Posted in Scenes

Friday Five: 5 Quick Things to Remember When You’re Writing a Scene

I’ve been thinking about scenes lately, one of my favorite elements of writing, and thought I’d share.

1. Your hero has to be active. She has to want something and go after it.

2. Your antagonist has to be active. Just like the hero. Even if it’s from behind the scenes.

3. Both goals have to matter. Something has to be at stake; something bad has to result if (almost always when) the hero or antagonist doesn’t succeed.

4. Things have to get worse. Your hero can’t just make one try for the goal, fail, give up, and go back to being okay. He has to do battle, against increasing odds, across the scene. Then he can fail. Badly. (But not give up!)

5. Your hero may have only one antagonist, but that antagonist is not the only place that obstacles come from. Friends cause problems, parents step in the way, your hero becomes self-destructive.  The world itself makes trouble–weather, culture, history—everything can conspire to stop your hero from reaching their goal. Obviously, you’re not going to throw everything all together in one scene, but remember to check out all the choices in the smorgasbord of obstacles, and pick the ones that fit the moment best.

To read more about scene, pick up one or both of these great books: James Scott Bell’s Plot & Structure and Jordan Rosenfeld’s Make a Scene. Then go write a few wonderful scenes of your own.

Posted in Antagonists

Piecing Together an Antagonist

Yesterday, Sherrie Petersen at Write About Now reminded me about a critical element of the antagonist–they don’t change.

I know…but sometimes I forget.

This was actually part of Sherrie’s post on making sure that every character except the antagonist has a story arc, at the end of which they do change. But, yeah, not the antagonist.

I’ve been working these last few days, to try and get closer to my antagonist, to turn her into a real person who does real things to impact/hurt my hero. I’ve been doing research about the type of person I know her to be, and I’ve been checking into my craft books on techniques for creating this character role in a story.

I haven’t pulled together a complete picture yet, but here are a few of the thoughts & pieces that have been floating around in my mind and my computer:

  • Just because the antagonist doesn’t change, this does not mean they don’t have a goal. They do. It’s got to be, in basics, the same goal as the hero–hence the big conflict as they each try to go after it.
  • I’m pretty sure it’s James Scott Bell (in Plot & Structure) that your antagonist had better be as strong, preferably stronger than, your hero. Otherwise, your hero, even if/when they win the battle, doesn’t come off looking all that powerful. Cuz, you know, maybe even a toy poodle could beat that wimpy antagonist.
  • The antagonist’s meanness or selfishness or paranoia or destructiveness has to translate into action. Just as each scene has to have your hero doing specific things to get to their goal, the antagonist has to do specific things to stop them, or to get to the goal themselves. Keyword here: specific. Snidley Whiplash doesn’t just sneer and bluster–he actually ties Penelope Pitstop to the railroad tracks. Okay, yes, over and over and over, but you get the point.

  • The antagonist has to have just as much (more?) at stake, in terms of not reaching their goal, as does the hero. Why does it matter so much to the bad guy to get the treasure, to keep the hero away from it? What will happen to the antagonist if they don’t win? And whatever something is, it had better be really, really bad. Symbolic or not, we’re talking life & death here–for both sides.
  • Layers. The antagonist has to have layers, just like the hero. Unless, you know, you’re purposely writing about Snidley and Penelope. The more you can make your reader understand the bad guy, the more tension you’re going to create on the page–because it’s not just all rooting for the good guy at this point. Wouldn’t it be great, you’ve got your reader thinking, if everybody could be happy? And they get all stressed out while they read, because they know that’s impossible. Tense, stressed reader? That’s a good thing!
  • You need to know what your antagonist is doing behind the scenes. Not just what they’re plotting and scheming, not just the traps they’re setting up for your hero that will cause great pain and strife, but their day-to-day life. What do they do when they’re not thinking directly about how to mess with the good guy? Because out of that daily routine will come the other stuff–if you know that, every morning, your antagonist has to drive across the Golden Gate bridge, well…suddenly you can start thinking about a really good car chase, with those orange (no, they’re not really gold!) pillars coming out of the fog, one by one, as the drivers barrel through all the traffic.

You need to do the work. This is what I’m telling myself right now, after writing a first draft in which the antagonist is pretty  much a limp, whiny noodle of a character. That it’s time to do the work, to figure out who this person is and what she does. Because, honestly, I can’t stand to write another draft without her being there, without her pushing buttons and creating problems–doing stuff.

What about you? How well do you know your bad guy? Got any tricks to share, for turning a vague sense of blech into a living, breathing character? Drop those thoughts into the comments!

Posted in Writing Tools

Scrivener for Windows: Let’s Talk

First, to all the people doing NaNo or PiBoIdMo, let me say good luck and, please, have fun!

If you follow me on Twitter or Facebook, you probably already know that–last week–I downloaded the Beta version of Scrivener for Windows. I was debating whether to get it or wait for the complete version next year, but I’d finished that first draft, and I was kind of moping around in the transition stage (i.e. not moving OUT of the transition stage), and–honestly–I needed a new toy. And there was Literature & Latte just holding out this lovely, glittery, ribbon-wrapped present for me…

Anyway, I thought I’d talk a little bit about what I’ve done with Scrivener so far, and any glitches and/or tricks I’ve found. If you’re playing with this new version (or in love with the old stuff) and want to share problems or solutions or just all-out-adoring-love, please drop them into the comments. Everyone should benefit! 🙂

Here’s what I’ve done so far:

  • Imported a lot of the PDFs on my computer into the research file. These include things as small as a photograph of 1913 hairstyles to a pretty big book–a dictionary of dry goods terms–published in 1912. The importing went seamlessly. So far, viewing and reading the PDFs seems pretty slow, but it’s not exactly speedy outside of Scrivener. I haven’t really spent any time on this, so I can’t say for sure whether I’ll use Scrivener as a reading tool for this or not. It is nice to have them all there to just remind myself easily what I’ve got.
  • I set up a Notes folder with individual “texts” (files that you can view as a document or a corkboard index card) for different categories. Mostly, these are texts for each characters–things I’ve thought about while I was writing the first draft and since I finished. I’ve also got a text in there for random plot notes that aren’t yet attached to a scene.
  • I set up my Scenes folder and started throwing in ideas. I’ve been re-reading James Scott Bell’sPlot & Structure, and putting in ideas that he makes me think of–which, honestly, happens every time I read this book, so if you don’t have it yet, go get it. I’ve got scene texts for most of Act I, up to that first doorway of no-return. No, I’m not sure if it’s no-return enough yet, but that’s okay. Because it’s so easy to change things.

Really, I’m surprised that I feel this way about Scrivener. I’ve used Word for years, and–you know–other the standard stupid stuff it doesn’t to–I’m happy with it. I’ve got a pretty organized file structure that I use in Explorer–very similar, actually, to what Scrivener has set up for me in their software. But here’s the thing–with Scrivener, I don’t have to switch back and forth between Word and Explorer to work/see the organization.

I know…how lazy can someone be? One click, maybe two, to get a file or make a change, and now I’m whining about that being too much work. But somehow, it feels like more than that. It really does feel, so far, like Scrivener has everything I need, right there, all in one spot. And as I plot and organize and brainstorm, not having to click out of the application seems to keep my brain more focused, more still in touch with the thoughts I’m having and hope to have soon.

Now…keep in mind I haven’t tried to write a scene yet. I’ve got lots of notes, many paragraphs and bulleted-lists long, but I haven’t started to actually create any new stuff.  I know I’ll give this a try, writing scenes here, and my gut is I’m going to like it, but you’ll probably get another update when I get there.

And the software isn’t perfect yet. I’ve talked back and forth with a few other writers, and some of them have run into more problems than I did. My download and install when smooth as silk, and (I should not be saying this out loud), the software hasn’t crashed yet. I know, for some people, it was crashing and certain features were flat-out not working. I think some of these people tried a redownload and install, which might have helped–maybe they’ll chime in here and let people know if that was a good trick.

Scrivener doesn’t always remember my font/style changes. I haven’t figured out yet if this is a bug, or just that I’m not doing something consistently. Every now and then I just type too fast for it, and I have to check that there isn’t a crash. So far, no crashes; it’s just that I can’t type anything else until the software/screen catches up. I’m really hoping that, when the final version comes out, this isn’t a problem. That could be a true obstacle toward writing scenes within Scrivener. I’m still learning where I have to click within the file structure to show all the cards I want together on the corkboard, but that’s just a learning curve.

And, oh, that corkboard! It’s like the people at Scrivener knew the one thing I needed from them to get all my work into the computer, where I’m most happy to have it. I’ve always stumbled when it came to using real index cards or getting notes up on my whiteboard. The cards/whiteboard are never big enough to hold all the notes, and I’ve never been any good at writing one line for a scene and then remembering all the layers/ramifications that went went with that line. Not to mention, I cannot read my own writing quickly and easily, especially not in the notes that come flying out when I’m brainstorming.

Now I can look at the one-liner on a card and know that everything else I’ve thought about it is there, one layer down. I can delete things that aren’t working and add new material, without covering a real index cards in scratchouts and tiny words scribbled into tiny spaces. I can put the corkboard on Full-Screen and see 10-12 cards/scenes/ideas at once.

The corkboard makes me very happy.

What about you? Have you downloaded Scrivener for Windows yet? Have you been using the Mac version for years? Got any tips/thoughts to share with the rest of us? We’d love to hear!

Happy Monday and Happy Writing.

Posted in Writing Books

Friday Five: Favorite Writing Books

I’ve written about some of these books here, but it felt like time to just toss up a list. As of today, and in no particular order, these are my top 5 books on the craft of writing. If you’ve got some other favorites, add them to the comments, where everybody can see!

I have to mention one other book, which I haven’t actually read yet, but which I have on order–after listening to Merrily Kutner explain the diagramming method for picture books that the author teaches.  I’m pretty sure I’m going to seriously love  Eve Heidi Bine-Stock’s How to Write a Children’s Picture Book, Volume I: Structure. I’m pretty sure I’m going to like Volumes II and III, too, but I’m going one at a time for now!

Posted in The Beginning, The End, The Middle

Beginnings, Middles, & Ends–What Goes Where?

Friday, I had a pretty productive day. I sat down and did some thinking about some new scenes in my WIP, and I ended up with a basic plot arc–styled after Martha Alderson’s Plot Planner in Blockbuster Plots-Pure and Simple. I took a photo and posted it on my other blog, if you want to check it out.

As I worked on the plot arc, though, I could see all these threads that I don’t have woven in yet. This is fine, obviously, since I’m just getting started. Still, too many loose story threads, just like too many loose threads on my clothes, can drive me a bit nuts until I get them a little more tucked away.

So this morning I’ve been browsing through some writing books–reading up on beginnings, middles, and ends–and trying for an early placement of some of these threads. This seems to help me look at the rising (hopefully!) tension of the plot, to think about where the big things should happen and how I can build to those spots. For me, it’s mostly about what happens:

  1. Before the hero’s first threshold–that inciting incident that is a microcosm of the whole, big story problem.
  2. After the hero’s death (symbolic or otherwise)–when they face their worst crisis and make their most important (and hardest) choice.
  3. Everything in between.

Here are a few things I came up with, in general terms, for what we should be doing in each of those sections.

Beginnings

  • Introduce the compelling hero
  • Establish the hero’s story goal/problem
  • Create a push/pull tension for hero around that problem
  • Establish the primary/most threatening antagonist
  • Establish the story world
  • Disturb that story world (seriously disturb it!)

Middles

  • Strengthen hero’s goal & opposition to that goal
  • Amp up the stakes for hero
  • Amp up the stakes for the antagonist
  • Strengthen and complicate character relationships
  • Throw in some new, surprising information (Thanks to Jordan E. Rosenfeld, in Make a Scene, for this one.)
  • Establish a sense of death hanging over the story world (And thanks to James Scott Bell, in Plot & Structure, for this one.)
  • Set up hero to make big choice, while making it “impossible” for hero to make that choice
  • Seed and (later) reveal secrets.

Endings

  • Resolve all story threads
  • Test, one more time, hero’s big choice
  • Show the impact of that choice choice–on hero and the whole story world

What about you. When you plot, do you just work through scenes in the order they play out? Or do you, like me, try to position them in one of the main sections of the story arc? And, please, freel free to tell me anything I’ve missed! 🙂