloud. So he rolls around in the mud for a minute, gets good and disgusting, then floats up to the treetops. This works until the bees realize that the bear is ganking their honey again, so they attack him and he ends up falling all the way down again.

Bees aren’t parting with their honey, he realizes, and goes off to his buddy Rabbit’s house, where he just asks for some honey without any niceties or prelude. And Rabbit gives it to him. Gives him so much, in fact, that Pooh can’t even squeeze his honey-stuffed stuffing out through the door anymore, and he has to go on a two-week diet before he can even go home again.

Let me not spoil the whole program for you if you haven’t seen it, but suffice to say, the shenanigans continue. All are ridiculous and wholesome, and all are approached with the same oh-well-I-guess-if-that’s-the-way-it-is-we’ll-just-have-to-change-the-way-we-think attitude.

So why is this relevant to the writer?

Pooh wants honey and he sets himself to the task with the single-mindedness of a cat stalking a crippled lizard.

He tries the direct route. When that doesn’t work, he doesn’t just think outside the box, he turns the box inside-out. When that doesn’t work, he dispenses with the pleasantries, doesn’t hem and haw his way around it, he just goes to somebody who can help and gets some damn help.

In short, once he decides he wants it, there is no force on earth that is going to stop him.

So it must be with the writer.

Sometimes the direct route is all it takes to get us there, but more often, the direct route is a boring and ineffectual route. We have to get outside the box. Sometimes that means redesigning the box, burning it, designing it again, throwing it down a flight of stairs, and building another box from the shattered pieces, then stepping into the box just for the purpose of stepping back out of it. And sometimes, we just need a little help.

So.

Let’s get some honey.

Dreams are Useless

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Many times I’ve read the nugget of writing advice: “keep a notepad by your bed, so you can jot down the ideas that come to you in your dreams!” Which is the sort of nebulous, tree-hugging crap that sounds good at first. We don’t know where inspiration comes from, and we don’t know where dreams come from, so obviously they must come from the same place, right??

I’ve tried it. My results are less than stellar. Less than atmospheric, really. The trajectory of my success with this method is more like a Greyhound ride to Denton: disappointing, a little smelly, and at the end of the day, you’re in fargoing Denton.

But my best ideas come from my dreams! I hear you cry. If I hadn’t kept that little notebook next to my bed, I wouldn’t have ever remembered the idea that became the seed for my 7-part fantasy saga based on my life, The Rainbow Riders of Regulon 7. (btw, you can’t have that title; I made it up as a joke but I’M KEEPING IT.)

Sure. Maybe. But dreams are boring as hell to anybody who isn’t you and who isn’t bound by genetics or marriage vows to listen to you. And dreams aren’t compelled to make sense or be coherent at all.

Here, I’ll show you. (Feel free to skip this next paragraph, because it’s absolute garbage.)

I dreamed early this morning of a sort of Titanic-esque love story. Two people from different worlds collide on this boat that’s going away forever. Romance. Goofy frippery. Elaborate costumes. But the dude is found out as a fraud by a snooty guy who goads him into a fistfight and gets him thrown off the boat. Dude is losing his mind with love and the thought that he’ll never see his girl again. He tries desperately to get back on board, and ends up swimming out into a shipping lane in hopes of getting scooped back up. He does — by the Coast Guard, and his persecutor takes great pleasure in locking him up for international crimes or something. But our dude manages to win over the persecutor’s grandmother with the power of his love, and she convinces her grandson to stage an elaborate shenanigan (shenanigans can be singular, can’t they?) to stop the boat and allow the dude back on board, where he is tearfully reunited with his love.

Terrible. And that’s a salvageable dream, with a beginning, middle, and end, kind of. Never mind how the guy got out into open ocean to swim into a shipping lane, although that’s arguably the best part — maybe he could get mauled by the propellers of a cargo freighter hauling prosthetic limbs. As dreams go, this is a masterpiece of continuity.

It’s awful, but it’s vivid, and because it’s vivid, and because that little turdlet of writing wisdom is still kicking around in my brain, I wrote it down. So, now, I can ignore it as I flip past it when I go plumbing the depths of my drivel looking for inspiration for my next work.

But here’s the real problem with waiting for inspiration from your dreams (though it’s more of a skeptical hangup than a problem). If it’s kicking around in your dreams, that means it’s already banging around in your subconscious, which means on some level it’s something you’re already thinking about. The dream just brought it to front-of-mind for a fleeting moment while you were unconscious.

With that in mind, it’s hard to say that just because I dreamed something, it’s automatically worth writing down. Like most of the thoughts that pass through my head, anything I dream is actually probably not worth writing down or remembering at all.

Dreams shouldn’t get preferential treatment over any other old crusty idea that drops into your brain. If anything, they deserve more skeptical treatment by dint of being disjointed incoherent heaps of hot garbage. Dreams, just like any other idea I have, go through a rigorous screening process. Just like I don’t pick up the phone for phone numbers I don’t recognize, I don’t write down an idea as worth keeping just because it popped in there.

Most ideas are crap; dreams, doubly so. But you’ll know the good ones when you see them: The good ones will stick around, call back, or even show up on your doorstep to make sure you pay attention to them. The good ones will stick in memory whether you write them down or not.

 

The Weekly Re-Motivator: Balls

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The prompt for the week is “ball,” and while I usually use the prompt to re-evaluate and re-motivate myself for the week, I’m just not having the coherent thoughts needed for a post like that this morning. Maybe it’s the fact that I was up way too late last night, or maybe it’s because I’m reaching a fatigue point between work and coaching and writing and everything else. So, a little different today:

A series of different types of balls (cue the Beavis & Butthead laughs) and the way they’re like writing.

Begin!

Sports Ball (any type): The game can only be won if you keep your eye on it and move it deftly toward the goal, overcoming the defense mounted by whoever ow whatever your opposition happens to be.

The Ball, Stadion, Football, The Pitch, Grass, Game

Ball and Chain: No, not your wife (or husband!); sometimes the project gets heavy, like a weight attached to your 20’s era black-and-white striped prisoner’s leg. We have to know when to set the project aside and focus on something else to relieve us of the weight and the stress.

Caught, Prison, Chain, Metal, Fig, Ball

Snow Ball: The project rolls downhill, gathering snow and twigs and squirrels and whatever it rolls over. When it’s moving under its own weight, stay out of its way.

Idiot Ball: A tvtropes favorite of mine. The idiot ball is a metaphorical object carried by a character who is being hopelessly obtuse and overlooking something obvious that would solve the problem of the day. If you’re not careful, this can become you. Double-check yourself from time to time to make sure the problems and solutions you’ve created actually make sense.

Ballroom dance: Sometimes the narrative needs to be as graceful as one: every step measured, every gesture flawless. Of course, the opposite is also true:

Latin, Dance, Tango, Ballroom, Dancing Couple

Wrecking Ball: Sometimes the narrative needs some devastation. Hop on the wrecking ball and smash it through some walls, knock down some central constructs, destroy what you thought your story was all about. Then rebuild it better than before.

Ball of Yarn: It seems like a good idea to have tons of different storylines woven together into an un-tangle-able knot of overlapping conflicts. But too much of a good thing quickly becomes a bad thing. The central conflict of a story has to be straightforward, though not necessarily simple. Less ball-of-yarn, more frayed sweater. Tugging on that loose thread should lead us inexorably toward the end of the story.

Wool, Yarn, Balls, Hobbies, Craft, Knitting, Needlework

Ball Lightning: one of those things which doesn’t seem like it should exist, and maybe/probably it doesn’t. This is a ball of pure condensed energy that falls to earth, rolls around unpredictably, then blows the fargo up, effecting some degree of burn damage and electrical disturbance and, you know, death. Sounds like a good template for a character.

I’m tapped out on this one, which disappoints me a little. So I turn to my readers. What other literary balls (huh huh, huh huh) am I leaving out?

This weekly remotivational post is part of Stream of Consciousness Saturday. Every weekend, I use Linda G. Hill’s prompt to refocus my efforts and evaluate my process, sometimes with productive results.