The Clues To A Great Story

I'm still revising. Still. Revising. *deep breath in...slow breath out* But I can see the finish line. Thank God.

I have no post for you today, but I do have this Ted Talks gem. It's chock full of great stuff about story telling. Fair warning: there is kind of an inappropriate joke in the beginning, but after that it's all great stuff. If you don't want to hear the joke, you can read the transcript and skip it. The rest is totally worth it.

Andrew Stanton: The Clues To A Great Story

Enjoy!

22 Rules of Storytelling, Part Four

Last week, I pulled from Pixar’s 22 Rules of Storytelling and focused on revision. Today, I want to focus on the general craft of writing.

Rule #10: Pull apart the stories you like. What you like in them is a part of you; you've got to recognize it before you can use it.

I can’t even begin to say enough about how helpful this is. Pulling apart other stories has helped me understand myself and my writing in HUGE ways. Knowing ourselves is the key to writing amazing stories because of the truth it brings. There’s no faking truth.

Rule #14: Why must you tell THIS story? What's the belief burning within you that your story feeds off of? That's the heart of it.

All stories have basically been told. It’s now a matter of telling them in new and unique ways. This rule is the key to doing that. If you can figure out why your story is so important that it must be told, that will come across to the reader and he will want to read it.

Rule #16: What are the stakes? Give us reason to root for the character. What happens if they don't succeed? Stack the odds against.

This is akin to the idea of throwing your character off a cliff and giving them a shoe string to climb back up. I do this by imagining what’s the worst thing that could happen, and then making that happen. After I do that, then I will figure out how my characters will get out of it. Sometimes it’s really difficult to figure out, and most often they don’t succeed the first time they try. And then they have to deal with the consequences of failure on top of that. If your reader is invested in your character, all of this will suck him in and keep him reading.

Rule #20: Exercise: take the building blocks of a movie you dislike. How d'you rearrange them into what you DO like?

This builds on rule #10. Finding the elements that you like is just as helpful as finding the elements that you don’t like. Changing the story into something you do like will go a long way toward helping you understand your own writing style, which will lead to more effective stories.

Rule #22: What's the essence of your story? Most economical telling of it? If you know that, you can build out from there.

This builds on rule #14. Once you know the heart of your story, the theme and essence will grow out of that. Once you know the essence, you can build on that. BTW, you probably won’t know this until at least the 2^nd or 3^rd draft.

That’s all folks! Hope you enjoyed these ‘rules’ as much as I did. Happy writing!

22 Rules of Storytelling, Part Three

I thought I'd scheduled this post! I've been hunkered down revising and am almost finished with this draft, so I haven't been coming up for air very often. Soooo, here's today's post--apologies for the lateness...

Last week, I went over the plot-related items from Pixar’s 22 Rules of Storytelling. Today, I want to focus on the rules related to revision.

Rule #2: You gotta keep in mind what's interesting to you as an audience, not what's fun to do as a writer. They can be v. different.

Losing your audience is the kiss of death. That’s the first step in losing your fan base, which will end up killing your career. That’s not to say you have to always write for your audience, just that you have to keep them in mind as you write. You can still do what’s fun as a writer, and you can take time to explore fun stuff for yourself in exercises and such. But in your finished work, don’t forget about the audience.

Rule #3: Trying for theme is important, but you won't see what the story is actually about til you're at the end of it. Now rewrite.

You might still have the same theme when you reach the end of your story, but it should at least have more depth. And, you should have some sub-themes to go with it. If you don’t, then you missed some key exploring points along the way. Even the best planners can’t see everything from the start. Explore your story in great depths—you’ll be surprised at what it can become.

Rule #5: Simplify. Focus. Combine characters. Hop over detours. You'll feel like you're losing valuable stuff but it sets you free.

YES. Streamlining doesn’t make your story boring. It makes it easier for the reader to follow what’s going on. You can still have lots of depth and a complicated plot, but don’t bog your story down with the unnecessary.

Rule #8: Finish your story, let go even if it's not perfect. In an ideal world you have both, but move on. Do better next time.

It’s easier to revise than it is to write perfectly the first time. The perfectionist in your head will always point out mistakes and shortcomings, and you will never finish. Give yourself permission to write crap and you’ll get farther, faster.

Rule #11: Putting it on paper lets you start fixing it. If it stays in your head, a perfect idea, you'll never share it with anyone.

Exactly! It can be scary to write that first draft, especially for new writers. If it helps, then don’t tell anyone what you’re writing, and write with the intent that you’re the only person who will ever read it. It’s okay if it’s crap (see above rule), because you can go through and revise to make it better. Then, you can find a few trusted individuals to share it with.

Rule #12: Discount the 1st thing that comes to mind. And the 2nd, 3rd, 4th, 5th – get the obvious out of the way. Surprise yourself.

More brainstorming! Brainstorming is a writer’s best friend. It’s a really useful tool for truly exploring your story and seeing where it can go (see rule #3). If you do it right, your story and your characters will surprise you—and your reader will be surprised as a result. If you can’t surprise yourself, you won’t be able to surprise your reader.

Rule #17: No work is ever wasted. If it's not working, let go and move on - it'll come back around to be useful later.

YES. Some scenes refuse to be written the first time, and that’s okay. Make a note as to what is supposed to happen, then move on. After you’ve finished your draft, come back to it and I’m betting you’ll know how to write it.

Next week is my last post on this subject, and I’m pulling out the rules that apply to the general craft of writing. If this interests you, please stop by!

22 Rules of Storytelling, Part Two

Last week, I went over the character-related items from Pixar’s 22 Rules of Storytelling. Today, I want to focus on the rules related to plot.

Rule #4: Once upon a time there was ___. Every day, ___. One day ___. Because of that, ___. Because of that, ___. Until finally ___.

This is an extremely high level diagram of how a story builds upon itself. And don’t let the ‘Once upon a time…’ opening fool you. This is an abstract (and simplified) way of setting up something fictional. First, you have a character, object, or event. Then something changes. Because of that, something else changes, and so on and so forth. The events of the story set further changes in motion, and the characters have to deal with these changes. In other words, everything happens for a reason and is absolutely necessary to the story. If there is no reason, it’s not needed.

Rule #7: Come up with your ending before you figure out your middle. Seriously. Endings are hard, get yours working up front.

Totally! When I sit down to write a first draft, I need to know where I’m going. Otherwise I end up all over the map and end up having to start over. I know you pantsers out there are saying ‘but I want to discover the story as I go!’ Well, you can still do that. Knowing where you want your characters to end up doesn’t take all the mystery of how they get there. It’s like taking a road trip with only a destination in mind. How you get there is up to you—with the exception of Rule #4: everything that happens must be necessary to the story.

Rule #9: When you're stuck, make a list of what WOULDN'T happen next. Lots of times the material to get you unstuck will show up.

So, so true. Brainstorming tactics like this often trick our brains into giving us exactly what we need, even though we took the long way getting there. I’ve done this many times, with great success.

Rule #19: Coincidences to get characters into trouble are great; coincidences to get them out of it are cheating.

Yes  yes YES!! Coincidences to get a character out of trouble makes it waaay too easy for them. If I’m going to stick with a character through the end of a story, I want to see him work for a resolution. But if the story ends because the bad guy forgot to add the key ingredient to his magic potion, well, I’m going to feel cheated. I would rather see the main character steal the key ingredient and watch the potion blow up in the bad guy’s face.

Next week I’m picking out the ‘rules’ that focus on revision. If that interests you, then be sure to stop by!

Rules of Storytelling, Part One

Last month, one of Pixar’s storyboard artists posted her 22 Rules of Storytelling. There is SO MUCH good stuff here. I posted the link a few weeks ago, and now I’ve had some time to digest some of the information. I’m going to take a few of these ‘rules’ at a time and talk about them over the next few weeks.

Today’s topic: Characters.

A good, strong, solid character is what transforms a story from good to amazing. A few of the ‘rules’ capture the essence of what character should be, but I want to expand on that a bit. I’ll take them one rule at a time.

Rule #1: You admire a character for trying more than for their successes.

Yes!! I can’t count how many books I’ve read where the main character gives up before even trying because he comes to the conclusion that the task is impossible. When I was growing up, my mother always used to tell me “you never know unless you try.” That’s what I always want to scream at these characters. If the task is impossible one way, then try a different way. Or don’t do everything at once. Or, do something else completely! But characters need to DO something. I would rather see characters try and fail than give up before anything has happened.

Rule #6: What is your character good at, comfortable with? Throw the polar opposite at them. Challenge them. How do they deal?

This is instrumental in showing the reader what kind of person the main character is. As the saying goes, you see a person’s true character when he is under stress. I can’t think of a stress greater than being completely out of your element. How does the character react? What personality flaws surface? How do these flaws affect those around him?

Rule #13: Give your characters opinions. Passive/malleable might seem likable to you as you write, but it's poison to the audience.

Most definitely. Everyone has opinions. Even the most easy-going people have opinions. Those who don’t have opinions just aren’t interesting, so why would we want to read about them? Your character doesn’t need to spout his opinions to anyone who will sit still long enough to listen. In fact, he might be very reserved about expressing opinions. But the reader needs to know these opinions because it forms a bond between the two. Actually, if the character doesn’t share opinions with other people in the story, but the reader gets to hear them, it makes that bond even stronger because the reader feels like he’s getting privileged information.

Rule #15: If you were your character, in this situation, how would you feel? Honesty lends credibility to unbelievable situations.

This gets into the blurry line between the author and the characters. All characters are manifestations of the author, albeit some more obvious than others. Hence, the author needs to know what he would do in any given situation. Then, he needs to figure out what the characters would do. Which brings me to the next rule...

Rule #18: You have to know yourself: the difference between doing your best & fussing. Story is testing, not refining.

For storytelling to be at its most effective, the author needs to imagine situations where he has no idea what he would do in a particular situation, so he must make his best guess. Honest guess, that is—the author may not like the answer, but honesty will bring authenticity to the story.

Rule #21: You gotta identify with your situation/characters, can't just write ‘cool'. What would make YOU act that way?

This is taking the above rule and switching it around. If the character needs to go to a certain, horrible place, what would it take for him to get there? Honestly and truly? Take that answer and run with it.

Next week, I’m going to delve into the more plot-related ‘rules,’ so, if that interests you, be sure to stop by!

22 Rules of Storytelling

I stumbled across this link last week, and there is so much good stuff here that I'm still processing all the information...and I'm sure that several blog posts are going to come out of it. :) In the mean time, though, I thought I'd share with you all. Enjoy!

22 rules of storytelling, according to Pixar

Components of a Good Story, Part Two

Last week, I took my brain, shook out everything I knew about what goes into a story, and scattered the pieces across the table - quite messy. This week, I want to assemble those pieces, then assess how "good" the finished product is.

So let's put this jigsaw puzzle together, shall we?

How is a story put together?
This, partly, depends on the author and her writing process. I plan out all the pieces ahead of time, assemble them, and then write the story. I usually have to make minor adjustments, but the big pieces remain pretty much the same. But a close friend of mine doesn't do this. She prefers to sit down with a general idea, write whatever pops into her head, then arrange all the pieces after she's done. But in both cases, the act of fitting the pieces together are the same.

First, you must create pieces that fit. For example, you wouldn't create a main character who has never left his hometown in the rural midwest, and then make him an acclaimed expert on dogsledding in the Arctic. Those pieces don't fit. But a rural midwesterner could easily be an expert on crops, specifically corn and soybeans, with a dream of dogsledding in the Artic.

Next, we lay out all the completed pieces and attempt to fit them together. Does the Setting fit the characters? The Theme fit the Plot? The Resolution tie up all loose ends? If you have no trouble answering "yes" to all these questions, then you're doing something right. If you answer "not exactly" or "yes, but..." then perhaps you need to rethink a few pieces.

Finally, we fine tune everything. Do scenes transition smoothly? Is the dialog effective? Is the main character's growth gradual? Do his/her choices make sense? Is that word exactly right for this sentence? If not, then figure out why and fix it.

We, as writers, have to think about the story as a whole, as well as the pieces used to put it together. If the pieces don't fit, get new ones. If one of them is missing, or if half of one is missing, then go on a hunt to find it. If it's elusive, look in places where you never thought to look before. Then lay it all out again and put it together. Lather, rinse, repeat.

How do these assembled pieces equal "Good?"
Well, what's the definition of good? Best-seller, award-winner, critically acclaimed, etc. Sounds right, doesn't it? Hmm, perhaps not. The problem is that all these definitions are subjective. They depend on the opinions of random people, of which you have no control.

The definition of good is much, much simpler. It means, something of high quality. So, who determines whether a story is of high quality?

Easy Answer: everyone. "Whoever reads my work will give an opinion - thumbs up or thumbs down. I have no control over this." Yes, that's true. However...

Difficult Answer: you. You are in control of what you write. You know your story better than anyone who will ever read it, so it is up to you to put it together in the best way possible. If you don't know how, learn. Read similar books and find out how those authors did it. Read books on the craft of writing. Attend writing classes and conferences. Talk to fellow writers. Read agent and editor blogs. Do research on the subject matter in your story. Then, sit down and write. And write. And write. Keep writing until you get it right, no matter how long it takes.

The key to all this is objectivity. Learn how to look at your work as if it's not your own. Honestly assess it, compare it to your favorite published books, and ask yourself if it's up to snuff. If it's not, then figure out where your story is lacking and fix it. If you can't do this on your own, then find a trusted reader who will be constructively honest with you. Once you have this, the writing process will get easier.

Notice I said "easier" and not "easy." Writing is never easy - you will probably want to tear out your hair or throw your computer across the room, on multiple occasions. But objectivity will at least move you forward so you don't make the same mistakes over and over again. :)

In any case, no one can predict if a book will become a bestseller, or a classic, or whatever. All we can do is write what's in our hearts and hope that other people enjoy it. That's my strategy at least, for good or ill. :)

Components of a Good Story, Part One

I was having a discussion with some fellow writers the other day about what makes a good book. What goes into it? Why is it good? Most people talked about their favorite books, and why they're favorites. But that seems like a subjective way to answer this question.

So, I attempted to dissect a story from a technical perspective. What goes into a story? How is it put together? How do all these things equal "Good?" Let's tackle these questions one at a time.

What goes into a story?
Well, a story has Opening Lines, Characters, Setting, Theme, Plot (Beginning, Middle, End), Resolution, Voice, and Good Writing.

Opening Lines
This is the hook that grabs the reader and makes him want to keep reading. The hook doesn't have to be dramatic or shocking, it just needs to provoke a question. For example, Charlotte's Web by E. B. White: "Where's Papa going with that ax?" The reader immediately asks himself 1) Where is Papa going with that ax? and 2) Why the heck does he need an ax? We keep reading to find out the answers.

Characters
The characters are the people in the story, and they need to be strong. This doesn't mean the main character needs to be a go-get-em hero type. It means he needs to be authentic, believable, well-rounded, and sympathetic. We need to relate to him, so we'll want to follow him to the end of the story. And, the main character needs realistic supporting characters and antagonistic characters, or the reader will simply put the book back on the shelf.

Setting
The setting is where it all takes place. It needs to be vivid and capture not only the physical details, but the flavor of the place. The reader needs to feel like he's there, hearing the breeze rustle the leaves on the trees, feeling the roughness of the worn fabric on the arms of the sofa, or tasting that deep dish pizza at the cheese oozes over his tongue.

Theme
The theme is the main message the story conveys. This is the heart of the story, what the author really wants to say, and one of the main reasons it was written. And it must be subtle, almost to the point of unnoticeable. Readers don't like to be hit over the head with morals or lessons. They just want to enjoy a great story.

Plot (Beginning, Middle, End)
The plot is how the story moves along, and contains the conflict that makes it interesting. Simply put, the plot should have the reader asking himself "What's going to happen next? I have to turn the page!" It doesn't have to be an exhausting adventure of non-stop action. Just a well-paced story that interests the reader. "That's all?" you say? Well, not really. It's extremely difficult to create an engaging plot, but it's possible to learn how through writing classes, critique groups, books on the craft of writing, etc.

Resolution
This is the very end of the story where the main character achieves his goal(s) and all loose ends are wrapped up. It should be unexpected yet logical, satisfying yet leaves a bit to the imagination, and complete. If any one of these elements is missing, you risk losing readers of future books. I, for one, feel as though I've wasted my precious time if the resolution isn't satisfying. And I'm less likely to pick up another book by that author.

Voice
This is kind of a nebulous aspect of writing. It's where the reader keeps reading, but doesn't really know why. I suppose you could say that Voice is similar to the flavor of the story, the nuances of the main character, the subleties of the time period, etc. It's hard to define, hard to teach, and therefore hard to master. Some might argue that you either have it or you don't, but I, personally, don't believe that. :)

Good writing
This is probably the hardest component to get "right." The writing needs to put the reader into the story (show not tell, authentic dialog, appropriate descriptions, etc). Truly great writing is transparent - the reader doesn't read a sentence and then think "wait, I didn't get that; let me read it again. Or even "wow, that was a beautiful and elegant choice of words." Instead, the reader should be so absorbed in the story that he takes your choice of words for granted. I, personally, take that as the highest compliment, ever.

That's my take on what goes into a story. Anyone have anything to add?

That leaves us with the remaining two questions: How is a story put together, and What makes it good? I'll tackle those in my next post.