November 1, 2017 · 6:00 am

Pantsing vs. Plotting or Somewhere in the Middle #NaNoWriMo2017 #amwriting

A friend of mine recently said, “I did what some gurus suggested for NaNoWriMo and planned out my book. All the joy is off the idea now, and I want to do something different.” This is not an uncommon occurrence. For some people, planning the outline makes them feel they have already written the story and they lose their enthusiasm.

I am a plotter, but I am also a pantser. A great article on this subject can be found at The Write Practice.

Quote: Simply put, a plotter is someone who plans out their novel before they write it. A pantser is someone who, “flies by the seat of their pants,” meaning they don’t plan out anything or plan very little.

Planning what events your protagonist will face is called plotting, and I make an outline for that.

“Pantsing it,” or writing using stream-of consciousness can produce some amazing work. That works well when we’re inspired, as ideas seem to flow from us. But for me, that sort of creativity is short-lived, unless I have a brief outline to follow, a road map of some sort.

Participating in NaNoWriMo has really helped me grow in the ability to write on a stream-of-consciousness level, but that only works for so long before I need a reminder of what my story was about in the beginning. My storyboard gets me back on track without making me feel like the creativity is already done.

One NaNoWriMo joke-solution often bandied about at write-ins is, “When you’re stuck, it’s time for someone to die.” Sadly, assassinating beloved characters whenever we run out of ideas is not a feasible option because we will soon run out of characters.

As devotees of Game of Thrones will agree, readers (or TV viewers) get to know characters and bond with them. When cherished characters are too regularly killed off, the story loses good people, and we must introduce new characters to fill the void. The reader may decide not to waste his time getting invested in a new character, feeling that you will only break their heart again.

The death of a character should be reserved to create a pivotal event that alters the lives of every member of the cast and is best reserved for either the inciting incident at the first plot point or as the terrible event of the third quarter of the book. So instead of assassination, we should resort to creativity.

This is where the outline can provide some structure, and keep you moving forward.  I will know what should happen in the first quarter, the middle, and the third quarter of the story. Also, because I know how it should end, I can more easily write to those plot points by filling in the blanks between, and the story will have cohesion.

Think about what launches a great story:

The protagonist has a problem.

You have placed them in a setting at a given moment, and shown the environment in which they live.

You have unveiled the inciting incident.

You know what they want, but you aren’t sure how far they will go to achieve it.

Now you need to decide what hinders the protagonist and prevents them from resolving the problem. While you are laying the groundwork for this keep in mind that we want to evoke three things:

  • Empathy/identification with the protagonist
  • Believability
  • Tension

We want the protagonist to be a sympathetic character whom the reader can identify with; one who the reader can immerse themselves in, living the story through his/her adventures.

But for NaNoWriMo, speed is everything. I need to get my 1,667 words every day, and I can’t take the time to sit back and ponder what to write next.

I find that this is where a loose outline helps me write quickly. Readers want the hindrances and barriers the protagonist faces to feel real. A loose guide helps me develop setups for the central events. This enables me to quickly lay down the narrative that shows the payoffs (either negative or positive) to advance the story: action and reaction.

Some authors resort to “idle conversation writing” when they are temporarily out of ideas.  If you can resist the temptation, please do so—it’s fatal to an otherwise good story. Save all your random think-writing off-stage in a background file, if giving your characters a few haphazard, pointless exchanges helps jar an idea loose. (However, for purposes of wordcount, if you wrote it, you can count it!)

One failing of NaNo Novels in their rough draft form is their unevenness. Try not to introduce random things into a scene unless they are important. Remember, to show the reader something is to foreshadow it, and the reader will wonder why a casual person or thing was so important they had to be foreshadowed.

Both over planning and under planning can lead to a book that is stalled and a writer who believes they have ‘writers’ block.’ For me a happy medium lies in a general outline, done as a brief storyboard:

What has prevented you from writing in the past? Did you get busy? Did you sleep in? Did you feel uncreative? These are mental roadblocks we all experience. The whole point of NaNoWriMo is to develop the ability to work through these hindrances.

Remember, you are a superhero with a keyboard, slaying the monsters of indolence and lack of creativity.

My dear friend, author Stephen Swartz, had this to say on the subject of over planning: “The story is your ship, the NaNo your ocean. Let the keyboard be your wind! May metaphors drive you to new lands!”

I completely agree. Do a little planning, but write like the wind, and let the story take you where it will.

Credits and Attributions

The Pros and Cons of Plotters and Pantsers by The Magic Violinist, The Write Practice, http://thewritepractice.com/plotters-pantsers/ © 2017

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October 30, 2017 · 6:00 am

Developing Discipline #NaNoPrep #NaNoWriMo2017

Every author knows that writing is about so much more than merely laying words down on a page.  Most people with a minimal education can do that, and can even whack out a creditable paragraph or two. However, sustaining the momentum and carrying that vision through an entire novel is quite another thing.

Over the years, I’ve seen disparaging articles where people have expressed their scorn and disdain of authors who participate in Nation Novel Writing Month, mocking the notion of a “competition,” deriding both the authors and work that emerges from this month of madness and frozen pot pies.

They’re missing one important point: to write a novel one must begin a novel and make the time to complete it. It takes discipline to write 50,000 words in 30 days. Most people don’t have what it takes to commit to that kind of regimen. Participating in NaNoWriMo forces the author to sit and write a minimum of 1,667 new words every day. If the participant does only that, they will have completed a 50,000 word novel in 30 days. I generally manage between 2,000 and 4,000 words a day during NaNoWriMo.

So, to the naysayers, I say, “Fine. If it takes a special month of writing and a group frenzy to get some people fired up about an idea they’ve had rolling around in their heads, who am I to complain?” I am a reader as much as I am an author. The more books that are written, the merrier I will be.

Here’s a short list of well-known novels to emerge from NaNoWriMo particpants:

  1. Water for Elephants, by Sara Gruen. On the best-seller lists for over a year, turned into a movie starring Reese Witherspoon and Robert Pattinson, started as a NaNo novel.
  2. The Night Circus, by Erin Morgenstern. What eventually became The Night Circus began life in 2004, seven years before it was finally published, started as a NaNo novel.
  3. Wool, by Hugh Howey. Howey’s dystopian sci-fi novel is one of those credited with putting self-publishing on the map, started as a NaNo novel.

Authors all begin knowing very little about how to write something another person would want to read. But if you maintain the dedication you develop in November, you can learn how to express what your heart feels. Work at learning the craft as hard as you worked to get your wordcount, and you will develop that talent for storytelling.

I think of the many authors to come who will gain both discipline and love of the craft through participating in NaNoWriMo. Many truly talented people are now embarking on learning a craft, committing their time and resources to educating themselves about how to write a novel that others will want to read. Several years down the road, who knows what wonderful works of fiction will have emerged from this year’s madness?

I only know that I am always looking for a good book, and so I will be first in line, hoping to be impressed by a fresh, new work of art. Therefore, I volunteer as a Municipal Liaison for NaNoWriMo. Every year we have new, young writers, with fresh, amazing ideas. But we also have many new older people who are writing their first novel, embarking on a dream they always had but never thought they could do.

The fact is, most people who begin a novel in November do not reach their goal of 50,000 words and never finish those novels. They do not have the discipline to sit down every day and dedicate a portion of their time to this project.

A great number of NaNo authors discover that doing NaNoWriMo is just like doing karaoke. They love to read, and they want to write the next Gone with the Wind, but their work reads as pleasantly as a tone-deaf drunk singing Wind Beneath my Wings. They are not talented writers, and their work isn’t stellar. Just because the rough draft was finished in thirty days and the author got the winner’s certificate of completion, it doesn’t mean that what they wrote was good. It just means they had the discipline to write it.

But despite the high number of would-be authors who fail to finish their novel, a few writers in each age group will continue writing after the month of madness is over. They will embark on the process of educating themselves in the craft.

These authors see the goal and are filled with the desire to finish what they started, knowing they will have to rewrite, edit, revise, and edit again to truly finish their book. When I talk to them and hear how fired up and passionate they are, I am proud to have been a part of their writing life.

Whatever gets a writer fired up and writing is fine by me, and we are all the better for the experience.

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October 27, 2017 · 6:00 am

#FineArtFriday: River View by Moonlight, Aert van der Neer

 

River View by Moonlight, Aert van der Neer [Public domain], via Wikimedia Commons

Aert van der Neer, or Aernout or Artus (c. 1603 – 9 November 1677), was a landscape painter of the Dutch Golden Age, specializing in small night scenes lit only by moonlight and fires, and snowy winter landscapes, both often looking down a canal or river.

Description:
View of a village on a river by moonlight. In the foreground two horse and carriage on a dirt road. To the right a fisherman on a small boat on the water. On the horizon two windmills.
Date: Circa 1640-1650
Medium: oil on panel

Credits and Attributions:

River View by Moonlight, Aert van der Neer [Public domain], via Wikimedia Commons / Wikimedia Commons contributors, “File:Rijksmuseum neer.jpeg,” Wikimedia Commons, the free media repository,  https://commons.wikimedia.org/w/index.php?title=File:Rijksmuseum_neer.jpeg&oldid=194438646 (accessed October 27, 2017).

Wikipedia contributors, “Aert van der Neer,” Wikipedia, The Free Encyclopedia, https://en.wikipedia.org/w/index.php?title=Aert_van_der_Neer&oldid=770891498 (accessed October 27, 2017).

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October 25, 2017 · 6:00 am

Writing to a Theme #NaNoWriMo2017 #amwriting

November 1st begins the merry month of madness known as NaNoWriMo. Once again, as I have for the last seven years, I will spend the thirty days of November on an intensive writing binge.

Every day I will sit and write at least 1,667 NEW words on my current work in progress. If I do only that, I will have 50,000 words by Nov. 30th, which will bring the rough draft of that book nearly to completion.

But I generally manage between 2,000 and 4,000 words a day, and I work on several different projects. This year, while I WILL work on the rough draft of my current work-in-progress, my official project is another collection of short stories, poems, and flash fictions, all of which will be written to a variety of different themes.

The reason I need to build the backlog with a wide variety of themes is that most anthologies and many publications will call for submissions based around a central idea–such as  redemption, bridges, asylum–a large concept that  unifies the disparate stories.

So, my plan is to write to as many different themes as I can think of. Hopefully, if an opportunity presents itself later, I will have the perfect story ready, one that will only need some revising and editing.

One question I hear often is “how do I identify the theme of my story?” I have discussed this before, but it bears mentioning again. Theme is what the story is about on a deeper level than what is seen on the surface. It’s the big meaning, a thread that is woven through the entire story, and often it’s a moral. Love, honor, family, redemption, and revenge are all common, underlying themes.

Sometimes it’s difficult to write a short story unless you start out with a theme in mind. The same can be said for novels, although the theme can emerge more slowly than in short stories. For me, writing to a theme makes the process easier because half the work is done—I know what I’m writing about.

Several of the stories I will be working on are for themed anthologies with open calls for submission, but whose closing dates are rapidly approaching. When I made my list of proposed stories, I searched Submittable for open calls, so I know the desirable themes in advance. Some publications have submission dates that are quite a ways out, some have short deadlines.

Knowing the trending themes publishers are asking for is crucial to building your backlog with salable stories, so if you don’t have a Submittable account, you should get one.

What I hope to do in each story is to layer character studies, allegory, and imagery to emphasize the central theme and support the story arc. Sometimes I am successful, other times, not so much, but I still keep trying.

Most of my books are based around the hero’s journey, and how the events my protagonists experience shape their reactions and personal growth. The hero’s journey allows me to employ the theme of good vs. evil and the sub-themes of brotherhood, and love of family.

These concepts are important to me on a personal level, and so they find their way into my writing.

What themes are important to you? When you look for a book, what catches your interest? I am not talking genre here, I am speaking of the deeper story. When you look at it from a distance, what do all the stories you love best have in common?

Political thrillers: Set against the backdrop of a political power struggle. Political corruption, terrorism, and warfare are common themes.

Romance Novel: Two people as they develop romantic love for each other and work to build a relationship. Both the conflict and the climax of the novel are directly related to that core theme of developing a romantic relationship, although the novel can also contain subplots that do not specifically relate to the main characters’ romantic love.

Literary fiction focuses on the protagonist of the narrative, creating introspective. These are in-depth character studies featuring interesting, complex and developed characters. Action and setting are not the primary drivers of the story arc here. Instead, action and setting are carefully developed in such a way they frame the character, and provide a visual perspective. Allegory is a featured motif in many literary fiction novels.

Science Fiction: realistic speculation about possible future events, based solidly on adequate knowledge of the real world, past and present, and on a thorough understanding of the nature and significance of the scientific method. Science and technology are a dominant theme but based on current reality. Characters are still subject to sub-themes such as morality and love, but setting and science are the main themes.

Fantasy: Often set in alternate Earths, medieval times, or ancient worlds, the common themes are good vs. evil, hero’s journey, coming of age, morality, romantic love. Can also be set in urban settings with paranormal tropes.

On the surface, these types of books look widely different but all have one thing in common–they have protagonists and side-characters. These imaginary people will all have to deal with and react to the underlying theme of the book.

Morality, love, coming of age–these ideas can be found in nearly every book on my shelves or in my Kindle. These are the themes that were most powerfully depicted in the books that rocked my early reading world and are the sort I still seek out.

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October 23, 2017 · 6:00 am

Literary or Genre Fantasy? #amreading

A question was recently asked in a Facebook authors’ group that centers around literary fiction, “What is literary fantasy?”

The answer is complicated, and many people who are hardcore readers of obscure literary fiction will radically disagree with me: Some work qualifies as literary fantasy because of the way in which the story is delivered. Because of the style in which they’re written, these books appeal to a much broader fan base than work pigeonholed into either the “genre fantasy category” or the “literary fiction category.”

Each story has a life of its own. Authors envision how that tale must be set down, and some stories that take place in a fantasy setting are focused on the characters and their internal journey more than on the external experiences. That focus on the internal rather than the external is a literary trope. Sometimes a story needs to emerge slowly and be told with beautiful, immersive prose, and we need to trust that our readers will enjoy it if we craft it well. Allusive prose, steeped in allegory, is also a literary trope. Place those tropes and your characters in a fantasy setting, and you have literary fantasy.

Consider Cervantes’ Don Quixote. Published in two volumes, in 1605 and 1615, volume I, The Ingenious Gentleman Don Quixote of La Mancha, and volume II, The Ingenious Knight,  written by Miguel de Cervantes Saavedra, is considered the most influential work of literature from the Spanish Golden Age. As a founding work of modern Western literature, and one of the earliest canonical novels, it regularly appears high on lists of the greatest works of fiction ever published.

Yet, it is a fantasy, written about a man who believes he is a superhero.

Don Quixote had a major influence on the literary community, as shown by direct references in Alexandre Dumas’ The Three Musketeers (1844) and Mark Twain’s Adventures of Huckleberry Finn (1884).

Among modern work, in my opinion, Neil Gaiman’s Stardust qualifies as a novel that is a “literary fantasy.” This is because it is a fairy tale about a young man’s internal journey to manhood, steeped in allegory, and told with beautiful, poetic prose in an unhurried fashion.

Within the burgeoning population of authors who are just learning the craft, opinions regarding style and voice run high and loud. Among readers, those who love  and seek out literary fiction are deemed “snooty” while those who love the sheer entertainment offered by genre fiction are deemed “unschooled.” Readers are just people after all–there are haters on both sides of the literary aisle.

Let’s talk about Stardust. According to those critique groups armed with a little dangerous knowledge, in the very first sentence of chapter one, Gaiman commits the most heinous crime an author can commit: he tells the story with leisurely, poetic prose.

Quote: There once was a young man who wished to gain his heart’s desire. 

Those narcissistic gurus armed with tattered copies of Strunk and White, and limited talent of their own really lose their minds over what he does after that first sentence:

  1. He sets the scene: In a style reminiscent of traditional fairy-tales, he explains how our hero, Tristam, lives in the village of Wall. It’s a tiny town about a night’s drive from London. A giant wall stands next to the town, giving the place its name.
  2. He goes on to explain that there’s only one spot to pass through this huge grey rock wall, and it’s always guarded by two villagers at a time, and they are vigilant at their task.
  3. Gaiman comments that this guarding of the gap is peculiar because all one can see through the break in the wall is meadows and trees. It looks as if nothing frightening or strange could be happening there, and yet no one is allowed to go through the break in the wall.
  4. Only then does he bring us to the point: Once every nine years, always on May Day, a unique, traveling fair comes to the meadow. That is the only day the guards ever take a break from their posts on the gap in the wall.

I can hear the group’s de facto emperor pontificating now. What was Gaiman thinking, starting a fantasy novel with a telling, passive sentence followed by an info dump? Why, everyone knows real authors only use active prose and never, ever, offer information up front.

To that breathless expert, I say “not true, my less-than-widely-read friend.” Lean prose can be leisurely and poetic and still pack a punch. That is what true writing is all about, conveying a story in a style that is crafted and has a voice that is uniquely that of the author.

That is why I consider Stardust literary fantasy.

In Stardust, each character is given a certain amount of importance, and even minor players are clearly drawn. The circumstances and events gradually pick up speed, and in the end, the reader is left pondering what might have happened after the final words on the last page.

If you saw the movie that is loosely based on the book but haven’t read the novel,  you might be surprised at how different the book is from the movie. There are no cross-dressing sky pirates in the book, although Robert De Niro was awesome in that role in the movie. The movie bears little resemblance to the book, and, like The Hobbit movie, should be looked at as a different entity entirely.

In the opening lines of Gaiman’s Stardust, nothing unimportant is mentioned although the prose meanders in a literary way. Yes, he takes the long way, but the journey is the best part of this fairy tale. He never devolves into florid, overblown purple prose, yet it has a poetic feel.

In my opinion, the arrogant perception of “fantasy” as having no literary merit is complete hogwash when you look at the books that make up the western cannon of great literature. ALL of them are fantasies of one sort or another, beginning with Don Quixote and going forward, and all of them were created for the enjoyment of the masses.

True authors are driven to learn the craft of writing, and it is a quest that can take a lifetime. It is a journey that involves more than just reading “How to Write This or That Aspect of a Novel” manuals. Those are important, but they only offer up a part of the picture.

You must read widely, and outside your favorite genre. Read old books and new–but read. When you come across authors whose work deeply moves you, study how they crafted the sentences that moved you. You may find yourself learning from the masters.

Credits and Attributions:

Don Quijote de La Mancha and Sancho Panza, 1863, Gustave Doré [Public domain], via Wikimedia Commons.

First UK edition cover of Neil Gaiman‘s novel Stardust, Illustrator: Charles Vess, Publisher Avon Books, Publication date: 1 February 1999, via Wikimedia Commons, Fair Use.

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October 20, 2017 · 6:00 am

#FlashFictionFriday: Reflections on the Water

A rough, log bench at water’s edge

Pictured in mind’s eye,

Reflections on the water

Of an evening long gone by.

I see us as we were that night,

Grandmother, lake, and me.

Flannel shirt over frayed housedress

Beside denims worn with style,

Philosophies and grand ideas

Beside wisdom without guile.

 

She told me why the stars were hung

In the inky sea above.

A brilliant ebb and flowing dance

A ballet of starry love

To cricket song and bullfrog drum.

But I was bored with country life

And lured by rattle and hum.

“What you seek you’ll never find

In neon glow and city block.”

I longed to leave that place behind

New paths I yearned to walk.

 

And now I stand on memory’s shore

With Grandma once again.

The lake, and shore, and skies above,

Have gone, and gone again.

And simple wisdom I have gained,

Reflecting on the lake,

Grandma’s wisdom still remains

In who I came to be

Though different paths I take.

Credits and Attributions

Reflections on the Water by Connie J. Jasperson © 2017 All Rights Reserved

Moonrise, by Stanisław Masłowski   PD 100 yrs [[File:MaslowskiStanislaw.WschodKsiezyca.1884.ws.jpg|MaslowskiStanislaw.WschodKsiezyca.1884.ws]]

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October 18, 2017 · 6:00 am

The Stranded Novel #amwriting

Good first lines are critical. They have a singular duty, to involve the reader and kidnap them for the length of the book. For that reason, first lines and the opening chapters frequently become all that is ever written of a would-be author’s novel. Yet the authors of those few chapters have the entire book locked in their head.

Participating in NaNoWriMo teaches authors to write the entire book before they begin editing.

In your first draft, DON’T OBSESS over the small things and the finer details as these will derail your work. You will never get past the first chapter if all you can focus on is writing a brilliant opener. Write the entire story as quickly as you can, let it sit for a month or two while you do something completely different, THEN come back to it and focus on shaping the prose. Once you have the entire structure of the novel laid down on paper, you won’t be left wondering where to go next, writing and rewriting the same first chapter.

So, let’s assume the rough draft has been completed, and you are pleased with the way it ends. But you are looking at your early chapters, and they feel lackluster. Now is the time to shape the words, to write them so they are the words you would want to read if you were looking for a book to purchase.  The second draft is when you should obsess about your first lines.

One of the best first lines ever: George Eliot’s Middlemarch starts, “Miss Brooke had that kind of beauty which seems to be thrown into relief by poor dress.” That line makes one want to know Miss Brooke and the reader wonders who the observer is who chronicles this. It is a novel, but if it had been a short story, it would still have hooked the reader.

Good first lines make the reader beg to know what will happen next.  How about this first line from Ulysses, by the king of great one-liners, James Joyce: “Stately, plump Buck Mulligan came from the stairhead, bearing a bowl of lather on which a mirror and a razor lay crossed.”

Or, take the first line of Jane Austen’s Pride and Prejudice: “It is a truth universally acknowledged, that a single man in possession of a good fortune, must be in want of a wife.” 

Should your first lines be required to introduce your main character? I think not.

Dickens introduced an era in the opening lines of A Tale of Two Cities: “It was the best of times, it was the worst of times, it was the age of wisdom, it was the age of foolishness, it was the epoch of belief, it was the epoch of incredulity, it was the season of Light, etc…” 

In his Wheel of Time series, Robert Jordan frequently opened with a glimpse into the side of evil, illuminating the foes whom Rand Al Thor must somehow prevail against, and that always hooked me.

All of the above books were begun as great ideas and the manuscripts were finished, which is why they were published. Admittedly, Robert Jordan did pass away before the final books were completed, but he wrote 12 of the 15 books and left a complete story arc with enough notes that Brandon Sanderson could finish the job. Jordan left behind a complete story, not just a first chapter.

If you are serious about writing, it’s necessary to read, to see how other authors have completed their work. Of course, you must read works published in your chosen genre, but to become an educated reader/author, you should look outside your favorite genre. You don’t have to spend your precious book purchasing funds on books you believe you won’t enjoy. Do a little advance research via the internet and then borrow the books from the library.

Most importantly–published authors, whether Indie or traditionally published, have finished their work. Maybe they didn’t do as great a job as some people think they could have done, but they did finish the job.

Grand ideas about what you intend to write mean nothing if you don’t finish the job. If you want to lay claim to being an author, write the ENTIRE novel! Get that story arc down on paper before you begin rewriting the first chapter! If all you have ever written is the first chapter, over and over, and over… perhaps you need to set that idea aside and begin one that interests you enough to inspire you to write a complete novel.

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October 16, 2017 · 6:00 am

Jumpstart #NaNoWriMo2017 The Storyboard #amwriting

It’s mid-October and time for many writers to think about National Novel Writing Month—thirty days of dedicated writing where you take an idea for a novel, sit down and daily write at least 1,667 words of a rough draft. The goal of this month of concentrated writing time is to get the entire story down while the inspiration and ideas are flowing. At the end of the thirty days, you should have a novel-length story, hopefully with a complete story arc (beginning, middle, end).

Once that is done, the work really begins.

To succeed at completing a project with such an ambitious goal, it helps if you spend some time planning your novel.  To that end, I like to storyboard all my ideas. By making this effort when the idea is first in my head, if I become lost or find myself floundering in the writing process, I can come back to my original files and remind myself of what the original concept of the story actually was.

Many people use Scrivener for this, but I found the learning curve for that program to be too annoying, so I simply use a spreadsheet program, because all the important information is on the same line.

Scrivener costs $40.00which is not bad, but Google Drive has the free program, Google Sheets. This program is similar to Excel (which I use), so the principals I will be discussing are the same.

From Wikipedia:

Google Docs, Google Sheets, and Google Slides are a word processor, a spreadsheet and a presentation program respectively, all part of a free, web-based software office suite offered by Google within its Google Drive service. The three apps are available as web applications, and as mobile apps for Android and iOS. The apps are compatible with Microsoft Office file formats. The suite also consists of Google Forms (survey software), Google Drawings (diagramming software) and Google Fusion Tables (database manager; experimental[8]).

The suite allows users to create and edit files online while collaborating with other users in real-time. Edits are tracked by user with a revision history presenting changes. An editor’s position is highlighted with an editor-specific color and cursor.

Admittedly, this program doesn’t do what Excel does but it is perfect for this if you don’t have Microsoft Office.

But you can do this any old way that makes you happy, even by drawing columns on a sheet of paper by hand. The point is to have a list of names and places with five pieces of information pertaining to the story all on the same line. I have so many ideas that I created a blank template that I fill in, retitle, and save in a new folder for each prospective story. I may make as many as five storyboards in a week, out of which I may not write any of them, lol. But the ideas are there for me to access when I want them.

The following is a screenshot of my blank storyboard template. Originally this began as a way to do short stories, but my novels begin with ideas storyboarded out this way too.

The storyboard for my ideas works this way:

At the Top: Working Title

If it’s an idea for a short story, the intended publication and closing date for submissions (not needed it it is for a novel)

Column A: Character Names: list the important characters by name, and also list the important places where the story will be set.

Column B: About: What their role is, a note about that person or place, a brief description of who and what they are.

Column C: The Problem: What is the core conflict?

Column D: What do they want? What does each character desire?

Column E: What will they do to get it? How far will they go to achieve their desire?

As I said, this plays directly to how a linear thinker like me works. It takes advantage of the ideas I have that might make a good story, makes a note of all the pertinent ideas I have at the outset, and offers me a jumping off point.

Feel free to take this idea and run with it. Design the storyboard that works for you!

Credits and Attributions

NaNoWriMo 2017 Municipal Liaison Badge, © 2017 www.nanowrimo.org, (limited use permitted for Municipal Liaisons on blogs and social media).

Wikipedia contributors, “Google Docs, Sheets, and Slides,” Wikipedia, The Free Encyclopedia, https://en.wikipedia.org/w/index.php?title=Google_Docs,_Sheets,_and_Slides&oldid=805075002 (accessed October 15, 2017).

Screenshot of Blank Storyboard Template, © 2017 Connie J. Jasperson, All Rights Reserved.

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October 13, 2017 · 6:00 am

#FineArtFriday: More Things in Heaven

And therefore as a stranger give it welcome.
There are more things in heaven and earth, Horatio,
Than are dreamt of in your philosophy.

Hamlet, Act 1, scene 5, by William Shakespeare

About the Eagle Nebula: Quote from Wikipedia:

The Eagle Nebula is part of a diffuse emission nebula, or H II region, which is catalogued as IC 4703. This region of active current star formation is about 7000 light-years distant. A spire of gas that can be seen coming off the nebula in the northeastern part is approximately 9.5 light-years or about 90 trillion kilometers long.[4]

The cluster associated with the nebula has approximately 8100 stars, which are mostly concentrated in a gap in the molecular cloud to the north-west of the Pillars.[5] The brightest star (HD 168076) has an apparent magnitude of +8.24, easily visible with good binoculars. It is actually a binary star formed of an O3.5V star plus an O7.5V companion.[6] This star has a mass of roughly 80 solar masses, and a luminosity up to 1 million times that of the Sun. The cluster’s age has been estimated to be 1–2 million years.[7]

The descriptive names reflect impressions of the shape of the central pillar rising from the southeast into the central luminous area. The name “Star Queen Nebula” was introduced by Robert Burnham, Jr., reflecting his characterization of the central pillar as the Star Queen shown in silhouette.[8]

Credits and Attributions

Quote from Hamlet, Act 1, scene 5, by William Shakespeare, [Public Domain]

The Fairy of Eagle Nebula  By NASA [Public domain], via Wikimedia Commons

Wikipedia contributors, “Eagle Nebula,” Wikipedia, The Free Encyclopedia, https://en.wikipedia.org/w/index.php?title=Eagle_Nebula&oldid=804691133 (accessed October 12, 2017).

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October 11, 2017 · 6:00 am

Details and Exposition #amwriting

For me, as a reader, the skill with which the delivery of background information was handled in a given work is what makes a great story. Yet as a writer, I must continually battle the foes of Bloated Dialogue and Too Much Information. Fortunately, I have a large contingent of writing friends who keep me on my toes in that regard and editors who show no mercy.

In my previous post, we spent a great deal of time on world building. We created a mountain of information, the details we, as the authors, needed so we would know what we are writing about.

Now I’m telling you to keep the details to yourself.  We’re weeding through that field of dreams and constructing the skeleton of the world for the reader to flesh out in their imagination.

The trick to walking the fine line between too much and not enough is to consider what the characters must know to advance the story. In some ways, writing in the first person makes controlling the dispensing of important details easier for me. When writing in this voice, the story unfolds for both the character and the reader as they go. For this reason, many of my short stories are written in the first person.

Background information should be delivered as the characters require it, no matter what voice we write in. Don’t give your characters long paragraphs with lines and lines and lines of uninterrupted dialogue. Those become info dumps laced with useless fluff, sometimes seen as a wall of words by the reader. This is referred to, in the industry, as bloated exposition.

When the dialogue is trying to tell the reader too much, characters end up saying a lot of unnatural and awkward things.

 “Remember the first day at the academy? We showed up wearing identical uniforms. I was so humiliated. I hated you for that. I didn’t speak to you at all until Commander Janson forced us to be partners in the biology lab, but I managed to get us through that with all A’s. But look at you now, you lucky dog. Here you are, my second in command.”

“I know, sir. I despised you too, especially when you made me do all the dirty work, cutting up that alien amphibian. And you took all the credit for it. But now here we are, the best of friends and in command of the finest ship in the United Earth Space Fleet, the USS George Lucas. I really, really love being your flunky. It is just the most awesome gig ever.”

Probably not gonna happen. When two characters go back and forth explaining precisely what they are feeling or thinking, it doesn’t seem remotely real. The only time exposition in dialogue works is when both the reader and the character being spoken to don’t know the information being dispensed, but need it to move on to the next event.

In the second draft, we seek out and remove

  • Repetitions
  • Nonessential dialogue that does not advance the story
  • Nonessential historical information

We check to make sure the story

  • is cohesive,
  • only has events that flow logically,
  • has dialogue that contains information the reader must know.

If I were to tell you my story and place myself in my setting, I would say

It’s three in the morning. A woman sits at a broken desk, surrounded by dusty boxes. Bowed shelves filled with books loom above her, worn volumes, some more abused than others. The flickering glow of the computer screen illuminates the woman, the boxes, and books.  A train rumbling in the distance and the clicking noise of her keyboard are the only sounds to be heard in the night-silent house.

I’m not going to go into details you don’t need because you don’t care what is in the boxes, who our mortgage lender is, or that the furnace filter was just changed. The boxes, the books, and the keyboard are important—I write in our storeroom, also known as the Room of Shame. Right away, you know I’m not much of a housekeeper, I write at odd hours of the night, and you may suspect that trains symbolize an important thread in my life.

In real life, you might want to talk at length about the small details, but most of the important information is dealt with right away, and the rest is just socializing. When I think of the novels I enjoy the most, the important information in their conversations is dealt with up front, and the minor details emerge later as they become important.

Including nonessential socializing “just to show who the characters are” is where many first-time writers lose the reader. Your characters must socialize, but their conversations must revolve around the matter at hand.

Consider a private phone conversation you receive while you’re at work. Perhaps a friend just had a car accident. Your friend has a story to tell, and you have questions, but you don’t have time to get into the details. “Are you hurt? Can you drive the car? Do you need anything?” While the boss is glaring at the back of your head, you won’t ask if the other driver had insurance or if your friend will sue.

If writing a concise, cohesive narrative that readers will enjoy is not enough of a reason to keep your background information to just what is needed, I have another thought for you to consider.

In the real world, Indies and self-publishers pay the costs to publish their works up front. The length of the book determines these costs. In the eBook format, costs are minimal, and length doesn’t matter, but a paper book by a new author priced at more than $12.99 may not sell well.

Remember, with a longer book, external circumstances can also increase your out-of-pocket costs. Until you’re established, you must purchase your own stock to sell on consignment in local book stores. You’ll also need to buy books for your table at trade shows, conventions, and book-signings. Traditionally published authors also pay these costs, although they may not have to pay upfront as these costs will be taken out of their royalties.

Whether you are traditionally published or Indie, you’ll want to keep your cost as low as possible and still turn out a good book.

To do that, choose your words so they express what you want to say. Use them creatively to show the story, and employ every trick you can think of to keep the word count down to your target length without gutting the narrative.

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