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Showing posts with label on writing. Show all posts
Showing posts with label on writing. Show all posts

Monday, May 27, 2024

Which Plot Structure is Right for Your Story: Freytag's Pyramid

 If you're a pantser trying to plot your story for the first time, this series is for you. I'll make 3 posts total discussing 3 popular plot structures: Freytag's Pyramid, the Hero's Journey, and the Three-Act Structure. Today we're starting with the most basic of these, Freytag's Pyramid.

Freytag's pyramid is taught in creative writing and literature classes everywhere because it's so straightforward: Exposition, Inciting Incident, Rising Action, Climax, Falling Action, Resolution.

Let's take a closer look at each of these steps.

  1. Exposition - The story starts with your character's life in their normal world. ("Normal" doesn't mean boring--your character's normal world may be quite exciting or miserable. Nor does "world" imply they travel to another planet--"world" is akin to "circumstances" here.)
  2. Inciting Incident - Something happens that forces your character to take action and leave their normal life behind.
  3. Rising Action - As your character grapples with the main conflict and adapts to the new world, they must solve problems, fight battles, and make friends. These small conflicts prepare your character for the final showdown.
  4. Climax - Your character faces the main villain or is forced to solve the main conflict once and for all. The character must apply the lessons he's learned throughout the story to defeat evil.
  5. Falling Action - Your character returns to their normal world, which is a journey all its own.
  6. Resolution - Your character lives in the normal world once more, much changed by their experiences in the story. They'll never be the same again, and hopefully, that's a good thing.

Some pros and cons of Freytag's Pyramid:

Because Freytag's Pyramid is easily visually represented, it's often the first structure writers learn, and it's a great jumping-off point for beginners. Freytag's Pyramid may be right for you if:

  • You don't like to plot in detail before you write.
  • You prefer to plan major scenes and plot points before you start but leave the rest to be discovered.
  • More detailed structures overwhelm you.
  • You're writing a story for the first time and just want the practice.
  • Having a detailed, cohesive plot isn't your first priority, but you still like to have a plan.

More resources on Freytag's Pyramid:

Next week, I'll cover the Hero's Journey, from which Freytag's Pyramid is derived. Fantasy lovers and adventure writers, be sure to check it out because the Hero's Journey is incredibly popular in your genre--think The Hobbit. 😊🗡️

*all graphics are my own

Monday, May 20, 2024

3 Tips for Staying Organized as a Writer

 Hey, y'all! Any perfectionists in the crowd today? (You know who you are.) If so, this post is for you, and even if you're not quite as uptight about organization, I bet you can still benefit from these quick tips for organizing your writing life.

Organization and productivity go hand in hand. The better organized you are, the easier it is for you to accomplish your goals. Here are three ways you can organize your writing process to increase your productivity.

  1. Set Goals and Deadlines. I get it. We're a bunch of tired, stressed-out students, and more deadlines sound like the last thing we need, especially over summer break. But think about NaNoWriMo. Thousands of writers can complete a novel in a month because they set a goal and stick to it. Deadlines motivate us to achieve our goals in a timely manner. So, if you want to write more this summer, set yourself a goal for the week or month and ask a friend or family member to hold you accountable. Your goal can be a specific word count, a certain amount of progress in your story, or the completion of a task, such as finishing an outline. Whatever goal you set, make sure it's achievable for you in your unique situation.

  2. Use Organizational Tools. A wide variety of online tools are available for free to help you organize your life, including your writing life. Use organizational tools to schedule your goals, outline your projects, and make checklists for different projects. Your weapon of choice could be as simple as Google Calendar, but sites like Notion, Trello, and Milanote offer lots of free features and visual elements to help you put your writing in order.

  3. Find People to Hold You Accountable. As I mentioned above, asking another person to hold you accountable helps you stick to your deadlines. Writing doesn't have to be lonely--it's easier and more fun when you have a community. If you're part of a writing group or online writing community, ask your fellow writers if anyone would like to be accountability partners. You can discuss your goals together and root for each other, sharing your achievements.
I hope these tips help you organize your writing life and increase your productivity this summer!

Monday, May 6, 2024

Two Kinds of Character Development

Character development: The most fun and grueling part of writing. Our characters are our little guys--we love to give them names, cool outfits, and plenty of trauma. Characters give both authors and readers a chance to roleplay as someone brave, powerful, and important. We all want to be the main character.

However, characters often give writers big headaches. First-draft characters can be like soda: They go flat quickly. It's not enough to have an awesome name and be an awesome person--Sir Flamelight Ironhammer III must also be human (even if he's an elf or dragon), relatable, flawed, and most importantly, changed by the end of the story. This calls for character development.

But what is character development? One of the problems with the term is that it's used consistently (or rather, inconsistently) to mean two things. In one sense, characters develop like a Polaroid picture as the reader gets to know who they are and what they would do in certain situations. On the other hand, characters develop like business professionals, gaining new skills and growing as an individuals--becoming someone different and hopefully better. Let's call the Polaroid-type development "character revelation" and the business-type development "character growth," and I'll give a brief overview of the characteristics of each and some techniques for development.

Character revelation occurs constantly in good stories. Everything the MC does reveals something about who they are as a person, both in general and in the moment. In general, characters reveal a voice and personality that remain consistent throughout the story--the character is "in character," so to speak. In the moment, character revelation manifests in three ways.

  1. The "characteristic moment" in the opening scenes. In this scene, the character often makes a small but interesting decision that illustrates who they are. This moment introduces their overarching personality, but also traits specific to the first half of the story, such as their flaws and the Lie they believe.
  2. The character's struggles. As the character faces conflict and the failure of their old habits, struggle scenes show their reactions, revealing new facets and deeper layers of personality. Often the character is more self-aware in struggle scenes, which deepens the reader's understanding of who they really are. Gradual backstory reveal often contributes to struggle scenes.
  3. The "new self" at the story's end. This scene may mirror the opening characteristic moment or reflect back to an important event or choice earlier in the story. The character demonstrates a new, improved personality, revealing their changed self to the reader.

Hold up! Isn't this overlapping with character growth? Of course it is--the whole point of stories is that the characters grow. Anything to do with the character will connect to character growth on a basic level. However, the key difference between character revelation and character growth is that revelation is all about showing the reader who the character is and who they're becoming. The keyword is reaction. Character revelation asks questions about how the character would act in x situation, given that y has occurred and z is on their mind. Character reactions to the plot make up the bulk of character revelation.

Character growth, on the other hand, focuses on what it takes to make the character change. Character growth has to do with causes, and revelation with effects. This is the character arc writers slave over before they begin writing. What Lie does the character believe, what flaws must they overcome, and how will such a stubborn, lazy character ever change? Here are three quick tips for brainstorming character growth.

  1. Make a list. Figure out your character's fear, flaw, and desire. What are their positive traits? What are their negative traits? (Hint: Almost every positive trait has a negative flipside, and vice versa. It's like Aristotle's Golden Mean, with something bad on either end. Confidence is good--cockiness is bad. The two can coexist in one character.) This list will help you far more than your character's eye color or favorite food ever will.
  2. Find a template. I use a character arc template based off of the 3 Act Structure, which is heavily character-centered. Find a character arc template that works for you--KM Weiland has some great ones, and there are so many internet sources for writers that have great free content for character growth! Don't make things hard for yourself by trying to reinvent the wheel. Find a template you like and modify it as needed.
  3. Do whatever it takes. As I mentioned above, characters are lazy and stubborn--after all, they're human. (Or at least, relatable for humans.) Characters do not want to change. Change is painful and it's a lot of work, and characters will do anything to avoid it. They'll rationalize bad behavior, make cowardly decisions, and live in utter denial before they decide to make a change. So, you need to push your characters to their breaking point--physically, emotionally, and morally. What is one thing they will never, ever do? Okay, great. Now what will it take to make them do it? What is your character's one weakness, their sore spot, their line in the sand? Think like a supervillain--you know you want to. Will they change if it's the only way to save their friends and family? Will they give up their misguided want if it means getting the girl? Focus on character motivation. Give them a reason to change, and make it a darn good one.

Character revelation and character growth go hand in hand to shape your character into someone great. Take advantage of both techniques to craft a character your readers will follow all the way to The End.

Monday, January 15, 2024

What is Speculative Fiction?

If you've ever looked to submit a piece of writing to a magazine, or even tried to publish a book, you may have come across the term 'speculative fiction,' and the term itself may have been a source of some speculation for you. What is speculative fiction, and why is it everywhere?

Speculative fiction is a clump of genres that include fantasy, science fiction, and horror, among others. Fantasy is one of the most popular and fastest-growing genres today, especially young adult fantasy, so lots of publishers are looking for speculative fiction. Let's take a look at some of the genres and sub-genres that fall within the broad umbrella of speculative fiction.

Fantasy

There are many kinds of fantasy, high and low, epic and medieval. Oxford Languages defines the fantasy genre as "a genre of imaginative fiction involving magic and adventure, especially in a setting other than the real world." This definition can be misleading, as some iterations of fantasy, such as kingdom adventures, contain no magic. For now, let's say that a story could be considered fantasy if it takes place in a world unlike or separate from our own and involves elements that don't and can't occur in our reality. A couple unique subgenres you might come across:

Science fantasy, a blending of science fiction and fantasy. Imagine fairies with ray guns, for example.

Magical realism, a story that is set in our world but where some magical elements are accepted and not explained or singled out as unusual. One example of this is Salman Rushdie's short story "The Prophet's Hair."

Science Fiction

Science fiction is similar to fantasy because it often takes place in a world not our own (or so far advanced it's nothing like our own). However, sci-fi's focus is often on technology (especially in "hard sci-fi") and futuristic scenarios. Space travel and alien races often play a role, but aren't essential: Time travel, artificial intelligence, or virtual worlds (among many kinds of technological advances) can also play a central role. A couple unfamiliar subgenres you might run into:

Space opera, a dramatic adventure tale set in outer space, which often involves war and romance.

Time slip, which occurs when a character unknowingly or accidentally travels through time.

Horror

Horror isn't just for movies; it's also a genre of literature primarily concerned with inspiring feelings of terror in the readers. "Horror" may not be a term you usually associate with "literature," but some well-known classics fall into the horror genre, including Bram Stoker's Dracula and Robert Louis Stevenson's The Strange Case of Dr. Jekyll and Mr. Hyde. Horror falls within the realm of speculative fiction because it usually deals with the supernatural or occurrences with no natural explanation. Some unusual subgenres you might find:

Eldritch horror, which focuses on human encounters with the incomprehensible, often associated with HP Lovecraft's "abominations" and weirdness in general.

Gothic horror, typically set in the late 18th or early 19th century and associated with complex villains, spooky architecture (gargoyles, anyone?), and isolation, focusing on battles with evil or the supernatural.

+ + +

These aren't the only genres categorized as 'speculative fiction'--sometimes dystopian stories, fairytale retellings, and other surreal stories make the cut. But the genres listed above (and the subgenres I highlighted) are generally accepted as falling under that umbrella. Next time you run across 'speculative fiction' in your publisher search, you'll know what the editors are expecting.

Monday, December 18, 2023

Good and Evil: The Darkened Mirror

As promised, a continuation of the Symbolic Dichotomies series I started earlier this year.

"Good and Evil" is a huge and highly controversial topic, so instead of trying to discuss every aspect of this dichotomy, we're going to look at how Good and Evil appear most often in stories: in the form of characters.

"What Makes Us Different?"

Some of my favorite fiction tropes are variations on "we're not so different, you and I," where the hero and villain:

  • Want the same thing but have drastically different ways of getting it
  • Were childhood friends who grew apart and took different paths in life
  • Have the same character traits and flaws, manifesting in different ways
  • Share the same belief system or values, but apply them differently
  • Possess the same abilities/training/knowledge but use them for different purposes
  • (any version of this where the villain was the hero's mentor or vice versa is also very good)

These storylines leave the hero (and the reader) asking, "What makes them different?" or often "Where did it go wrong?" Questions such as these are what make the "we're not so different" trope so powerful--they force the reader to spot differences between two characters. In these differences lies the author's message on what makes someone good or evil.

I could talk all day about how much I love this trope, but for our purposes, let's turn our attention to how writers can create two characters who are essentially the same, but one is good and the other evil.

Psychology and Characters

There are a lot of psychological resources out there that are geared towards writers (KM Weiland's articles on shadows and archetypes, for example), but to keep things simple, I'm going to point to two (very good) resources for writers that go hand in hand: The Positive Trait Thesaurus and The Negative Trait Thesaurus, both by Angela Ackerman and Becca Puglisi. These books are well-organized, layman-friendly, and chockfull of psychological tidbits that will improve your characters and help you flesh out the hero-villain dynamic, among myriad other uses.

Let's say I already know a little bit about what I want my hero to be like. Let's say her three primary good traits are friendly, persuasive, and confident--she's an extravert. If I look these up in The Positive Trait Thesaurus, I can look under the "Negative Aspects" heading and find what happens when this trait goes sour--for example, if a friendly character is too obliging, their own needs might go unmet, which is a good villain backstory. Persuasive characters can also be manipulative. Confident characters can become arrogant and look down on others.

Not only does this method of finding the dark side of good traits help me invent flaws for my hero to struggle with, but it also helps me figure out what a mirror-image villain might look like: Unsatisfied, manipulative, and arrogant.

But let's say one of my friends has the opposite problem: She knows who her villain is, but she doesn't have a hero suitable to fight him. Perhaps this villain is possessive, temperamental, and extravagant--a real drama queen. (Or king, in this case.) The Negative Trait Thesaurus also lists positive aspects of the flaws. The hero might be fiercely protective of his friends, emotionally sensitive, and generous--still dramatic and flamboyant, but in a healthier way.

Not all Good and Evil dynamics in stories are structured this way--for example, many heroes are designed to be the opposite of the villain--but the "we're not so different" trope is so effective in sending a message about Good and Evil because it's nuanced. Instead of suggesting that some traits are good and others bad, it highlights that the traits themselves can be used for Good or Evil. Some common themes you might see conveyed with this "darkened mirror" method might be:

  • Use your talents to love others, not to serve yourself
  • Learn self-control rather than leaning into every impulse
  • The powerful should serve others with their abilities, not subjugate them

Your hero with certain traits behaves one way. Your villain with the same traits turned upside-down behaves another way. This is a powerful way to show readers your concept of Good and Evil.

One Caution...

One last thing to bear in mind when writing a "Good and Evil" theme: Good and Evil are not subjective, though they can manifest in many different circumstances. Traits may be coins with two sides, but Good and Evil are disparate. There is no such thing as "morally gray."

Some behaviors are innately evil, such as murder, sexual perversion, and child abuse. Some behaviors are innately good: speaking the truth to those who need it, showing Jesus' love to those who least deserve it, and protecting the innocent from those who would harm them.

Sometimes Good becomes unpopular or even culturally unacceptable. That doesn't make it Evil. Sometimes Evil becomes common or even socially required. That doesn't make it Good. Isaiah 5:20 states it clearly: "Woe to those who call evil good and good evil, who put darkness for light and light for darkness, who put bitter for sweet and sweet for bitter!" There are consequences for subverting the Truth. Writers have been given a great gift of eloquence, and we must use it responsibly.

Sometimes we're faced with a moral dilemma, in life or in our writing: Is it okay to lie to save a life? Is it okay to avenge a loved one's death? These situations don't disprove the existence of objective Good and Evil. Instead, they give us questions to thoughtfully consider in light of God's Word.

Should writers then be afraid of dealing with themes as important and difficult as Good and Evil? Of course not! The truth still needs to be spoken, even when it's difficult. If you feel called to write about Good and Evil, pray that the Holy Spirit will guide you. The task may be too difficult for us, but with God, all things are possible.

Other Posts in This Series:

Order and Chaos: Neutral Opposites

Justice and Mercy: Two Kinds of Resurrection

Monday, December 11, 2023

Using Public Speaking Skills to Improve Your Essay Structure

Here's a question. What actually goes in the introduction of an essay? And what about the conclusion? We've all heard the old rule: "Tell your audience what you're going to tell them, then tell them, then tell them what you told them." Previews and summaries are all well and good, but there should be more meat to the introduction and conclusion of your essay--right?

Taking a public speaking course last semester gave me a new perspective on essay writing, particularly on the introduction and conclusion. I know what you're thinking. We're writers! There's a reason we put our thoughts on paper instead of saying them aloud! Fear not, reader--you can use a few basic parts of speech structure to aid your essays without ever saying a word.

Here are three principles of structure to bear in mind:

1. The introduction consists of the attention-getter, the filler, and the thesis statement.

    The attention-getter is better known among writers as the hook. This is what makes your audience want to keep listening--or in our case, reading. The hook can be anything that captures the interest of readers--a telling quote, an intriguing question, or a surprising anecdote, for example.

    The filler bulks out the introduction. Filler can be information or definitions a reader should know before diving into your essay, or it can be personal information that builds your credibility in the reader's eyes.

    Your thesis statement is the most important part of the introduction. In most academic papers, you are arguing something. This is the place for you tell your readers what your argument is in one neat sentence. Even college professors writing academic papers of their own for learned audiences must craft thesis statements. They're the most efficient way to let others know what to expect from your paper.

2. Have two to four main points.

    Most people can't remember more than four main points, so this is a good range. When you're outlining, outline the body of your essay first, leaving the introduction and conclusion off entirely until you know what your body looks like. This helps you focus on what's most important about your paper, the meat. ALWAYS OUTLINE YOUR ESSAY. (See this post about how outlines can make essay writing easier.) If you don't outline, you may ramble in the body instead of having two to four clear points supporting your thesis.

3. The conclusion consists of the summary and the closure.

    The summary is simply a brief restatement of your thesis and main points to solidify them in your reader's mind. The closure is a public speaking technique: Plan exactly what your last words will be ahead of time, so you don't ramble at the end. What do you want the last words of your essay to be? Where do you want to leave the reader? Remember, elements places at the end of a unit tend to have the most emphasis. Put your intended last words on the outline.

These three public speaking techniques should help you create better-organized essays with less stress about the beginning and end. Maybe speaking and writing aren't so different, after all.

Monday, September 18, 2023

How to Not Get Distracted by the Internet

Hey, it's me, random person on the Internet who's going to teach you how to ignore me! Okay, not really. But I want to address something every young writer in modern-day first-world countries experiences: Getting distracted by the Internet.

Research is the subtlest form of procrastination. My "Writing Resources" Pinterest board has over 500 pins on it. Are they useful? Eh, well, probably. Did I waste a whole lot of writing time saving random information on stab wounds? Most definitely.

Don't get me wrong, research is necessary, even for fantasy, where writers have a lot of liberty to make stuff up. But imagine this: You're writing a scene, just plugging away at that word-count and doing great, when along comes a quandary. You don't know what drowning feels like. Or how people in the 1700s made tea. Or exactly how to describe the size of a cat. (Bigger than a breadbox? Is your cat larger than average? Smaller? AHH!!)

Our first inclination these days is to whip out our phone or open a new tab and type a question. Millions of sources of information on first aid, martial arts, herbal remedies, name definitions, and historical recipes. Unfortunately, in order to do this, you have to stop writing. And once you stop, you have to build up that momentum all over again. Newton's Laws apply to writing:

1. A writer in motion tends to stay in motion. A writer procrastinating tends to stay procrastinating.

2. Engagement = conflict x stakes

3. For every hero, there is an equal and opposite villain.

(The other two are also important, but it's the first one that matters right now.)

Anyway. What's a writer to do? Do you sacrifice your precious time, or your precious accuracy? Neither. Put a placeholder.

Some writers do this when they don't know a character's name. Just call 'em A and figure it out later. I do it when I need a very particular word, but I can't think of it at the moment: I put a similar word in brackets to remind me to look it up later. You can also do this with details that you don't remember: Wait, did this guy sprain his right wrist, or his left? Put your best guess in brackets and move on.

It doesn't have to be that detailed either. One of my friends puts ELEPHANT in all caps when she needs to go back and find a synonym. That way it's easy for her to see.

Moral of the Story: Don't get distracted by the Internet's vast wealth of research. Instead, use brackets. Or elephants. P. S. Brackets are these things: [] Not to be confused with this: 🐘

Reward for Reading: My writing-related search history.



Monday, September 4, 2023

Writing From an Outline--Literally

Well, the school year has officially started. (Sigh.) I've been taking classes for a month now, and as an English major, I have several papers to write.

Writing papers is a pretty straightforward process--brainstorming, outlining, research, drafting, and editing. It's similar to what fiction authors do. Unfortunately, in practice, writing papers can lead to its own special variety of writer's block: You're staring at your outline and wondering how you'll ever turn that bullet list into a full-fledged essay.

If this is you, here's a handy trick to help you out: Use the outline as the essay.

That sounds insane when I put it that way, so allow me to explain: Once you've outlined your main points and subpoints, write each part of the essay underneath its section in the outline. This way, the paper will be broken up into small, manageable chunks. This will help you keep track of your arguments and structure, too. When you break an assignment into bite-size pieces, your brain isn't overwhelmed by a mountain of work. Instead, you're just cresting several small hills. Then, when you've written all the small chunks, copy and paste them into one essay (and add transitions, if necessary.)

Writer's block hacked, paper written, due date avoided.

Monday, August 14, 2023

7 Step Scene Structure

Let me preface this by saying I am not a plotter. At least, not by nature. My typical writing process goes: A) idea!!! B) spends several days/weeks fantasizing about idea C) starts writing half-coherent scenes until the original idea runs out.

Unfortunately, this process has led to a consistent problem: I overwrite. Whatever my intended word count for a piece is, I go well over that, whether it's an essay that must meet certain guidelines for a contest or a fantasy novel that has to be roughly within industry standards for length.

In my research on how to avoid overwriting, I've come across several helpful tips, most of which are what you'd expect: Cut characters, cut unnecessary words in prose, cut subplots... cut, cut, cut! And that's all great if you're trying to deal with overwriting in the editing stages. But what if you don't want to deal with it after the fact? There has to be a way to prevent overwriting in the first place.

The answer isn't setting tighter goals for yourself. It isn't trying to edit as you write. Unfortunately, the only proactive solution to overwriting is to plot.

I have trouble with plots. When I told my friend I was overwriting, she asked, "Where are you in the Three-Act Structure?" I ashamedly admitted I didn't know what the Three-Act Structure was or how it worked, I'd just heard people talk about it a lot. So when I realized the only way to mitigate my overwriting was to plot, I did some research.

One of the big tips I heard was to plot your scenes, because if you decided ahead of time what scenes you needed and how long they should be, that would make your stories a lot shorter. So, I looked up different scene structures to come up with a plotting framework. The most common trend I saw went like this:

  1. Problem/Question: What is the problem your character is facing? What is the question you want readers to be asking at the beginning of the scene?
  2. Strategy: The character comes up with and implements a way to face the problem.
  3. Failure: The strategy they came up with fails, leading them to investigate other options. (Ever heard the rule that your character should fail three times before finally stopping the villain? This is that principle, scaled down to the scene level.)
  4. Solution: The character succeeds/solves the problem, and the readers' questions are answered.

This was followed by a step called "Late Start/Early Ending." Once you know what happens inside the scene, you can figure out what is the latest moment the scene could start at, and the earliest moment it could end. That's how you cut words: by knowing how things begin and end.

This was a pretty good structure for a little while. It got me used to the idea of planning scenes (even though I didn't have a plot for the book as a whole, though I roughly knew how it would end). But eventually, I noticed a problem: My "Solution" step usually included a second, smaller "Failure." What should have been the last quarter of the scene was really the midway point. So I decided to modify the structure. Here's what I came up with:

  1. Problem: The immediate conflict that the character faces. This can be trivial: There is no breakfast cereal. Or it can be your climax, the final battle with the villain. What matters is that it's immediate--the character can't put it off. It must be dealt with now.
  2. Strategy #1: The character's first, gut-level response to the problem. It's misguided and based on the old beliefs/habits/principles the character is used to living with.
  3. Failure: The first strategy fails. This is followed by a moment of realization (be it an "oh, duh" moment or an epiphany), and a redirection of thought.
  4. Strategy #2: Based on new beliefs/behaviors/principles rooted in the theme (or a minor theme/sub-theme) of your story, the character formulates a new plan and puts it into action.
  5. Hardships: Reasonable problems arise that the character has to overcome, but these aren't necessarily signs of a bad plan. The unpleasant and unexpected just happen sometimes.
  6. Victory: The problem is no longer immediate--either the character is victorious, and the problem is totally resolved, or the character has merely put off the battle royale until a later date.* ("Alexa, add cereal to the shopping list.")
  7. Late Start, Early Ending: The same old steps of figuring out where your scene begins and ends.

*Preferably, by putting off the problem for now, the character has made a bigger problem for herself in the future. Problems are like steam in a pressure cooker: If not resolved, they build up and will eventually explode.

This scene structure works better for me for several reasons. First, it's structured more like a book: Even once the character has found a "solution" to the problem, things don't always go according to plan, and that's not necessarily the character's fault. Second, my modified structure includes theme. Theme is part of what makes a story good, and it shouldn't just be confined to the emotional climax of the character's arc. Small steps in the right direction should be occurring throughout the story as the character begins to change, and this scene structure incorporates that. Third, it leaves an option that's more realistic and builds more suspense than a mere "solution"--a temporary victory. The problem isn't the problem. The problem is the immediacy of the problem.

If you like this structure and want to use it, yay! That's great! I'm glad I could help! But there are so many ways to plot scenes, and I'm not suggesting this is the best one. It's just what's worked for me.

Monday, July 24, 2023

Quality or Quantity?

Hey y'all! A couple weeks ago, I posted about how to up your productivity, and when I was writing that, the measure of "productivity" I had in mind was word count. But sheer volume of words isn't the only thing that matters when you're writing. What you're really working towards is high-quality content. So, the big question is:

Does writing faster (or in greater volumes) reduce the quality of what you write?

As with most writing questions, there isn't one straight, clear-cut answer. It's a balance.

I'm a big believer in first drafts. Getting the whole story down in its messiest form, without worrying about editing yet, is an incredibly freeing experience. The first draft experience is different for everyone. For example, everyone's process is unique. Some people laboriously plot out their stories down to scene-level, determining every detail before they start writing. Others take a handful of elements--characters, settings, scene ideas--or maybe a premise, and wing it from there. Some take an in-between route.

Another difference in drafting is how long it takes to complete this earliest version of the story. For a full-length novel, it could take anywhere from a month (any NaNoWriMo winners out there?) to years. And that's okay. Writing is an art, after all, and artists have a certain amount of creative freedom. What really matters is this: Is there a distinctive difference in quality between the stories of lightning-fast pantsers and plodding plotters?

I don't think there necessarily has to be. The trade-off in speed lies not in quality, but in time spent editing.

You've probably heard the famous quote (and I might've posted it here...) by Saul Bellow that you never have to change anything that got up in the middle of the night to write. I hope you've had the thrilling experience of being struck by a brilliant idea at some ungodly hour and furiously scribbling the whole scene in horrible handwriting, then immediately passing out face-first in your notebook and waking up with inkstains on your face. It's glorious; you've created something from whole cloth; you feel like the next Tolkien or Rowling; and you read over it in rapture daily for about a week.

Here's the thing. After several re-readings, that scene starts to look less like the shiny diamond it was in the dark, and more like an ugly lump of stone. You need to cut this raw gem into the beautiful jewel you know it could be. You need to edit. But because you weren't in the most lucid state when you wrote the dang thing, you might have trouble remembering your original vision or even why this scene was so vital to the story in the first place.

Or take for example the eternal plague of beginning writers. You suddenly get a new idea for an epic fantasy series full of light, dark, dragons, maidens, magic, warriors, excellent moral themes, and a perfect final battle scene. You dive in, write about three chapters, and burn out, having forgotten your beautiful vision in the nitty-gritty of putting words on paper. You took things way too fast. You started writing without the faintest idea of what you were doing, and now you've reached a dead end before you even began, and your dreams are dying in some fantasyland gutter full of rats. Those three chapters will forever languish in a file-folder full of similarly abandoned story ideas.

The hard truth is, your story idea might've been brilliant. But in your eagerness, you hit the hyperdrive too soon. If your idea was really that good, it's likely you can make it work--but those chapters will have to undergo some serious editing (if you don't scrap them entirely) to make the story work.

Speed itself isn't a quality-destroying menace. You can write very quickly (or without an outline... or at odd times of night...) and still come out of the deal with a brilliant masterpiece. But in my personal experience, the faster you go (and the less you think), the longer you'll be editing to fix problems you could've dealt with before the story even began. Taking it slow and using forethought might make life easier in the long run.

Okay, smarty-pants, you ask, putting your hands on your hips. Then what was the point of that post two weeks ago about increasing your productivity?

Different people need different things. Some people really struggle to get any words on the page. Procrastination is a real issue for those who haven't made a habit out of productivity. Low-quality (or rather, high-maintenance) writing is better than no writing at all.

Other people don't struggle with that. You might write a lot every day, but you feel your quality leaves something to be desired. That older post isn't targeted at you, but this one is. Different problems require different principles--just another example of how most writing questions don't have easy answers.

Monday, July 10, 2023

How to Up Your Productivity

Hello! I've been on vacation--several, actually, so that's why there haven't been any longish posts lately. But with summer craziness and the impending school-year business, I bet a lot of y'all are having the same concerns as me:

How can I maintain my productivity--or even grow it--when life is so... hectic?

When life is busy, it's tempting to say you don't have time for writing. But time is all about priorities. So you have to ask yourself: Is writing a priority for me right now? If it is, you can find a way to make time for it (usually by sacrificing things that aren't priorities). Here are a few other ideas for how you can stay productive in your writing when there's a lot on your plate:

1. Make a to-do list. This is the simplest tool, but it can be super effective. Writing, non-writing, whatever--put it on your list. Then work through the list, checking things off.

2. Sprinting. Have a friend who's a writer? Text her and ask her if she wants to sprint. You mark your start time, write as much as you want to, then mark your end time. The goal is to write as long as possible with no distractions--only focus on writing.

3. Racing! This is a fun variation of a sprint. You and one of your writer-friends agree to start writing at the same time and write as fast as you can for a set amount of time--say, 25 minutes. You count up your words at the end of that time, and whoever wrote the most won the race! You'll be surprised at how much more you write when you're competing against your bestie. 😈

4. Wordcount Goals. Start with something you know you can do every day. 100 words, maybe. Do that for a month. Be consistent. Get used to it. Maybe start exceeding it a little. Next month, your daily goal is 200. Try that until you succeed. Next month, 300. And so on until you're writing a ton of words a day with minimal effort. It sounds crazy and hard, but it works.

Have a great rest of your summer, y'all, and keep writing!

Monday, May 1, 2023

Tips for Long Writing Sessions

So you have several writing-related tasks to accomplish--edit a chapter, write so many words in your WIP, post on your blog, answer the weekly writing prompt--and you just want to sit down and knock them all out at once. However, that's a grueling task. You're in it for the long haul. No matter how much you enjoy any of these tasks on a normal day, the idea of doing them all at once is exhausting. Nevertheless, you embark on a long, focused writing session--a "sprint," as it's often called.

Long sprints are hard. It's tempting to cut your goals in half, skip items on the list, succumb to myriad distractions, or just not do your best work. So here are a few tips for getting the most out of your long writing sessions:

1. Know Thine Schedule. When you have a long to-do list, you need a long space of time in which to do it. Wait until a weekend or a free afternoon, so your sprint doesn't get cut short. Hand-in-hand with this is the idea of knowing your most productive hours. I write best at night, but editing is best done earlier in the day, so depending on the contents of my sprint, I might time it differently.

2. Prioritize for Productivity. If you have five different tasks on your to-do list, it's tempting to start with the fun ones and procrastinate on the less-pleasant activities. But if you leave the hardest stuff for last, you'll be tired and more likely to put it off until later. So prioritize your to-do list. Write down all the stuff you have to do, and think about each item. If there's a deadline attached, move it to the top. The sooner the deadline, the higher on the list it is. To keep your list manageable, ask yourself about non-deadline tasks, "Will anything disastrous happen if I don't do this today?" If the answer is no, make it optional or skip it altogether. Do I really need to type 5000 words today? No. Off the list. Do I need to do my math homework? Absolutely yes. Top of the list.

3. Sit Down Already! You've found a comfortable place to write where you can plug in your laptop. You've connected your earbuds and hit "play" on your writing playlist. You've marked your start time and invited any of your online buddies to sprint with you. (This added accountability measure is where a writing community, such as Writer's Vision or the Young Writer's Workshop, comes in handy.) Now all that's left is to start. So start already. This can be the hardest part--that time between posting our start time and actually starting. You check your social notifs, skip a song you don't like, hem and haw over an open Word doc. None of that is productive. Tell yourself, sitzfleisch: butt-glue. Your butt is glued to the chair until you accomplish your first task, however long that takes. Which brings me to my next point...

4. Build in Breaks and Rewards. Long sprints can be frustrating, especially if you're interrupted when you're in the groove. But too much sitzfleisch can be a bad thing, for your eyes, your back, and your general health. Not only that, but without breaks, you'll burn out quickly. Find a routine that works for you. Every hour, I pause for a fifteen-minute break to rest my eyes, unload the dishwasher, write a letter, or read a few pages of a book. Get away from your to-do list and give yourself a break. And if some of your tasks are distinctly unpalatable, build in rewards, as well. Sometimes before I sprint, I'll grab a handful of chocolates and set them out on my desk in groupings: One chocolate when I've made my bed. Two when I've cleaned the toilet. One when I've answered the writing prompt. One when I've finished my literature reading. Two when I've edited a chapter. Set rewards for yourself that are relative to how unlikeable your tasks are. Give yourself something to work towards, beyond the satisfaction of completing a list.

5. Distraction Mitigation Techniques: Because sometimes focusing is difficult. Here are a few ideas:

  • Close your door. It's a deceptively simple trick. Lock it, if that's an option. Hang up a Do Not Disturb sign. (I used to make my own signs out of cardboard until my mom got me a plastic one for Christmas.)
  • Find a space of your own. This works well if closing the door isn't an option--say, if you share a room with siblings. Maybe you head upstairs to the game room, or into the spare bedroom, or to the empty kitchen or living room. Anywhere that's unoccupied will do. Weather (and tasks) permitting, you could even go outdoors. I've brainstormed plots in the duck run and read school assignments in trees.
  • Close unnecessary tabs. If you don't ABSOLUTELY NEED a tab, close it. Same with apps. If Pinterest is closed, you won't be as tempted to scroll. When I work, I keep three tabs and two apps open. Basically, if it isn't immediately contributing to your goals, get rid of it.
  • Find someone to keep you accountable. I mentioned writing communities above, but all you really need is one other person. Text a writer-friend and ask if they'd like to sprint with you. Mark your start times and end times together. Report when you've checked off a task, and ask how their own list is going. Hard work is better with good friends.
  • Turn off notifs. Lots of phones and computers have "focus settings" that allow you to choose which notifications you see. If you don't want to be distracted by new emails or Insta likes, tell your computer to ignore them for a while. You can always change these settings back later. (There are also programs that will manage apps and focus for you, but I don't know any good free ones, so I won't recommend any. If you know one, put it in the comments below!)
I hope these tips help you manage your time and get more productivity out of your long writing sessions! Happy Writing!

Monday, April 17, 2023

Five Books That Changed the Way I Write

Over the years, I've read dozens of books on writing--everything from nit-pickety grammar guides to wild, artistic memoirs. Writing books are a great place to seek encouragement or advice when you're stuck in your work, and sometimes they can change your process completely. Here are five that have earned a permanent place on my desk:

1. Writing Tools Roy Peter Clark

What Changed? This book forever altered how I structure sentences and edit stories. Not only does it explain why writers should avoid adverbs and the passive tense, it tells us why powerful sentences start with subject and verb.

What You Won't Find Anywhere Else: A chapter on how the -ing suffix can weaken your writing. I've never seen this advice anywhere else, but after I put it into practice, my sentence-level revision options narrowed, and my writing became clearer.

2. Writing Down the Bones Natalie Goldberg

What Changed? One piece of advice was everything: "Keep your hand moving across the page." Thinking of writing in terms of raw, physical motion, instead of crafted phrases or original art, took the pressure off my first drafts and increased my productivity.

What You Won't Find Anywhere Else: Most of the time, when people think of timed writing prompts, the point of the timer is to keep you from writing something ridiculously long. Goldberg inverts this: She sets a timer for however many minutes, and you're not allowed to stop writing until then--not even to change a sentence or correct a typo.

3. Bird by Bird Anne Lamott

What Changed? This was the first book that ever told me first drafts could be bad. As nasty and messy and raw as you like. Once you give yourself permission to write it badly, a new door is opened to the world of revision and improvement.

What You Won't Find Anywhere Else: Lamott's "one-inch picture frame." It turns out the human mind is lazy and anxiety-ridden, and as such, faces the blank page and looming next chapter with fear. So don't write the next chapter. Just focus on the next scene, or next description, or next conversation. View your story through a "one-inch picture frame," and only write what you can see.

4. The Elements of Style William Strunk and EB White

What Changed? "Auxiliaries and conditionals" such as would, should, could, may, might, and can weaken writing. Definite terms such as will or was make it stronger.

What You Won't Find Anywhere Else: Antique grammar, for example: "The preferable form of the participle is got, not gotten."

5. Beate Not the Poore Desk Walter Wangerin, Jr.

What Changed? Writer's ethics. When you wield the power of creation, you're bound to obey certain rules in order to use your abilities for good.

What You Won't Find Anywhere Else: A thorough definition of the concept of 'scop,' which literally means shaper, and was also an Old English oral poet and storyteller. It's a potent example of how stories can change reality.

Monday, April 10, 2023

Tips for Late-Night Writers

I know, I know, all the best professional authors say to write in the morning... But let's be honest with ourselves. We're mostly high school and college students here. Many of us get our best work done between the hours of 9pm and 1am. So... if you fall in the category of "late-night writers" (which I certainly do), here are a few tips to get the most out of your midnight writing sessions without driving yourself or anyone else insane!

1. Be Prepared. If you plan to write late into the night, chances are you'll want to crash straight into that bed the moment you finish. But you can't do that unless you've prepared for bed ahead of time. Before you sit down to write, take some time to change into your PJs, remove your makeup, read your Bible, brush your teeth--whatever it is you do before you go to bed at night. Then, when you've made that pesky wordcount, you're ready to sleep.

2. Be Considerate. If you share a space with others, be they your family or your roommates, take them and their bedtimes into consideration. If you like to listen to music or podcasts while you write, use earbuds, and if you're worried about light pollution, use a desk lamp or reading light so as not to disturb your housemates. This is another good reason to prepare for bed ahead of time--this way, you're not stumbling around your living space at 2am looking for your hairbrush and waking up light sleepers.

3. Be Kind to Yourself. Humans are not nocturnal. Our circadian rhythms dictate that we sleep when it's dark outside, so at some point, even the most inspired writer should go to bed. To make your late-night writing routine easier on your poor little brain, consider the following:

  • Avoid sugar and caffeine during your late-night sprints.
  • If you use electronic devices while writing, put them on nightlight mode so the blue light doesn't keep you up.
  • If you listen to music while writing, pick something quiet and calming that won't amp you up right before bed.

4. Think About Tomorrow. What are you doing tomorrow morning? If you have to get up early for church or class, then keep that in mind the night before. The average young person needs 8-10 hours of sleep per night. I know what you're thinking: "I never get that much sleep!" Well, that might explain why you're tired all the time. When we don't get enough sleep, we build up a "sleep deficit." We have to get all those hours somehow. So if you do intend to put in three hours of sleep tonight, give yourself extra time in bed over the weekend or whenever you can. Paying of the sleep deficit isn't a replacement for a normal, healthy sleep schedule, but once again, we're students. We're extremely busy, and if we want to prioritize our writing, we might have to de-prioritize our bedtime. Just keep in mind the possible consequences.

Hopefully these tips help you be your most productive self during those midnight sprints!

Monday, March 20, 2023

"Niceness" in Writing

 Hello, fellow writers! We're here today to discuss a tough subject: "niceness" in writing. Of course, no one wants to be "mean" in his work, but often we can come across as mean without intending it. No matter how carefully we write an essay or opinion piece, if enough people read it, at least one of them will be upset, for some reason or other. So what's a writer to do? Here are a few things to keep in mind when considering "niceness" as a factor in your writing:

1. "Nice" and "Good" are different. If I asked you to make a list of what traits make someone a "good person," you might include honesty, obedience, humility, love, patience, and kindness, among others. But guess what? Not all of these traits are "nice" when considered individually. Honesty can be hurtful, love can mean doing what's best for others even if they don't appreciate it, obedience can make you look like a goody-two-shoes or tattler. Goodness is doing what's right for the sake of others; niceness is doing what's pleasant for others.

How does this apply to writing? Well, truth hurts sometimes. Our readers might need to hear something they won't like. If you believe the truth will upset them, that's no reason not to tell it. The trick is to "speak truth in love." You're not doing this to prove yourself right or make a point--you're writing with the intention of improving the world or someone's life. If your friend asks you to keep a harmful secret, would you do it? Or would you have a heart-to-heart talk about the morality of the situation? You would do what's right, even if it hurts, because you love your friend enough to look past the emotions of the moment to the long term effects.

Takeaway: When you write, write as if you love your readers: That is, with humility, honesty, and kindness.

2. A note about "sensitive phrasing:" Some style guides suggest alternate phrasings (e.g., "person with mental illness" instead of "mentally ill person") as "more sensitive." I have no problem with being kind to the mentally ill. But what I do have a problem with is unnecessary wordiness in situations that are unlikely to upset anyone in the first place. When you read an article, do you notice or care if the author put the word "person" before the descriptors? No. And does putting "person" after the descriptors automatically signal hatred and evil intent? Certainly not.

In a similar fashion, "barnacle phrases" meant to lessen the impact of our ideas do exactly that: lessen the impact of our ideas--and not in a "nice" way. "Kind of," "sort of," "tend to," "maybe," "might," "could," "perhaps"--cut them out wherever possible. Oftentimes we put them in our sentences to decrease the potential perceived hurtfulness of our words, when really all they do is weaken the writing. Women are especially prone to this; we do this in our speech all the time, and it becomes a habit.

Takeaway: Don't let your inclination towards "niceness" weaken your writing or draw power from your words. If you truly love your readers, this will shine through whether your phrase things in special ways or not.

3. Some quotes from writers on the topic! Here are some quotes from famous (and not-so-famous) writers that might shed light on this difficult balancing act:

"Write hard and clear about what hurts." -Ernest Hemingway

"First tell the truth, then give your opinion." -Dennis Prager

"Raise your words, not your voice. It is rain that grows flowers, not thunder." -Rumi

"Close the door. Write with no one looking over your shoulder. 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

"Assume the reader knows nothing. But don't assume the reader is stupid." -Ann Handley

"Write the best, most amazing book you can, the wisest, most honest, most human book you have inside." -Anne Lamott

"A writer is a person who cares what words mean, what they say, how they say it. Writers know words are their way towards truth and freedom, and so they use them with care, with thought, with fear, with delight." -Ursula K. Leguin

"Journalism is printing what someone else does not want printed. Everything else is public relations." -George Orwell

"You own everything that happened to you. Tell your stories. If people wanted you to write warmly about them, they should've behaved better." -Anne Lamott

"How many times have people used a pen or paintbrush because they couldn't pull the trigger?" -Virginia Woolf

"A drop of ink may make a million think." -Lord Byron

"The difficulty of literature is not to write, but to write what you mean." -Robert Louis Stevenson

"Write what disturbs you, what you fear, what you have not been willing to speak about. Be willing to split open." -Natalie Goldberg

"Writing is one of the crossroads where what is most disturbing can be explored and investigated without destroying yourself or others. This is one of the highest purposes of the arts." -Bonni Goldberg

"What people are ashamed of usually makes a good story." -F. Scott Fitzgerald

"I really believe that one should be able to imagine being somebody else. This is important for writers, but it's also important for readers, and for all human beings to be able to imagine being somebody else." -Yiyun Li.


(Image via Pinterest.)

Monday, February 20, 2023

Developing Perspectives from Multiple Sources

Okay, that's the most boring title ever and sounds like a heading from a guide on research papers, but hear me out, because I'm about to quote some really good song lyrics.

As writers, we have to develop our own perspectives and our own unique voice in order to make our writing interesting to others: We have to give readers something they can't get for themselves. The contradiction of terms, though, is that we can't cultivate our own perspectives and voices for ourselves. We can't grow in isolation or become cultured in a sterile lab. Plants grow in the remains of other life. Voices are meant to be heard, and perspectives are only windows through which we see the world around us.

So how do writers develop this rich compost from which our voices and perspectives spring? By gathering information from multiple sources. Many writers keep a "commonplace book," a small notebook they carry around with them, where they record quirky observations, story ideas, fun facts, and striking quotes. I just got home from a church youth weekend today, and several pages of my commonplace book are filled with odd things the senior girls said and did, and the guest pastor's funny jokes and convicting ideas.

As you can see, writers collect inspiration--not only for stories, but for thought--from multiple sources. This is important for young writers, especially: We need to find our voice for our writing, but we also need to develop our own worldview in accordance with the truth. Sooner rather than later, we will be left do deal with reality on our own or with a group of equally inexperienced peers, and eventually our parents' axioms, which guided us faithfully through childhood, will fail.

This isn't to say the advice of others is bad or that our elders' worldview is wrong. But just as Christians must find our personal callings and develop our own relationships with God, writers must learn to view the world in our own unique way, or else we won't be able to write anything our parents couldn't have written.

How do we do this? By looking at information from multiple sources. One of my favorite political commentators said that if you want to separate fact from opinion, listen to podcasts from opposite sides of the aisle, and the information they both have in common is true. Developing our perspectives and personal philosophies works on a similar principle: We compare rich, striking ideas from books, music, historical figures, and our close advisors (among a plethora of other sources--I've only listed a few) and find what rings true for us. (And as Christians, testing all discoveries against the standard of Biblical truth.) A commonplace book is a good place to keep track of these similarities, differences, and sudden fusions of thought--don't you love it when a new idea gets your neurons firing and suddenly you're down a rabbit trail of philosophy?

Let's look at an example. Answer the following question on paper. Just jot down a few sentences or paragraphs about what you think it is, based on all of the influences in your life. Maybe reference a few of them, but don't look anything up right now. If you want to remember an exact detail, you can track it down alter for your own edification. Ready? Here we go:

What is love?




[This space intentionally left blank while you write. Seriously. Why are you reading this. Go track down some paper and a pen.]




When I think of love, my first thought is to narrow down the definition. The Greeks had around nine words for different kinds of love, including eros (romantic love), phileo (brotherly love), and agape (self-sacrificing love). When I think of true love, I usually think of agape, which is God's love for His people, and which is the kind of love referenced in 1 Corinthians 13, in the famous verses that begin, "Love is patient, love is kind." (Love is sometimes translated here as "charity," which is interesting to note.) 

I also think about the different "love languages," of which there are five or seven, depending on who you ask. Even within the realm of romantic affection, there are different ways of giving and receiving love, which is an interesting parallel with the multiple Greek words.

But I also think of song lyrics. Not mushy romantic song lyrics (though I love those, too), but a couple specific lines from the chorus of "After the Storm," by Mumford and Sons.

And love will not break your heart, but dismiss your fears.

This idea really appeals to me. When we're in love romantically, or in a loving relationship with friends or family or God, we shouldn't be afraid that they're going to disappoint us, betray us, or break our hearts, because if the love is real, they won't. True love shouldn't have us on our toes, terrified of messing up and being rejected. When we feel loved, we feel safe and we're not afraid.

And the last thing about love is something inspired by my pastor's sermon this morning, a line I'd love to use as dialogue in a story someday:

"Love is not a feeling. Love is an action. I will love you even when I don't feel like it, or else love is meaningless. Because you need love most when you behave in unlovable ways."

And that resonates with me because I think the idea (so deeply ingrained in our culture!) of love being an emotion is stupid and dangerous. Emotions change. True love remains the same. False love--mere attraction or infatuation--disappears when the object of our "love" is no longer attractive or fascinating. True love is a constant effort. True love wants the best for the object of its affection. True love "works out" because true lovers work. 

Okay, that was a nice, long, heavily opinionated example of how we can draw ideas from different sources (in this case: the Bible, the field of psychology, the structure of a particular language, a sermon, and a pop song) to craft our own perspectives. Voice can be cultivated using the same methods: Read widely, listen widely, and you can't help but sound like the sources you've drawn from, and yet build on all of what you've collected. (And this building-up of new ideas on the old is what gives us our uniqueness, or else we're nothing but copycats and plagiarists.)

Ask yourself the hard questions. What is love? What is life? What is purpose? What is value? How are these vital elements found? Why does any of it matter at all? And what you discover will inevitably shine through in your writing.

Monday, February 13, 2023

Physiognomy

 I know what you're thinking: "How in all the worlds do you pronounce 'physiognomy,' and why does this look like a regular post and not a word definition?" Or, if you're of a whimsical bent of mind, "Does 'physiognomy' have something to do with gnomes?" (Kind of.) I suppose I should start at the beginning:

Physiognomy
(fih-zee-OHG-nuh-mee)

Definition: facial expression, regarded as indicative of one's character; the art of judging character based on one's physical appearance; the general form or appearance of something.

Origins: Actually, yes, 'gnome' and 'physiognomy' are related by way of the Greek root gnomon, 'one who knows,' from another Greek word, gignoskein, 'to come to know.' (And "gnomon" is itself an English word, which refers to the part of the sundial that casts the shadow.) For more thoughts on the origins of "gnome" and "physiognomy," here's an interesting article.

Now onto the literary application: Physiognomy is, simply put, the act of a judging a book by its cover. It used to be regarded as a science in the eighteenth and nineteenth centuries, similar to phrenology, the "science" of feeling the bumps on one's skull to determine one's character. Nowadays both of these are regarded as pseudosciences, but even if physiognomy isn't a metric we should rely on in real life, we can use it to our advantage when we write stories.

When you see someone walking down the street, you notice certain attributes (clothing, gait, and such) and make certain judgments--no matter how open-minded you may be. This is necessary for human survival: We need to be able to identify quickly our friends and our potential foes. It is also useful to human society: Based on the slogan on one's t-shirt or how much makeup one wears, we can make an educated guess at whether we would get along with them or not. Whether or not these guesses are accurate, we make these small judgments of character every day without thinking about it. That's physiognomy.

The same process occurs, in a slightly different manner, when we watch TV. You can tell the tall, handsome, well-dressed man is the love interest before he says a word to the main character. There is a difference between the figure or a librarian and that of a yoga instructor which we notice immediately: Before we know the characters' careers, we form ideas of what they might do based on their perceived level of activity.

Readers do the same thing in stories, and that is why physiognomy (in a broad sense that also includes dress, neatness of appearance, and other physical considerations) is useful to writers in two ways:

1. Add concrete description. Say you want a character to appear confident without saying "She was confident." Show how she walks: erect, shoulders back, at a leisurely yet purposeful pace. In this way, physiognomy helps writers show instead of tell.

2. Take control of the reader's expectations. Say one of your characters is a secretly a villain, but you want him to seem good for the time being. Make him relatively attractive (but not too handsome--readers eye "perfect" characters with suspicion), put a genuine smile on his face, and give him open body language. It takes actions, of course, to make a complete character, but appearance does a lot to convey personality, for better or worse.

Take physiognomy into consideration the next time you develop a character. Everything from the shape of his nose to the color of her eyes says something to readers. Add well-placed physical description, and guide or subvert expectations as you please.

What Makes a Good Story?

Hello, fellow writers! If you're reading this, you are most likely a writer, and probably a young writer, like me. Maybe you want to publish a story someday, but you're not sure what makes a story sell. Well, I'm afraid I don't know what makes stories sell, either, but like you, I love to read. Writers can gather valuable lessons from reading good stories. So, based on your reading, what makes a story good? In my decade-plus of reading, here are four traits that all my favorite stories have had in common:

1. Entertaining

This might seem obvious: A story should entertain. But what makes a story fun to read? Many elements factor into a reader's enjoyment of a story (including a heaping helping of subjectivity), but two key pieces of the puzzle are the premise and the characters.

The premise is what the story is about. For example, The Penderwicks by Jeanne Birdsall is about four sisters who go on vacation in the mountains and befriend a kind boy who has a domineering mother. The Hobbit is about a very ordinary hobbit who is recruited by thirteen dwarves and a wizard to steal back treasure from a dragon. My current work in progress is about a spy whose kingdom is overthrown and she must help restore it. Premise is, in essence, character + interesting circumstance + conflict. (The interesting circumstance may be part of the character--e.g., she's a spy--or part of the conflict--e.g., stealing from a dragon.) What is your story's premise? Will it entertain the reader? In other words, is it something they can't get for themselves, in real life or in other stories?

The second part is the characters, which take less time to explain. Are they interesting people? Are they unique? Think of Anne Shirley from Anne of Green Gables by LM Mongomery, or Hiccup Horrendous Haddock III from How to Train Your Dragon by Cressida Cowell, or any other number of characters from your favorite stories. The authors clearly spent a lot of time developing their characters' fears, flaws, desires, backstories, and quirks. If you create vivid, relatable characters, readers will enjoy your story.

2. Engaging

What's the difference between "entertaining" and "engaging"? Well, entertainment is the sheer fun of your story--what draws the reader in. But engagement is what keeps them reading. This can come in the form of cliffhangers, high-stakes conflict, or a story engine.

A story engine is a question that remains unanswered until the end of the book. You never ask this questions outright, but it exists in the reader's mind and creates tension. Three common story engines are "Will they survive?" (as seen in many adventure stories), the classic "Whodunnit?" (of murder-mystery fame) and the "How?" (which crops up in stories where you know good will triumph--the mystery is in the method). Keep the reader wondering from beginning to end, and they will finish your story--maybe even re-read it.

3. Relatable

We touched on this when we discussed the entertainment value of characters, but relatability is such an important element of story that it deserves its own explanation. The relatability of a story relies not just on the humanity of the characters (even if they're not human), but on the emotions your story inspires in the reader. Great stories make the reader cry, laugh, or throw things. Great stories are a source of courage. They help us expand our hearts with compassion. They fill us with burning anger against evil. They bring us peace. Your story's relatability is its emotional component. Look once again to your favorite stories for examples: Did Mary Shelley's Frankenstein fill you with regret? Does Brown Girl Dreaming by Jacqueline Woodson give you nostalgic feelings about your own childhood home? Do you feel joy and sorrow with Kate DiCamillo's characters? Study these stories. Besides the humanity of the characters, what about the story makes you feel so strongly? Likely, the emotional effect is tied to the theme.

4. Thoughtworthy

Now that we've looked at the emotional aspect of story, let's investigate how a good story makes you think. When you finish a story, there should be lingering questions in your mind--not to do with plot, but with real-world issues. Matters of right and wrong, for example, and the age-old question of how we should live our lives. Is it better to fight tooth-and-nail against evil while we live, or to peacefully wait for all to be made right in the end? The story may not provide cut-and-dry answers, but that's a feature and not a bug. We grow as readers and as people when we find the answers for ourselves.

Some of this has to with genre: Some stories are written for the sole purpose of raising awareness about an issue. Dystopian stories such as George Orwell's 1984, or supposedly-utopian stories such as The Giver by Lois Lowry, warn about dangerous paths society should not follow. Satires, such as Gulliver's Travels by Jonathan Swift, or even videos posted by the comedic political commentators on YouTube, use irony or ridicule to guide us away from erroneous conclusions about our culture and current events.

But genre--the intent with which a story is written--is only partially responsible. Theme is your most valuable tool if you want to make your readers think. Ask yourself, as you plan your story: What are some of the naturally occurring themes in your story? For example, one of your characters may start evil and become good--that's a redemption arc, and redemption is a beautiful, powerful theme: Nothing is so broken that it can't find a place among the good, the useful, and the true. Or perhaps your misfit characters find family in their new friendships--the accompanying message, "Family is not always found in blood," already exists in your story. You can highlight these themes and use them to your advantage. Or, if you know what to say but not how to show it, imagine real life examples of your theme at work: good vs evil, Christian compassion, or mercy, for example. We see small examples of these concepts in our lives every day, in the actions of those around us. Lift these from real life and set them in your story, and readers will recognize familiar themes, even if you don't shout your message from the rooftops.

TL;DR The four aspects of a good story are entertainment, engagement, the emotional component, and the mental component. When these elements are present, we think, we feel, and we read on with joy.

Monday, February 6, 2023

Finding Beauty in Brokenness

1. Just because you didn't plant it doesn't make it a weed. One time when my brother and I were pulling weeds out of the gravel planter, we found a dicotyledon plant that must have sprouted only days ago. We didn't know what it was, so we let it grow. Weeks later, a sunflower bloomed in the gravel. I called it the Happy Weed. It grew where nothing else did. That's how ideas are. They might grow out of our harshest, knee-scraping memories. When I wrote about one of the few hopeful memories from the most traumatic time of my life, in a giant run-on sentence that was supposed to be about ramen, one friend said it sounded like a story. The other friend said she would read that story. Beauty sprouts in the ashes.

What's under the surface of your heart? A lot of dirt. All the failures, the times we've missed the mark, the regrets, the worries, the secrets, the quicksand of our minds. But there are seeds in that rich dirt. Someday those seeds will grow into something greater than the earth they came from, rising high above it. The smallest seed becomes the greatest tree. It doesn't start as a tree, though. It starts as a tiny umbrella of green for ants and pill bugs. If no one pulls it up, it will grow into something beautiful.

2. Healing is a creative act. I babysit a three-year-old girl. She had a butterfly-shaped crayon, but in a fit of excitement, she snapped its wing off. Almost immediately, she was sorry, but she couldn't undo the damage. So she placed the larger portion of crayon on the table, and used the broken wing to draw a new wing beside the butterfly's body. "I'm make it beautiful," she said over and over.

Maybe we can't heal the same as we were before. But we can make it beautiful. In our healing, we can do a new thing, become a new Creation.

2. Broken and ugly are not the same. Everyone is broken in a unique way, but that doesn't mean we aren't beautiful or can't create beauty. The wonder of stained glass is in the arrangement of the irregular shards. Where you see jagged edges, God sees a new color of light. Even in your brokenness, God's glory can shine through you that other may see him--and see how beautiful broken people are. You're part of an amazing picture, and don't you forget it.

Don't throw away your trauma and depression as useless or ugly. It was hard, and it might still be hard, but God has a plan in the pain, and someday this brokenness will be beautiful again.

Justice and Mercy: Two Kinds of Resurrection

About a month ago I discussed the concept of symbolic dichotomies--pairs of opposing forces that often appear in literature. My specific focus was Order and Chaos, because of the confusion surrounding the nature of that particular dichotomy.

Now let's take a look at a second literary pairing: Justice and Mercy.

Of the five symbolic dichotomies I intend to discuss over the next few months, Justice/Mercy is probably the least-known. Dark/Light, Good/Evil, Order/Chaos, and even Creation/Destruction appear frequently in modern literature. But Justice/Mercy? This pairing is so neglected that many people may not consider the key elements "opposed." However, they are--not in the sense of warfare, such as we see between Good and Evil. Nor in the sense of Order and Chaos, which are elements of nature. Justice and Mercy are elements of mankind.

Justice and Mercy are unique among the dichotomies because they are the only dichotomy that relies on human behavior for its manifestation in the modern world. Yes, ultimately God executes true Justice and offers real Mercy--but until our deaths or the apocalypse, humans have the power (if not the right) to deal out small-scale Justice and Mercy to one another in society. In their simplest iterations, Justice may look like punishment for a crime--a fine, jailtime, or even death--and Mercy often manifests as forgiveness of those who have wronged us (especially when they don't deserve it).

To further explain the Justice/Mercy dichotomy, let's take a look at literature: specifically, a few lines of Percy Shelley's poem "Ode to the West Wind," which you can view here if you like.

First, a little background: Shelley was a later Romantic poet who wrote in a tumultuous time known as the Age of Revolution: The American Revolution had recently succeeded, the French Revolution had turned into a bloody mess, and the English nobility widely feared rebellion at home--which meant some of Shelley's poems, such as "England in 1819," could have been read as seditious. Poems that advocated for revolution or presented it in a positive light were a dangerous venture indeed. That didn't deter the Romantics, however, and this theme of revolution runs through "Ode to the West Wind" as well.

For Shelley, the West Wind (which came out of the west, so technically it was blowing east) represented the change he wanted to see in England--the West Wind came from America, the brand-new land of freedom. Shelley wants this wind to come because he wants revolution, change. A major theme of Romantic poetry is the corruption of the institutions and the need for change, as painful as change could be. (What does this have to do with Justice and Mercy? I'm getting there.)

So Shelley wants change, but death must come before rebirth--the dark winter of revolution before the springtime of improvement. In lines 18 through 28, the poet gives us vivid imagery of a storm swept in by the West Wind:

                                                  . ...Thou Dirge

    Of the dying year, to which this closing night
    Will be the dome of a vast sepulchre,
    Vaulted with all thy congregated might

    Of vapours, from whose solid atmosphere
    Black rain and fire will burst: O hear!

The imagery of the sky (depicted as a tomb) bursting open may remind the Christian reader of another tomb that burst open a long time ago. Shelley suggests a resurrection (insurrection?) with this description. But in this imaginary scene, the result of the tomb's opening isn't the Mercy and joy associated with Easter, but wrath and destruction. What is the purpose of this resurrection-scene, if not Mercy? A revolution, a righting of institutional wrongs: Justice.

For all the Biblical imagery he used, Shelley was an atheist. It's worth noting the difference Christ (or lack thereof) makes. The awe-full description of "black rain and fire" descending from the heavens reminds us of God's power and wrath in the Old Testament.

Let's do something unpopular and view the Bible as a work of literature for a moment. (Any Christian who has ever written a story or studied literature knows the Bible is not only a guidebook for faith but also a work of literary brilliance.) There is a clear-cut literary dichotomy between the Old and New Testaments in how God is described and what He does.

In the Old Testament, God is the God of Justice, ruthlessly punishing anyone who deserves it--even (especially) His chosen people, Israel. God always keeps His promises, and one of His promises is to hold people accountable for their actions. Bad behavior has consequences, as we've seen from the Garden of Eden onwards--we ate the fruit we were not supposed to, so we must die.

But the God of the New Testament is the God of Mercy. Over and over we see His Mercy. In 1 Corinthians 13, Paul explains the agape* love of Jesus on the Cross:

Love is patient, love is kind. It does not envy, it does not boast, it is not proud. It does not dishonor others, it is not self-seeking, it is not easily angered, it keeps no record of wrongs. Love does not delight in evil but rejoices with the truth. It always protects, always trusts, always hopes, always perseveres. Love never fails.

This is a very different picture than the one painted in the Old Testament, and it is the perfect example of the difference between Justice and Mercy. Justice gives people what they deserve, be it reward or punishment. Mercy gives people a love they do not deserve, that they cannot attain for themselves. And why?

Because God decided that the willing death of one innocent man is worth more than the unwilling deaths of billions of imperfect men. God didn't have to, but He wanted to, because He loves us. And we did nothing to earn this. Romans 5:8 sums up the entire Bible in one sentence: "While we were still sinners, Christ died for us." In the Old Testament, we were sinners on the road to what we deserved--call it a highway to Hell. But in the New Testament, we were granted amazing Mercy.

And the most heart-breaking part of the story is that we don't accept it. We want Mercy for ourselves but not for each other. Like Shelley, we want revolution--change--Justice for those who have wronged us. We are unwilling to wait for the same God who sacrificed everything for us to mend the world--which he has promised to do. Ultimate Justice is coming, but we forget and treat one another with human pettiness and make a mockery of Justice and Mercy alike. But God always keeps his promises, and He told us not to worry about being treated unjustly during this life--indeed, he repeatedly warned us to expect it, accept it, and trust Him to deal out the final verdict when the time comes.

To summarize: the difference between Justice and Mercy is the difference between Old Testament and New Testament, between the wrathful thunderstorm of revolution and the empty tomb of resurrection. Does this mean Justice is bad? No. Justice is necessary. But only God is Just, so as writers and as Christians we must be careful in how we depict Justice and Mercy in our stories, because there is only one being who rightfully dispenses either side of the dichotomy, and that is God**.

*There are many Greek words for "love." Agape refers to perfect, self-sacrificing love.

**That is not to say we shouldn't punish criminals. God clearly states in his Law that evildoers should be punished. But when we punish someone in a way that isn't in accordance with God's Law (say, overthrowing our own country, which God specifically tells us not to do in Romans 13:14 and Hebrews 13:17), that isn't Justice, that's revenge.