Category Archives: Creative Writing

Another thought exercise for writers…

A thought exercise for writers. Not all stories are simple adventures or romps. Stretch your Muse and consider what story mind include this moment:

His face lined with pain and compassion, the hand he reached out to caress those he loved instead crushed the life from them while he watched, unable to control the betrayal of his own limb and impotent to turn away.

Beat Writer’s Block with Idea Spinner!

Beat Writer’s Block with Idea Spinner – my new tool for writers!

Idea Spinner, my newest product for writers, is being released today for just $19.95. Starting with your initial concept, Idea Spinner sidesteps creative block and helps you quickly create an extensive Idea Web of interconnected material for your story.

Click here to check it out on our web site and view the demo video below:

10 Essential Tips for Beginning Writers

1.  WRITE!

What makes you a writer?  Writing makes you a writer.  Being a writer says nothing about how good you are, how prolific you are, whether you are published or not.  When you write you are a writer.  When you don’t, you aren’t.  So practice your craft and proudly call yourself a writer.

2.  You are only as good as your own talent.  GET OVER IT!

You have a gift.  Maybe its a grand one and maybe you wish you could exchange it.  But you can’t.  It’s your gift and its only as good as it is.  Sure, you can learn technique and structure and vocabulary, but you can’t be any better than you have the capacity to be.  So grow up, deal with it and write fiercely.

3.  Don’t try to be Shakespeare; he didn’t!

Every human being has a unique set of experiences so every writer has a unique perspective and a unique voice.  Don’t try to copy someone’s style or subject matter or message.  Tell us what you think, what you feel, what you see.  There is a place in the universe for every individual mind.  If you try to copy the shape of someone else’s spirit, that place will have already been taken.  Be yourself and your place in the grand scheme of things is waiting.

4.  Write from your passionate self

We all wear a mask to protect us from hurt in the world.  It also blocks the light of our vision.  As children, we quickly learn which behaviors are praised and which are punished. We learn to act other than we really feel to maximize our experience.  In time,we buy into that mask, believing it is who we really are.  But the mask evens out the peaks and troughs of our passion, leaving us afraid to explore the depths of our passion and reveal our true selves in words.  To speak with a clarion voice, you must shatter the mask, discover your actual self, and thrust it into the world.

5.  Be a Story Weaver – NOT a Story Mechanic!

Structure is important but not at the expense of passion.  No one reads a book or goes to a movie to experience a great structure.  Authors come to a story to express their passions and readers and audience members come to ignite their own.  While structure is the carrier wave upon which passion is transmitted, without the passion, it’s just noise.  Conversely, passion without structure can be full of sound and fury yet signifying nothing. So find the proper balance.  Let passion be your captain and structure be your guide.

6.  Let your Muse run wild.

The easiest way to give yourself writer’s block is to bridle your Muse by trying to come up with ideas.  Your Muse is always coming up with ideas – just not the ones you want.  If you try to limit the kind of material you will accept from her, she’ll shut up entirely.  So let your Muse run free.  When she gives you an hysterical moment with a polka-dot elephant while writing  a serious death scene, consider including it, perhaps as an hallucination.  Give it a try, it might liven up your death scene!  And after you’ve written it, if it doesn’t work, then save it in a file for later use.  It may seem like a waste of time, but your Muse will know she has been treated with respect, and will likely now give you just the idea you need.

7.  Don’t be a slave to convention

Beginning writers often look to other successful stories to learn how things ought to work.  But so do all the other beginning writers.  A book editor, agent, or script reader sees hundreds of manuscripts every year, all made up of the same pieces and hitting the same marks.  You’ll never get noticed in that crowd.  If you want your work to be discovered, break format, shake it up, do something different.  Make your sheriff 8 years old, make your two lovers twins, set your gothic romance underwater.  You’ll never be noticed if you don’t stand out.

8.  Be your own critic without being critical

Write something.  Do it now.  Now look at it not as an author, but as a reader or audience and ask questions about it.  For example, I write, “It was dawn in the small western town.” Now I ask: 1. What time of year was it?  2. What state?  3. Is it a ghost town?  4. How many people live there?  5.  Is everything all right in the town?  6. What year is it.  Then let your Muse come up with as many answers for each question as possible.  Example: 6. What year  is it? A. 1885  B. Present Day  C. 2050  D. After the apocalypse.  Then repeat: D. After the Apocalypse.  1. What kind of apocalypse?  2.  How many people died? 3.  How long ago was the disaster, and so on.  By alternating between critical analysis and creative Musings, you will quickly work out details about your story’s world, who’s in it, what happens to them and what it all means.

9.  Avoid the Genre Trap

Too many beginning writers see genres as checklists of elements and progressions they must touch, like checkpoints in a race.  But a genre is not a box in which to write.  It is a grab bag from which to pull only those components you are truly excited to include in your story.  Every story has a unique personality, you build it chapter by chapter or scene by scene with every genre choice you make.  By drawing on aspects of many different genres and combining those pieces together, you can fashion an experience for your readers or audience unlike any other.

10.  WRITE!

No matter what your natural ability, you will never approach your potential without exercise.  Jot down every idea.  Carry it as far as you can before it runs out of steam.  Do it again, and again: as many different ideas as far as you can take them.  Write nonsense words.  Write your concept of a villain’s shopping list for the supermarket (they have to eat, don’t they?) Write about anything.  Write about nothing!  But don’t stop, not now, not ever.  You are a writer aren’t you?  Then for God’s sake, WRITE!

Never Be Stuck for a Plot Again!

A writer asked today:

Dear Melanie,

Could you please tell me where can I find some material on western genre plot building.

Let me make it much clearer. I have a character Marshal, A saloon girl, Rancher, Preacher, Blacksmith and bartender along with 4 outlaw gang and 1 leader og the outlaw gang.

What I am trying to find is a story of events that can occur within this small town. Which direction can I take to find some events to get me to page 75.

Darryl

My reply:

Hi, Darryl

Here’s a link to my article, The Creative Two-Step, that uses that example to begin to develop characters in an old Western Town:  http://storymind.com/content/41.htm

This technique can also be used equally well for plot events.

The idea is to switch back and forth between analytical mode and creative mode by asking specific questions about your emerging story, then answering them in as many creative ways as you can. Then, you repeat the process by asking questions about each of the answers and then answering THOSE questions. In short order, you end up with hundreds of plot points.

Example:

Question:

How does the Marshall first find out about the gang’s activities?

Answers:

1. The gang rides into town hootin’ and hollarin’

2. He is told about the situation, right after he accepts the job and pins on the badge.

3. He saw a newspaper account of the town’s gang problem and came there on his own to get the job to clean up the gang.

4. The gang sends a telegram to the marshall’s home to let him know they are in town shaking it down.

Okay, that’s the first step – analytical (the first question), followed by the second creative step (all the potential answers).

Then you repeat, asking as many questions as you can think of about each answer. I’ll just do one as an example.

Answer 3: He saw a newspaper account of the town’s gang problem and came there on his own to get the job to clean up the gang.

Questions:

1. Where was he when he saw the newspaper?

2. Has he done this kind of thing before?

3. Why does he want to interfere?

4. What makes him think he is qualified to do anything about the problem?

5. Does he notify the town’s mayor or governing body before he shows up?

Then, you repeat the second “creative” step and provide answers.

Example:

Question 2. Has he done this kind of thing before?

Answers:

1. Yes, he is independently wealthy and does this all the time as a hobby.

2. Yes, one time. His family was killed when he was a child and in his first adventure, he read a newspaper account of a child who was made an orphan due to a gang’s violence in a town in the East. He brought the gang to justice and found a foster home for the child. It was so fulfilling, his ordinary job has been miserable since, and this new article has made him realize he needs to step forward to give his live meaning.

I could go on and on, but you get the idea.

Now, through this exercise, what events have we created for our story? Perhaps these:

1. A scene showing the Marshall as a young boy when his family was killed (by who and how and where can all be figured out using the Creative Two-Step).

2. A scene showing the Marshall see the first article and decide to get involved.

3. Several scene, perhaps in a montage or in a scrapbook of how that first adventure went.

4. A scene of him encountering this new newspaper article and how it affects him.

5. A scene of him quitting his job (how much he needs the money, what kind of job, and so on can be created using the two-step)

6. A scene of him arriving at the town.

7. How he gets the job (again, use the two-step to come up with ideas for this)

8. His first encounter with the gang (casual, antagonistic, high or low tension, anybody get hurt?, did the gang know he was the Marshall when they first encounter?)

Okay, again, I could go on and on and so could you. Just use the ol’ two-step method and then stand back, see all the ideas you’ve generated and create a plot sequence from all the notions like I just did above.

The details in each scene can be created using the very same method, once you have the main plot line sequence.

Melanie

Write your novel or screenplay step by step…

Writing Exercise: 108 Year Old Movie Clip 6 Days before San Francisco Quake

Narrative isn’t everything.  Many experiences in fiction and real life have no narrative at all.  While movies are often thought to be one of the most story-oriented media, here is a film clip that has no story, yet has tremendous meaning.  It was shot in San Francisco in 1906, just six days before the Great Earthquake.  Though there is no narrative, we cannot help but wonder what stories unfolded for the people we see just one week later.

As a good writer’s exercise, pick a person or two that you see in the clip and write a short article that might have been published in the newspaper a week after the quake about their experiences.

Write Your Novel Step by Step (2) – “Get Out of My Head!”

When beginning a new novel, writers are often faced with one of two initial problems that hinders them right from the get go.  One – sometimes you have a story concept but can’t think of what to do with it.  In other words, you know what you want to write about, but the characters and plot elude you.  Two – sometimes your head is swimming with so many ideas that you haven’t got a clue how to pull them all together into a single unified story.

Fortunately, the solution to both is the same.  In each case, you need to clear your mind of what you <em>do</em> know about your story to make room for what you’d <em>like</em> to know.

If your problem is a story concept but no content, writing it down will help focus your thinking.  In fact, once your idea for a novel is out of your head and on paper or screen, you begin to see it objectively, not just subjectively.

Often just having an external look at your idea will spur other ideas that were not apparent when you were simply mulling it over.  And at the very least, it will clarify what it is you desire to create.

If, on the other hand, your problem is that all the little thoughts, notions or concepts that sparked the idea there might be a book in there somewhere are swirling around in a chaotic maelstrom….  well, then writing them all down will make room in your mind to start organizing that material by topic, category, sequence, or structural element.

For those whose cognitive cup runneth over, the issue is that one is afraid to forget any of these wonderful ideas, or to lose track of any of the tenuous or gossamer connections among them.  And so, we keeping stirring them around and around in our minds, refreshing our memory of them, but leaving us running in circles chasing our creative tales.

By writing down everything your are thinking, not as a story per se, but just in the same fragmented glimpses in which they are presenting themselves to you, you’ll be able to let them go, one by one, until your mental processor has retreated from the edge of memory overload and you can begin to pull your material together into the beginnings of a true proto-story.

Whether you are plagued by issue one or two, don’t try to fashion a full-fledged story at this stage while you are jotting down your notions.  That would simply add an unnecessary burden to your efforts that would hobble your forward progress and likely leave you frustrated by the daunting process of trying to see your finished story before you’ve even developed it.

Sure, before you write you’re going to need that overview of where you are heading to guide you to “The End”.  But that comes later.  For now, in this step, just write down your central concept and/or all the transient inspirations you are juggling in your head.

In step 3, we’ll look at what to do with what you’ve written down…
<p style=”text-align: center;”><a href=”http://storymind.com/storyweaver.htm”>Write your novel or screenplay step by step…</a></p>

Drop Exposition through Arguments

Here’s a short one… A person talking is often boring. People arguing are often compelling. If you have to drop exposition, try to do it in the back and forth barbs of an argument. Let the characters use the information you need to convey as barbs in their back and forth attacks. Then your story won’t grind to a halt just because you need to tell your audience something.

Write your novel step by step…

Writing with Red Herrings

wp1f5f0204_06Excerpted from:

50 Sure-Fire Storytelling Tricks!

By Melanie Anne Phillips

Available in Paperback and for Kindle

 

The old expression, “A Red Herring,” means something that is intentionally misleading. In screenplays, a red herring is a scene, which is set up intentionally to mislead an audience.

One example is in the movie, “The Fugitive,” with Harrison Ford as Dr. Richard Kimble. He escapes from the prison bus, gets some street clothes, and is on the run.

He waits under a bridge and when an associate that he worked with stops his car for a red light, Kimble steps out and pretends to be a homeless person trying to wash his windshield for a buck. He uses this action as a “cover” while he holds a conversation with the associate to get some information and help.

In the background, out of focus, a police car slowly approach behind the associate’s car. You don’t see it at first because you are concentrating on the conversation. The police car stops. Suddenly, it’s lights and siren comes on. The audience is sure the jig is up. Kimble turns to look at it, and the police car whips around the associate’s car and takes off for some call it received.

The initial impression was that Kimble was about to be recaptured because the cops had recognized him. The “reality” was that they were just on patrol, got a call, and sped off with sirens wailing.

Red Herrings can be used for anything from the momentary shock value as above, to making a bad guy appear to be a good guy.

To make it work, you have to do two primary things:

1. Don’t leave out essential information or the audience will feel manipulated. Tricking your audience by misleading them is fun for them. But if you fool them by leaving out information they would legitimately have expected to be told about, then you are just screwing with them.

Red herrings are best accomplished by having information that is taken in one context and then the context is changed. This way, you aren’t holding back, you are just changing the perspective.

Your audience invests its emotions in your story. You don’t want to violate them. As an example, there is an old joke about a nurse in a maternity ward who comes in to a mother’s room carrying the new baby. She trips and falls and the baby hits the floor. Then, she gets mad at it for falling, picks it up, swings it around and bashes it against the wall. The mother is in hysterics. The nurse picks up the kid and says, “April Fool – it was born dead.” Don’t do this to your audience.

A better approach is to see a mom yank her child by the arm in a very abusive way while walking down the street. First reaction is she is an ogre and you run to stop her. Just then, you see the truck come whipping around the corner that would’ve hit and killed the child, and you stop in your tracks realizing the mom was saving his life. You look again, and the is hugging and holding him, and she is crying because he was almost lost, and because she startled him.
Psychologists call it “Primary Attribution Error,” and you can use it to your advantage. If done properly, they will love you for it.

2. Don’t change the rules of the game just to make things happen another way or the audience will feel that you lied to them.

The audience will give you their trust. They expect that what you tell them is the truth. They build on each bit of information, trying to understand the big picture.

You can easily change context to show something in a different light, but don’t tell them one thing and then simply say, “Oh that wasn’t true, I was just messing with you.”

That is a sure way to lose their trust, and once lost, you’ll never get it back.

Write your novel or screenplay step by step…