“All you need is the plan, the road map, and the courage to press on to your destination.”
Earl Nightingale quotes (US motivational writer and author, 1921-1989)
I'm a software engineer by trade. I've been a "Technologist" for a couple dozen years now, working for many different companies in the development of internal software, systems software and even shrink-wrap software. It's a rewarding career financially, and a very satisfying career. It's also a career that constantly challenges you to keep learning new things. Technologies come and go at a lightning pace, and failing to keep up makes you obsolete in just a short number of years. To keep my skills fresh, I'm constantly learning and trying new computer languages, design methodologies, development practices... anything to keep my mind active and my resume all sparkly.
That being said, there are also things that remain true in the world of computer programming. From my first programming job way back in '89 to my current job in good 'ol 2012, it has always been stressed how important it is to have a good idea of what you want to accomplish with your new application before you write one bit of code. By having this architecture, this road map if you will, you're forcing yourself to think about what you're trying to accomplish. You're focusing your mind on the task at hand, thinking about how the whole program fits with each part. The end result of your road map lets you clearly see where to start and where you'll end up.
The same logic could be, nay, should be applied when you are writing. In fact, one of the first things you should be doing (just before writing a line of text, and just after coming up with a grand idea to write about) is to develop the road map for your book (or short story or novella... really any size writing that will take a good amount of your time to write fits here). One of the first instincts new writers have is to take this grand idea for a story you have swimming inside your cranium and start throwing words down on a page. You're almost afraid that, should you pause, your story will waft away on the neural tides of random thoughts your brain constantly has. I know it's this way for me! But hold on... What about the WHOLE story? What about the parts of the story you might not think about from the outset? The novel is a long journey. While the old adage is true that every long journey begins by taking the first step, it's a very wise person who remembers to check his GPS before he starts!
Outlining your book helps you create your map and plan your literary journey. At its very basic, a book outline is a chapter by chapter description (usually in one or two sentences, but rarely more than that per chapter) of your book. Each line describes the important things that happen in the chapter. This doesn't mean describing every detail. Indeed, all you really want to hit on is any significant happenings going on in the chapter. In particular, you want to focus on items that change the book's direction. For instance, should a character die, or perhaps if a new character is introduced, you should definitely highlight such things in your chapter outline descriptor. What you end up with is a framework, a guidebook to how you intend your book to progress. I'm told that Margaret Mitchell, when writing Gone With The Wind, wrote the entire book backwards. Which is to say, she wrote the last chapter of the book first, and went back from there. What an amazing feat! I'm convinced that the only way she could possibly do this without losing her way is by having a book outline well in hand before she began such an undertaking.
If you're a new writer, or if you've never tried an outline before, give it a shot. I'm convinced you'll find the exercise to be very useful and enlightening. One more note I must pass along, however: While the outline is a great road map for your book, it is by no means a concrete highway!. Should you find yourself wandering down the path and discover a fork in the road you hadn't anticipated, feel completely free to re-write the parts of the outline that need to be redone. Remember, the road map is a guide, not a leash. You still control the story!
Wednesday, April 18, 2012
Monday, April 16, 2012
Wait, when is this taking place??
I have been reviewing my old writing, as I've previously mentioned. One issue I have noticed is that I paid absolutely no attention to the tense. As in, present tense, past tense, etc. One moment the story is taking place now, in real time. The next, it's in the past. God bless my friends and family who read it back when I was in High School. Either my story was so interesting that they were sucked in and paid no attention, or they just didn't say anything. I'm leaning towards the latter. It's really off-putting to read a story and step back and wonder what's going on. This paragraph reads like it's the past, that paragraph was in the present, but the topic hasn't changed. It's been confusing to watch movies that jump back and forth in time, sometimes even with books that do that. My story didn't even have a time-jump feature, it was just human error. I'm amazed that I picked up on such an egregious error, perhaps I am growing as a writer. You don't want to confuse your readers, and if I was so distracted by the mistakes I've seen, I'm sure you would be too.
Sunday, April 15, 2012
The Seduction of the Written Word
Don't try to figure out what other people want to hear from you; figure out what you have to say. It's the one and only thing you have to offer. ~ Barbara Kingsolver
I'm probably going out on a limb here, but I'd be willing to bet that anyone who enjoys putting their creative thoughts down on paper despised English class in high school and college, or at least certain aspects of it. Certainly in high school, the teacher's focus is to teach their students how to form the perfect sentence and the perfect paragraph. I can almost hear my old English teacher now: "Write your stories with perfect grammar, and you'll never have to worry about being misunderstood." I loved my teacher and her strict, unyielding ways, but of her ideas about perfect grammar and getting your point across to the reader I can say only one thing:
Bull Feathers.
In creative writing, I've always felt that the most important job a writer has is to use whatever tools she has at her disposal to make the reader understand what she is trying to tell them... but it is equally important to invite the reader in to whatever story they're reading. I don't believe for a second that the best way to accomplish this is to make sure my writing follows strict adherence to the latest English rules of literary politeness. I don't care if a sentence is a fragment, or if a paragraph follows the classic format we're all taught in school. What's important to me is to make my writing enjoyable by the reader. Otherwise, what's the point?
Let me share an example.
I'm probably going out on a limb here, but I'd be willing to bet that anyone who enjoys putting their creative thoughts down on paper despised English class in high school and college, or at least certain aspects of it. Certainly in high school, the teacher's focus is to teach their students how to form the perfect sentence and the perfect paragraph. I can almost hear my old English teacher now: "Write your stories with perfect grammar, and you'll never have to worry about being misunderstood." I loved my teacher and her strict, unyielding ways, but of her ideas about perfect grammar and getting your point across to the reader I can say only one thing:
Bull Feathers.
In creative writing, I've always felt that the most important job a writer has is to use whatever tools she has at her disposal to make the reader understand what she is trying to tell them... but it is equally important to invite the reader in to whatever story they're reading. I don't believe for a second that the best way to accomplish this is to make sure my writing follows strict adherence to the latest English rules of literary politeness. I don't care if a sentence is a fragment, or if a paragraph follows the classic format we're all taught in school. What's important to me is to make my writing enjoyable by the reader. Otherwise, what's the point?
Let me share an example.
Kevin sat forlornly in the cold metal folding chair, looking glumly down at his hands. He was in trouble, that much he knew. The police don't take people in just to give them free soda. He glanced up at the man sitting across from him. Silent, stony stare, eyes boring into Kevin's, picking mental locks. Kevin quickly looked down again. No, this guy certainly wasn't his friend.In the above passage, you'll find a couple of fragmented sentences. I like writing this way when I'm trying to "Tense Up" a scene, but I also like to use it to break up the prose a bit. Formality breeds expectation. Expectation can be like a comforting blanket, but it can also bore the hell out of someone. I think I'd rather break up the monotony and give the readers' eyes something interesting to look at than write the expected and risk those same eyes falling asleep, or worse, looking elsewhere. In any case, try doing the same in your writing. I think you'll be pleasantly surprised at the results!
"Kevin." the man spoke in a monotone voice. "You know why we brought you in, right?"
Kevin didn't speak, didn't move. His heart raced. What did they know? They couldn't know anything, he'd covered his tracks way too well. He decided to play dumb. "No," he mumbled, "I don't. All I know is I was watching TV when -"
The cop's huge hands slammed down on the metal table. "You know damn well what I'm talking about!" he shouted.
Thursday, April 12, 2012
Swift Thinking, or The Necessary Lack Thereof
"I suppose I'll have to write my name again." said Tom resignedly.
One of the fears that new writers have is the fear of not being understood. They work very hard describing their scene, and they try to use as much detail as possible. This is all good, but there are lines that can be crossed. These lines can turn a professional-sounding scene description into a mess of words that slow the reader down and make the pros groan from the almost physical pain such constructs can cause. For example:
"The problem with you," Jeff grated menacingly, "is your attitude! If you can't change it yourself, I'll be too glad to help!" He bolted towards his opponent like a greased lightning bolt, his angry fists a rapidly expanding thunderclap of pain and destruction.
I dunno about you, but I'm thinking that little paragraph is a real loser. The writer (me, of course) is trying to convey how angry Jeff feels, and how tense the situation is. He's using a lot of "Tom Swifties" to describe the scene, and it makes the scene, honestly, ridiculous. Let's try it again:
"The problem with you," Jeff said, "is your attitude!" His eyes flashed as he stepped a bit closer to his opponent. His voice fell to a barely controlled whisper. "If you can't change it yourself, I'll be too happy to help." The right hook hit his opponent squarely in the jaw, surprise masked by pain in an instant.
Can you see the difference? The tenseness is still there, the anger shows in both speech and in sparing words. There's no silliness with bad adverbage (my word) or extreme attempts at describing what's happening. The point I'm trying to make is, when you describe your scenes, think about ways to make your character do the actions. Describing too much takes a lot of work, and no one really loves to read it.
One of the fears that new writers have is the fear of not being understood. They work very hard describing their scene, and they try to use as much detail as possible. This is all good, but there are lines that can be crossed. These lines can turn a professional-sounding scene description into a mess of words that slow the reader down and make the pros groan from the almost physical pain such constructs can cause. For example:
"The problem with you," Jeff grated menacingly, "is your attitude! If you can't change it yourself, I'll be too glad to help!" He bolted towards his opponent like a greased lightning bolt, his angry fists a rapidly expanding thunderclap of pain and destruction.
I dunno about you, but I'm thinking that little paragraph is a real loser. The writer (me, of course) is trying to convey how angry Jeff feels, and how tense the situation is. He's using a lot of "Tom Swifties" to describe the scene, and it makes the scene, honestly, ridiculous. Let's try it again:
"The problem with you," Jeff said, "is your attitude!" His eyes flashed as he stepped a bit closer to his opponent. His voice fell to a barely controlled whisper. "If you can't change it yourself, I'll be too happy to help." The right hook hit his opponent squarely in the jaw, surprise masked by pain in an instant.
Can you see the difference? The tenseness is still there, the anger shows in both speech and in sparing words. There's no silliness with bad adverbage (my word) or extreme attempts at describing what's happening. The point I'm trying to make is, when you describe your scenes, think about ways to make your character do the actions. Describing too much takes a lot of work, and no one really loves to read it.
Wednesday, April 11, 2012
An Archaeological Find!
I've managed to find a handful of poems and a couple of stories I wrote years and years ago. Most of this was done between ages 16-19. I am excited to read all of it over and see if I can expand on what I've done or at least see what I have learned since then. I am going to share one of the poems today. This one was written at a time of self doubt and depression. I can see a big difference in the poetry written prior to this time in my life, and of course who I am today. All of these writings are like looking back at diary entries, little moments of my life captured in written time capsules. You tend to put a bit of yourself into everything you write, and in many cases I wrote out my own hopes, dreams, and fears into these.
I know all about you,
I know just how you think.
I’ve got down your manner,
I know just how you work.
I know what makes you tick,
I know just how you talk.
I know what you look like,
I know just how you feel.
You question life,
you question hope.
You question my love,
you forget your heart.
You question your faith,
you question your love.
You doubt your friends,
you question if their love is real.
I think you are strange,
I think you are lost.
I wonder who you are,
I think you are there.
I think you are scared.
I think you are brave.
I hope you are smart,
I believe you are me.
Tuesday, April 10, 2012
What now?
What to write about? Do you write about personal experiences, hopes, and dreams? Do you write about people you know but change their names and maybe spoof real life events?
In High School I wrote a lot of poetry, and quite a few short stories. Most poetry about unrequited love and love in general. What would you expect from a hormonal teenage girl? I've been on a mission to find my lost writings. I want to relive those memories, and see if I've grown in my abilities and by how much.
As for the short stories, most were based on people in my life at that time. Some of which are still in my life, via social media and a select few are still actively part of my life today. I will be on an archaeological dig tonight to find lost artifacts of my past. I hope to find the stories most of all, they've been lost for many years, and were so enjoyed by my friends and family back then. We'll see what I can find, and see if it inspires me now.
A Woman's Point Of View
“I am not an angel,' I asserted; 'and I will not be one till I die: I will be myself. Mr. Rochester, you must neither expect nor exact anything celestial of me - for you will not get it, any more than I shall get it of you: which I do not at all anticipate.”
― Charlotte Brontë, Jane Eyre
I've found it very interesting, having a woman as my antagonist in my book. I used to think I knew women. I mean, I married a women so I know all about them, right?
...
Well, as you've probably guessed, my shortsightedness shone through very quickly when I started writing through the eyes of Jennifer Newberry. Strong willed, independent, focused, career-driven -- I've come to realize the person I created was secretly the person I longed to be. She is a woman who had a rough time growing up, but worked through it all to become a fast-rising star in her field of expertise. She views the world as interesting, challenging and exciting -- and, perhaps, a bit beneath her. Although her arrogance doesn't show when she is 'on the job,' her colleagues notice it, and hate her for it. The must respect her as well, but mostly they hate her.
I asked two friends of mine to read my book as it stands now, one male, one female. I felt like my Jennifer was feeling stale, stiff -- like a cardboard cutout of an actual human being. From a direct view, she looked real and you could touch her and experience her. But if you approached her from a different angle, you saw her for the literary fraud she was. I wasn't really understanding why, until my female friend pointed out the obvious: Jennifer looked one-dimensional, because up to this point in my book I have only explored one dimension of her. "You haven't shown her sensitive, caring side" my friend opined. "She's a professional, tough bitch, but she's also a woman, and that means she needs to love and be loved."
Whoa.
So now I'm looking more closely at Jennifer's love life. In my novel she has a love interest - Two, in fact. They are treated as a side treat to the main meal. I'm now looking at making them a part of the entree. This is quite a challenge for me. Being male, how can I know the way a woman feels when it comes to loving and being loved? My next week or two will be filled with discovering this. I'll be talking with women in my life, getting their ideas on this as much as possible. I hope they will be candid. I'm confident they will -- they want Jennifer to be the protagonist of protagonists! Jennifer is on a great journey to discover some amazing things. And so shall I.
I've found it very interesting, having a woman as my antagonist in my book. I used to think I knew women. I mean, I married a women so I know all about them, right?
...
Well, as you've probably guessed, my shortsightedness shone through very quickly when I started writing through the eyes of Jennifer Newberry. Strong willed, independent, focused, career-driven -- I've come to realize the person I created was secretly the person I longed to be. She is a woman who had a rough time growing up, but worked through it all to become a fast-rising star in her field of expertise. She views the world as interesting, challenging and exciting -- and, perhaps, a bit beneath her. Although her arrogance doesn't show when she is 'on the job,' her colleagues notice it, and hate her for it. The must respect her as well, but mostly they hate her.
I asked two friends of mine to read my book as it stands now, one male, one female. I felt like my Jennifer was feeling stale, stiff -- like a cardboard cutout of an actual human being. From a direct view, she looked real and you could touch her and experience her. But if you approached her from a different angle, you saw her for the literary fraud she was. I wasn't really understanding why, until my female friend pointed out the obvious: Jennifer looked one-dimensional, because up to this point in my book I have only explored one dimension of her. "You haven't shown her sensitive, caring side" my friend opined. "She's a professional, tough bitch, but she's also a woman, and that means she needs to love and be loved."
Whoa.
So now I'm looking more closely at Jennifer's love life. In my novel she has a love interest - Two, in fact. They are treated as a side treat to the main meal. I'm now looking at making them a part of the entree. This is quite a challenge for me. Being male, how can I know the way a woman feels when it comes to loving and being loved? My next week or two will be filled with discovering this. I'll be talking with women in my life, getting their ideas on this as much as possible. I hope they will be candid. I'm confident they will -- they want Jennifer to be the protagonist of protagonists! Jennifer is on a great journey to discover some amazing things. And so shall I.
Monday, April 9, 2012
If the pen is mightier...
I am looking forward to getting ideas out and seeing where they take me. I'm more of a discovery writer. I don't like to outline everything ahead of time, it feels like I'm doing a book report. I have an idea and I go with it.
Let's see where this journey takes us, shall we? I hope I entertain and inspire people along the way. Even if nobody else reads this blog, at least my ideas will have some life. They might not be published in a book (for now) but at least they're on this lovely screen in front of me.
If the pen is mightier than the sword, then what about the keyboard? The keyboard is mightier than the shield! It might not stop an actual weapon of choice from killing you, but it can sure be used to block a lot more spam and ignore morons in virtual space than a shield can. I look forward to unlocking more mysterious uses for this device. Happy Reading!
The Beginning
The Beginning... is a very delicate time - Princess Irulan (Dune)
Ah, here we are. Let's see... Digital ink pen? Check. Flame-retardant clothing? Yep. Peril-Sensitive Sunglasses? D'oh! Hold on... Ah, that's better. Can't imagine starting a new blog without a pair of these babies!
And so it begins, the makings of a brand new blog. My cohort(s) and I are ready to begin. Now we have the makings of what may be a great literary triumph. Inside these digital walls, one will find musings and quips, trifles and ghosts of literary abandon. But mostly, dear reader, you will find us: Humble, yet excited aspiring literographers (my word) who wish to express their love of the craft of the written word. I shall let my partner in crime announce herself as she will, but in the meantime, let me delve further into our plans.
We are here because we love to write. So many ideas in our heads! So many things we wish to express, to expound upon, to relate and unleash to the unsuspecting public. Perhaps, in time, we will become published (and paid!) for our love of the craft, but for now, we will be using this blog to tell others and even ourselves about the things we learn as we delve deeper into our works. It is a brave step, in my opinion, to opine in the open about creative things. It is a step we are taking, hand in proverbial hand, with fear and trepidation firms held in check...
Ok, so maybe not ENTIRELY in check. But at least held at bay for now.
So come, join us as we share and learn. It is going to be a fantastic journey into a vast wilderness of fashion, style and ideas... but mostly ideas. All together now, let's take that first step... close your eyes and open your mind to a bigger world! See you on the other side!
Ah, here we are. Let's see... Digital ink pen? Check. Flame-retardant clothing? Yep. Peril-Sensitive Sunglasses? D'oh! Hold on... Ah, that's better. Can't imagine starting a new blog without a pair of these babies!
And so it begins, the makings of a brand new blog. My cohort(s) and I are ready to begin. Now we have the makings of what may be a great literary triumph. Inside these digital walls, one will find musings and quips, trifles and ghosts of literary abandon. But mostly, dear reader, you will find us: Humble, yet excited aspiring literographers (my word) who wish to express their love of the craft of the written word. I shall let my partner in crime announce herself as she will, but in the meantime, let me delve further into our plans.
We are here because we love to write. So many ideas in our heads! So many things we wish to express, to expound upon, to relate and unleash to the unsuspecting public. Perhaps, in time, we will become published (and paid!) for our love of the craft, but for now, we will be using this blog to tell others and even ourselves about the things we learn as we delve deeper into our works. It is a brave step, in my opinion, to opine in the open about creative things. It is a step we are taking, hand in proverbial hand, with fear and trepidation firms held in check...
Ok, so maybe not ENTIRELY in check. But at least held at bay for now.
So come, join us as we share and learn. It is going to be a fantastic journey into a vast wilderness of fashion, style and ideas... but mostly ideas. All together now, let's take that first step... close your eyes and open your mind to a bigger world! See you on the other side!
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