Helpful tools to plot your story

man and woman in library

“Excuse me, sir. Do you happen to remember that story where that guy dies and one of his sons thinks the other did the crime, but it turns out to be the mother instead?”

I was reading a post by Noelle Sterne on Writer’s Digest today where she describes “How to Prevent Predictable Plots.” She cites Georges Polti, who listed 36 classic plots which are constantly used and reused in literature and drama. (Sterne suggests that it’s inevitable you’ll use one of these basic plots, but that you can set yourself apart and introduce unpredictability through the details.)

Intrigued, I went to a description of these “dramatic situations.” Continue reading

To outline, or not to outline, that is the question.

I just viewed this interesting slideshow on Flavorwire containing outlines by famous writers. I use “outlines” in a broad sense–several were more like graphic organizers than true outlines. I had a weird reaction to the piece.

Usually, I start stories with clusters or notes, not with actual outlines, unless we’re talking something big–a serial (even a mini-serial) or a novel. Sometimes, I cross out and draw arrows to rearrange the elements so often, I end up rewriting the whole thing a few times because I no longer can read my own diagrams.

In most cases, these scribbles remain private. However, I happen to be working on a project right now where the publisher requested an outline first, but that’s never really happened before.

Several of my friends tell me they just start writing. They skip the outlines, diagrams, and charts and words just start to flow.

This slideshow bizarrely made some part of my brain do a superiority dance. “I am in good company with other prewriters,” it seems to say. “Just look at me with the likes of Henry Miller, William Faulkner, Sylvia Plath and Joseph Heller!”

This is utter nonsense. Plenty of writers do just fine without scribbling diagrams, outlines, or the like first, particularly if they are writing short form.

Are you an outliner? Why or why not?

Kveller writers talk G-d with their kids

The Jewish parenting website Kveller is running a series right now on parenting. They’ve got 5 perspectives so far, and I have to admit I have mixed feelings.

They seem to have picked some extreme situations–a mom who clearly has OCD, a kid who has chosen Communism over Judaism–but also some pretty normal ones, like the soon-to-be dad finally realizes the fate of his unborn child is out of his hands and chats with G-d about protecting him and (this had me laughing both out of amusement and empathy) the mother whose kids imitate G-d saying, “No!” to each and every request she makes at a trying stage of life.

What surprised me most is that so far most of the parents seem to not have thought about what they would say about G-d before talking about Him with the kids. Some of the stories are frankly depressing, like watching the blind leading the blind. Not surprisingly, their fumbling responses get some pretty sad results.

But I just love that a non-Orthodox (at least, not only Orthodox) Jewish website is hitting this issue, which largely goes undiscussed in polite American circles. And we’re getting a real glimpse into American Jewish households to see what’s going on in there.

It’s pretty harrowing.

Sure G-d says, “No,” an awful lot. But what about all the times it turned out good for you?

What about saying, “Thanks, G-d!” every time you experiences a moment of joy? “Thanks for the parking space!” and “Thanks for there being exactly enough cupcakes for us all!” make an impression on kids as much as all those heaven-sent No’s.

What about discussing with your co-parent about how you’ll represent G-d to your kids ahead of the “Big Talk?” Because it’s as much of a Talk as the more famous one, and requires at least as much forethought.

Something that surprised me also was that no one really mentioned sharing books about G-d with their kids. A lot of the what I’ve communicated with my own kids about G-d has come from books and magazines, like  Where are You Hashem?, The Invisible Book, and Hashem is Truly Everywhere.

Do any readers out there have literature they like to share with their kids to enhance their “G-d Talk?”

Play-by-play: The Weird Things that Happen When You Write Under Time Pressure

clock

Tick-tock…Quick, that deadline’s approaching!

Foolish me.

So, as I mentioned last week, I committed to produce a story just three days after Passover was over. I did prewrite before the holiday, and even had started a first draft in longhand (I often do). It was this surprisingly dark piece, written in second-person. A concerned family member was talking to “you,” and “you” (it becomes clear) are suffering from a clinical depression.

When I picked these materials back up after Passover had wrapped up,  the first thing I thought was: ugh.

  1. The tone was too dark, especially for this particular venue (Ironically, the theme I was given was “Put some spring in your step!” Right.).
  2. The second-person thing effectively pulled you in–making the dark subject matter even more depressing.

I felt like hyperventilating. Was I back to square one? With only three days to go?

AHHH!

Continue reading

Seeing the world through a writer’s eyes

I’ve been thinking a little bit more about my theme of a couple posts ago, “how to be funny.”

jester

A good jester will find humor in any situation, not just those that are obviously funny.

One of the steps to writing funny is seeing funny all around you. You can look at almost any situation and find something funny in it if you relax and try to experience it through calm, judgment-free observation.

A few months ago, someone (it might have been Erika Dreifus) pointed out this opinion piece by Silas House in the N.Y. Times:

We are a people who are forever moving, who do not have enough hours in the day, but while we are trying our best to be parents and partners, employees and caregivers, we must also remain writers.

There is no way to learn how to do this except by simply doing it. We must use every moment we can to think about the piece of writing at hand, to see the world through the point of view of our characters, to learn everything we can that serves the writing. We must notice details around us, while also blocking diversions and keeping our thought processes focused on our current poem, essay or book.

This way of being must be something that we have to turn off instead of actively turn on. It must be the way we live our lives.

Some people take this kind of remote observation a bit far. Silas House argues that the majority of a writer’s mind should be working on literary pursuits at any given time. I’d disagree. I try to turn this part of my brain off on Shabbat, during conversations with loved ones, and on date night, too. The key is not to remove yourself entirely from life around you, but to be able to see it calmly with a portion of your mind at will.

But that doesn’t mean that when on a stroll with my kids and I’m admiring your garden that I’m not noting which flowers are in bloom at this season so I can work them into the setting of my work in progress.

There’s a story Continue reading