If You Ever Wondered What Writers Talk About...

Brick by Brick: Introduction

This will be the first post of many. I want to provide something substantive on my blog. If not every day for forever, for the next week or two. I want something in this space people can come back to or discover. In all honesty I've been blogging close to seven years and I think I've covered every subject that can be covered.

When I think about what I can blog about I draw a complete blank. Reviewing is a huge under-taking and it's not really my thing. But, I can talk you to death about writing books. (And that's probably not very interesting to readers. Sorry! I promise when I get more savvy there'll be something here for you too.)

Anyway, this is what my blog will be for however long it takes to revamp a workshop I did long, long ago and post it online. These posts will be epically long, but I'm normally long-winded. Just ask anyone who knows me.

I digress...I liked the quote from Seabisquit that quotes Shakespeare. Hence the name of the workshop. Plus, this workshop, and consequently these blog posts, are about structure. Small units that create a whole. You can build a city brick by brick. You can write a book doing the same, except the bricks are metaphorical.

So... let's start with my favorite quote from Stephen King. In regards to writing a novel he says, “...one word in front of the other.” I've taken this concept and used it to write my novels. No matter the size of the novel it's just more manageable in small parts. Not to mention much easier to revise, especially when you don't know where to start or where the problem is.

Yet, over the years as I've studied craft I've learned that structure is the root of every story I've read or written. I've heard it's the bones of the story. Structure is something you can hang your story on. I've also learned it can be frustrating to understand the different types of structure. Not to mention, understanding the concepts enough to use them.

I'm sure you've heard of the Hero's Journey, The Snowflake Method, and even Scene and Sequel. All structure. (If you haven't that's okay I've got definitions coming.) The important thing for you to understand now is that structure is like any other writing tool. It's something you can fall back on when all else fails. I will say there is no surefire way to write or revise a novel. There is only your way.

In the end it's only what works for you. That's the wonderful part about the journey of writing. You get to explore many ways until one settles over you and you know that's it, that's my way. Here's my way. (Do know this may change. Again and again and again.)

Some definitions to keep in mind:

Protagonist:

The good guy. Also, they're the person standing in the way of what the antagonist wants.

Antagonist:

The bad guy. The person standing in the way of what the protagonist wants.

Do note that despite the definition of antagonist I do not include an evil laugh.

Scene:

Has a beginning, middle and end. It moves the plot forward. It has a protagonist and antagonist. It’s also a small portion of the book as a whole, and it better have a purpose.

Four Turning Points:

It's an event or moment in which the character changes and that changes their path. It can be big or small. Real Life Example: Getting locked out of your car and from that moment on you carry a spare.

Three Act Structure: 

A larger portion of a novel that consists of both scenes and turning points. The first act is usually the set up of the story. The second act is the dreaded middle and the longest of all the acts. The last act includes the black moment and resolution of the story.

Overall goal:

In regards to the main character it means what they truly and deeply want. In regards to you, the writer, it means what the character truly and deeply needs.

*****

For an introduction I think this is more than enough to make your head explode. Next is the beginning. Just as long, probably longer. Book mark or whatever.

I'm more than open to questions or outright disagreement. Do so in the comments.

Why I Screamed "Give Her The Book" For Twenty Minutes

* Warning: This is a long, rambly post. Stick with it, I promise it has a point. 

(Or, the importance of a MacGuffin. Loosely defined as the tangible thing a character wants. It also serves the role of a representation of the intangible thing a character wants.) 

One of my all time favorite movies is (500) Days of Summer. It's a bittersweet movie featuring a male lead with an incredible, INCREDIBLE movie soundtrack. So, when I heard about another movie (older) that also had a male as the central character that also had a bittersweet ending, I was in. 

The hero tells a mystery love story. The viewer doesn't know who he'll end up with, but soon I had a top favorite. This heroine had all the ear marks of a romance heroine. Or at least my Achilles heel type of heroine—she doesn't want to fall in love, especially not with the hero.  

Anyway, before they really become great friends she tells him a story about how she's looking for a book. This isn't just any book you can find at B & N or order off Amazon. (Hell, during the time period of this story I don't think Amazon existed.) This book has an inscription from her deceased father. Time moves forward (years) and one day hero finds THE BOOK.

At this point, I'm a puddle on the floor. They could have ended the movie right there and I'd have known how it would end. The hero had the MacGuffin. Since the writers hadn't been sleeping on the job the MacGuffin actually meant something. Since the characters just weren't people serving a plot or being sacraficed on the altar of plot, the MacGuffin said something. And because I checked the running time on the movie, and the writers weren't sleeping on the job, that damn MacGuffin needed at least one more damn beat. 

So, like any respectable romance writer faced with a decent love story I started to scream at the TV, “GIVE HER THE BOOK!” *

The point? 

Yes, a MacGuffin means nada without great character. No parts of your story means anything without great character. It's one of those things that goes without saying. But, a MacGuffin (with great character) can cinch the hell out of character arc, it gives the reader something to hang onto (or in my case a reason to scream), it can even be the way in to create deeper character. 

For me this was a great lesson to be reminded of. I've been having trouble nailing down my character. All I had to do was ask: What is the one thing in this world she wants most? 

What are some of your favorite MacGuffins? What are ways you cinch the character arc? What are some of the ways you create a character with depth?

* Because the writers weren't sleeping on the job, there's a twist. But, he gave her the damn book.

* I didn't name the movie because this post is one long spoiler.

I HAD THIS WONDERFUL POST ON SCENE STRUCTURE

And the blog Gods ate it. So, you are going to get the condensed version.

Scene: Has a beginning, middle and end. It moves the plot forward. It's also a small portion of the book as a whole. And it better have a purpose.

Now what do I mean that it has a beginning, middle and end:

Beginning: Scene opens. The reader is presented with the protag and antag and their overall goal.

Yes, there needs to be a scene goal, just like your character needs an overall goal for the book.

If you have that then you will have a middle:

Protag and Antag both try to get their goal. Through that you'll have conflict for your scene. Don't confuse conflict with argument. Conflict can be as simple as Mary(the protag) wanting to go buy red shoes and Sarah (her friend and antag of scene) thinks that red isn't her friend's color. Yes this can turn into an argument, but it doesn't have to.

The End of a scene someone has to win, lose, and/or the scene ends with more goals.

Ex:

******************************
Mary: I've had my eye on some red shoes.

Sarah: I'm sorry to say this, but you know I love you.

Mary: Then don't say it, but I already know what you are going to say.

Sarah: Red shoes makes your ankles look fat.

Mary: *sighs* I know, but they're Prada.

Sarah: Prada?

Mary: With an ankle strap and fabric with cherries embroided on them.

Sarah: *shakes head* Tempting, but the ankle strap will only make the middle part of your foot look fat. I say get the black Gucci ones.

Mary: But I really want the red ones.

Sarah: Okay, you'll be the one with the fat looking feet.

Mary*every other part of me is fat enough. I really shouldn't get shoes that...* I'm getting the red ones. Fat foot be damned.
**********************************

This may be a horrid example, but there is conflict, mention of fat feet which can be hilarious. The scene moves forward by the mention of weight issues and her friend adding to the misconception. And you can see who the protag and antag is in this scene.

Breakdown of scene goal:

Mary wants to buy red shoes. (P wants B)

Sarah thinks red shoes make friend's foot look fat and wants to talk her friend out of buying some. (A wants C)

Mary and Sarah both have a goal and there goals are locked together and someone has to lose. (This particular scene it's Sarah who loses.)

Since this scene isn't really a book I can only weave tales (lies) about how this scene fits into the whole. This scene can be the foundation for character, what type of friendship these women have (I know if someone told me I had a fat foot we better be friends or things will get very ugly) or it's feeding into the whole that Mary has to deal with her weight issues.

Lastly the purpose is equal to the goal. Mary wants red shoes.

Hopefully that helps. Tell me what you think about scene structure. If you have any questions I'll direct you to someone who really knows. Lastly, if you disagree with everything I said, go ahead have fun in the comments. I love a great debate.

On Friday I shall ramble on another topic: Things you should never do in your novel...