Writing Starts With Inspiration

This is National Write a Novel Month (NaNo) where writers from around the world take the challenge to write 50,000 words (minimum) in 30-days. As this is written there are some 400,000 participants from 200 countries pounding keyboards or scratching on paper. It is a daunting experience for some who unfortunately will not succeed. However, last year 310,000+ did, and in the process learned a great deal about themselves and writing.

When there are 400,000 writers, it is not unrealistic to expect about that many approaches to writing, and only by trial and error does a person find the method that fits them best. However, all approaches to writing the first chapter have one very important thing in common.

Several days into the current challenge an individual complained that he probably wasn't going to write this year because he couldn't think of anything. ? ? ? Perhaps this is harsh, but if a person is unable to get inspiration, they should pack their bags, and move on to something else because inspiration is the germ that spawns stories. If you don't have it or wait until the last minute, you are wasting your time.

After fifty years I can not explain how it happens. It just does. A comment, a song, a picture, even an assignment, but something triggers the creative synapses to start clicking away. What I have learned is to start recording some of those thoughts quickly, adding detail as soon as safely possible because ideas will flow like spring runoff and can dry up just as fast. It makes no difference how you record those ideas, whether they be short-phrased outlines, bullet points, incomplete sentences, or brief synopsis. When the ideas come, grab for the gold ring.

Can't think of anything to write? I have a box in the garage with ideas collected over these many years. Most are worthless because the thoughts are dead and the notes too meager for resurrection. By trial and error I learned to be more detailed and now write a synopsis including ideas about the protagonist, antagonist, how it can start, and where it can end. The twisted journey from start to conclusion falls into place.

The information (often only a page long) is placed in a file for those times when the idea stream seems dry. In the last year alone almost fifty synopsis were added to the file which is has so many it would take a long, second lifetime to develop them all. However, shopping for a story is greatly simplified.

Sometimes inspiration is so strong that the synopsis stretches into more than one page. During a siege of writer's block during work on a novel this past year, I turned to this file and wrote several short stories. Another idea occurred and the synopsis stretched into a finished story on the spot. That happens.

Once inspired and notes dutifully recorded, the writing process naturally turns to development – sketching out the plot, researching details, and giving thought to the kind of characters that will wade through it, never losing sight of the final goal. Never mind holes, disconnects, bridges, or any of those technical things. Begin transferring the story from your mind to a visible form. Writing is like creating a life-size figure out of clay. Once a supporting skeleton is in place, the artist applies layers of clay. It looks rough and crude, but with a blade, scraper, and hands, the features are refined until it can look to walk off the pedestal.

Can't think of anything to write? If you are a writer, that is the least of your concerns.

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Anyone for Some Red Herring?

This eFile is about one of the fun things an author can do with their writing, but the topic stimulated my hunger and it became necessary to appease a hunger attack. So, before any writing commenced on this article it was off to the grocer for a can of smoked herring and crackers. Smoked oysters and anchovies on pizza are another thought for later.

However, that's not what this is all about. You've just been treated to a “red herring.”




A red herring is some irrelevant information that diverts the audience's attention from the real issue. I remember an old Charlie Chan movie where a number of people each has a motive for killing off their rich relative, and this is exploited by the writer(s). At the end they all assemble in the sitting room and Mr. Chan goes from one to the other noting their motive and reason for not being the perpetrator until coming to the one most of the audience suspected least.

A red herring is a common device used in mystery and thriller stories, distracting the reader from identifying the real culprit and aiming to keep the reader guessing at the possibilities until the end, and thus keep them interested in the story

This is also a favorite ploy of politicians wishing to dodge difficult questions. They do it by referring to a different issue, which of course is irrelevant, pulling attention away from the original issue under discussion. As long as the author does not abuse their audience, they love this tactic. So, how can it work? When dealing with characters, give selected players a reason or opportunity for being suspect.

Characters are not the only opportunity to use this device. Setting has many variables to play with. Of course, there is the physical place, but also time – time of day, week, month. Then there is the weather. Is it hot, windy, rainy, snowy? Use multiple levels of detail.

Objects are another toy/tool – those that are present and those which are missing.  I had the pleasure of helping teach a criminal investigation class and set up various crime scenes. There were items of significance and things designed to mislead or stall the investigation. The students learned that some evidence was missing. For instance, the victim has yellowed fingers from smoking. There is an ash tray, but no butts or ashes. There are peanut shells in the kitchen garbage, but the victim wears a warning on his wrist about a nut allergy. That may be significant or not as the victim likes to bake.

The more ways a reader can interpret a specific item, the more likely they will make a wrong assumption, and that's exactly what the author wants to happen.

However, a word of caution. Too many red herrings can frustrate the reader. And never, ever lie to your reader.

This discussion has focused on the mystery genre, but red herrings are successfully used in other genre. There are usually fewer of them with a different purpose. Instead of teasing the reader to incorrectly guess what has happened, the purpose is to have them guess what might or will happen, especially if the reader is privy to information the protagonist does not have. They will begin to speculate how that person will react when the surprise is sprung.

In a pirate novel series, the protagonist and antagonist literally cross swords. The antagonist is defeated, humiliated, and vanquished. Several years later, the hero is away helping a friend defeat a different villain. Unbeknownst to him the old enemy is now governor of the island where he lives. Being a prominent citizen and the island small, a meeting is unavoidable.

In another story, a young boy's parents are murdered by the father's brother, a major crime boss, so to acquire valuable property. The boy is to meet with an accident to complete the plan. The uncle is relentless, sending his most trusted henchman to find and finish the job, but time and again, the boy escapes, often leaving the reader with the impression this is one very lucky lad. In the end, his uncle is broken by the police, but freed on a technicality. In the final scene, the vindictive uncle orders his henchman to finish the job and see the boy dead. Now, we learn how the boy has been so lucky. The henchman once loved the boy's mother, but would not marry her because of his career, instead seeing that his best friend marry her. He was best man at the wedding and godfather to the boy that could have been his son. All along he secretly orchestrated the boy's escapes from death, and in his last move to protect him, eliminates the last threat to his life. All along the way the use of red herrings diverted attention away from the godfather as being one of the boy's “guardian angels.”

When reading stories, watch to see if the author introduces any red herrings to divert attention from what is actually happening or will happen. If you like puzzle mysteries take a look at a master of the art, Agatha Christie, and see how she drops clues throughout the story, or go to YouTube and watch some Charlie Chan. Examples are all around and should become obvious as you are now aware of the technique.

Which are good clues and which are not?

How can you use red herrings in your story?

EXTRA - Book Review - Titanium Texicans

 I enjoy taking time away from writing to see what other authors are doing, and when stumbling across a good read, it's only right to share.

Alan Black, Titanium Texicans, (2014) 

Kindle Books

(ISBN 978-1500639181)

Science Fiction author, Alan Black, has done another credible job spinning a Young Adult tale in outer space, Titanium Texicans (2014). However, don't let that last phrase, “outer space,” be a turn-off. This is not a story with weird creatures and fantastic places with unpronounceable names. This is a solid story of a mid-teen's coming of age in short two years.

There are certain elements that successful Young Adult stores contain: an orphan who must contend with an adult world, and an antagonist who gets in the way (in this case two on different power trips). The protagonist must overcome challenges to achieve a goal, meet, lose, and win a girl, and somehow come out on top. Titanium Texicans certainly delivers.

In addition, Alan Black has chosen to tell this tale using two ethnic groups of earth people seldom heard from, the Scots and Texicans. If an author doesn't understand these two cultures, the story will fall flat on it's proverbial face.

Texicans are a very diverse ethnic group. The first immigrants to the area we now call Texas were from Spain (not Mexico) who began arriving in the 1600's. They were joined by a massive immigration of Europeans in the 1700's. These people joined together to defeat the Mexican army in an 18-minute battle to win independence from Mexico in 1836 before joining the United States. My youngest son's very best friend's ancestors settled in now southern Texas in the late 1600's. His dad, a good friend, speaks Spanish (not Mexican), and Johnny struggles with the language having grown up in northern Nevada. Over the centuries the Spanish arm of Texicans has become increasingly mis-labeled as Mexicans. Mr. Black skates close to this trap without falling into that pit.

The other group, the Scots, he has pretty well nailed. These hardworking, industrious folk are clannish. (No pun intended). They are a proud, close-knit, tight-lipped, independent, suspicious of government, education-oriented people, and in no way related to the English. My own paternal line traces back to when the Celts migrated from central and southern Europe. My maternal side is German Celts who didn't migrate. I know these people. I grew up with these attitudes. Mr. Black seems to understand them and depicts these traits nicely through his protagonist, Tasso Menzies.

Tasso is orphaned, betrayed by an uncle, has serious anger issues, and consigned to a family-oriented, Spanish Texicans space-freighter of humongous dimensions. In the next two, rocky years he overcomes personal problems because of his Scottish upbringing and the gentle caring of most of the crew. While his goal is to return to reclaim a starvation farm, fate sets his feet on a much different path.

For this reader, Titanium Texicans became one of those enjoyable, hard-to-put-down reads well worth the time.

Preparation – The Click of a Mouse

Fifty-five years ago I began serious writing using a pencil and then a Royal typewriter. There were other essential tools, too; a dictionary, thesaurus, and encyclopedia. There is (and always has been) a bookshelf within easy reach. Looking there as this is written I see my original Webster's New World Dictionary © 1955 and Roget's Thesaurus in Dictionary Form © 1961. Companion references regarding the art of writing fill much of that shelf. Above that are two shelves of historical and scientific references mostly from a lifetime of study in history and archaeology – things that are not available online.

When a writer's imagination is sparked, the first thing that should occur is jotting down an outline or synopsis of what the story is about, giving it a beginning and and end. That in turn suggests what research is necessary.

Several years ago I penned a story that involved the Pueblo Indians of New Mexico. The Jemez Mountains west of Sante Fe became the local. The Internet has become the Library of Alexandria in our time and provided a wealth of information about this area in the form of text and pictures. There was also some about the Pueblo people. As in all good references there will be a bibliography at the end pointing to other sources, but I felt the need to visit the area to  drive/walk the land and speak/observe people. Of particular importance was their religion. Problem! Much of their practices are considered sacred and they simply DO NOT discuss it.

Not discouraged, I returned to the Internet (and thank you Google for digitalizing books written in the mid to late 1800's) which provided insight into what I wanted. No, there wasn't the detail I wanted, but coupled with a background in archaeology and religion and noticing some correlations, I indulged in speculation and a bit of fantasy to produce a story with a realistic ring. (Perhaps too realistic because a couple of contacts in New Mexico wanted to know how I found out what went on in the kivas.)

However, a writer should be careful about inundating the reader with too much fact. Present enough to give an authentic flavor. In preparing a series on piracy in the early 1600's, this was not the swashbuckling idiocy of Jack Sparrow, walk the plank, and “avast there.” It was a whole lot more interesting. Columbus came to the New World and introduced slavery, disease, and decimation of the native populace. There were two types of natives – one would embrace you as a friend and invite you TO dinner, while the other cut to the quick and have you FOR dinner. Pirates were ruthless, yet there was a human. Historical events in Europe and the New World occurred to effect and encourage events in the setting (the Caribbean Islands). Sailing in a 100-foot, leaky boat was not a pleasure cruise. What a wonderful palette with which to work.

As an example, I became peripherally involved in the research for James A. Michener's tale, Centennial (1974). Here's a description as found online:

(Wikipedia, The Free Encyclopedia, http://en.wikipedia.org /w/index.php?title=Centennial_(novel)&oldid=621515363). 

“Centennial is a novel by American author James A. Michener, published in 1974.

 “Centennial traces the history of the plains of northeast Colorado from prehistory until the early 1970s. Geographic details about the fictional town of Centennial and its surroundings indicate that the region is in modern-day Weld County. Since the novel was written, the Denver suburb of Centennial has been incorporated, although its location in Arapahoe County is far from Michener's fictional town of the same name. Much of his book was based on the Weld County town of Greeley.

“Many episodes in the book are loosely based on actual historical events in eastern Colorado and southeast Wyoming, which for novelistic reasons are brought to a single locale. For example, "The Massacre" is based on the Sand Creek Massacre which took place in Kiowa County, Colorado in 1864. Other parts of the book are loosely based on a family from Sterling in Logan County.”

Don't think for a minute that the research for this novel was done overnight or entirely by Mr. Michener. However, there are very important things to note about what and how he used the research which is a good example of how to pull things together within the framework of a story.

The beauty about writing today is that it's all there – literally at our fingertips – as we write: our research notes, dictionary, thesaurus, references. If more detail about a person, place, or thing seems necessary as we write it is simple to make a note and research it later or switch to another working window, quickly look it up or reach to the bookshelf for the printed reference. (Yes, that is contrary to what others will say, but if you have the ability to hold the current story thought or have good notes/outline, go for it. More than once I have had an “Oh, really?” moment and immediately changed directions thus saving a lot of re-writing later.) Of course, if the information does not seem available, perhaps it's time to take a “vacation.”

Method Acting and Writing

Recently a niece who is a developing author and artists posted this on FaceBook:

"Writing this novel is an interesting adventure. I'm getting to know these characters as they grow and change. Today as I was writing a particular scene I felt like I was there like I was feeling everything. It's a strange surreal thing. I wonder if that's how actors feel when they are really into a scene."

Pumping my fist and shouting, "YES!" I could not have been happier for her. Like many folks trying their hand at writing, she has not really had much writing instruction, but she is working at it, and this is a great discovery.

In the dramatic arts there is a style called "Method Acting," which seems to be going out of vogue. This technique is where actors and actresses absorb the thoughts and feelings and apply personal experiences to develop life-like performances. We are talking "A-list" performers here: Marlon Brando, Montgomery Clift, James Dean, Rod Steigher, Sean Penn, Meryl Streep, Johnny Depp -- the impressive list goes on as does the memory of their works.


As a recent example, Daniel Day-Lewis is said to have spent a full year reading and thinking about nothing else except Abraham Lincoln as preparation for Steven Speilberg's, "Lincoln." When he stepped before the cameras he was no longer Daniel Day-Lewis. He WAS Lincoln. 

Acting and writing have at their core -- telling a story. It's hard to exaggerate the impact of Method Acting. It has given us a legacy full of good works, but above all it gave us sincerity and emotional truth. And therein tells the success of a writer's work. The reply to my niece's observation was:

"If the character feels pain, so do you. If they laugh, you laugh. If they cry, you cry. You must feel what every character feels or the writing becomes flat. You created these folk and just because you've put them out for everyone to see doesn't mean they leave you. They are you."

Our desire as writers is to draw the reader into the story and there are techniques to get them interested, but at the heart, we want the reader (and they want this, too) to become a part of the story. Writers should describe the feelings and emotions of a scene so that the reader applies their feelings and and emotions.

It is not unusual that as I write a scene to find myself emotionally involved. If anyone were to be looking over my shoulder, they might think I've lost it.

In one novel my young protagonist is an orphan (his father is dead and mother is gallivanting around the world as part of her tourist business). He lives with an aunt whom he adores. One day he finds her dead. Shock, denial, fear of the future; he can't cry until a surrogate father sits with him before the funeral. Peers taught this young man that men don't cry until he sees this man, "the strongest man he knew," begin to cry. (My apologies, but that scene was so emotionally powerful it still affects me.) As the adventure progresses he experiences a lot of feelings -- joy, wonder, fear, bravado, and love.

Now, there is a sizeable difference in ages between this author and my niece, almost fifty years, so my reservoir of experiences is much greater, but even in twenty-plus years she has experiences on which to draw and flesh out characters. So, if a character is angry, pull out the anger as you've experienced it. If they are frustrated and cry, you cry. If they are exuberant, you laugh. Why? Because that character is you. It doesn't matter what part they play.

I suppose you can call this Method Writing. 

B I C

Most of the discussions in this eFile have focused on the techniques of writing, so let's break away for a bit to discuss taking a story from within the wrinkles of your brain and putting it out for all the world to enjoy. That only happens when you apply your bottom to the seat of a chair and write, or as Katherine Paterson, author of Bridge to Terabithia, coined, “BIC” for “butt in chair.”

A story starts with an idea, formulating a goal, writing a synopsis, create some form of an outline to achieve the goal, and then applying the who did what, when, where, how, and why. Now, comes BIC time. Don't be concerned about applying all the techniques, just get the story out and visible. Don't stop to correct sentence structure, or even spelling, or do anything that will get in the way of the story. Just hammer the keyboard or wear down a pencil. Only when you reach what you think is the conclusion do you go back and start the first edit correcting and adding those things necessary to making it readable and believable.

When taking law classes years ago I was introduced to the “law ruled legal pad,” the best

thing since cake icing. The little, narrow column on the left side of the popular legal pad is replaced by a three-inch-wide column.

Taking lecture notes in outline form in the main body, this wide area on the left allowed for comments. Applying that to writing, the story outline or even the story itself is in the main section with notes, references, reminders, concerns, whatever in the left. Of course, with rare exceptions, our stories are done with a word processor. So? Whether using LibreOffice, Microsoft Word or some other word processor with the capability there is the opportunity to add important information in the margin.

The most important thing is to get the story out into the light. Some authors are very fanatic about saying that you must set a specific time, length, or number of words to write. The fact is that doesn't always work. There will be interruptions, but with planning, such annoyances can be minimized. Schedule. Schedule. Schedule. For example, I rise early and take the dog for a walk. While he is checking out the sage brush and rocks, it is possible to begin thinking about that day's writing. I used to carry a pocket notebook, but current technology allows voice activated note-taking with notepads or cell phones. Since I run a business, the next 2-3 hours are occupied handling eMails and phone calls. Writing time comes after lunch, usually lasting no more than 2 hours at which point it's break time where I slip out to the lounger on the patio and take a working “nap.” This allows a mental review of the newly-written material or planning out the next segment, experimenting with various scenarios before returning to the keyboard.

Living in an empty nest, this works well. When the kids were still at home, my scheduled writing time was after they went to bed, often working until 1 or 2 a.m. Whatever your circumstances, chose a block of time with the least interruptions and let everyone know that you do not wish to be disturbed. After a couple forgetful moments they will get the message.

Everyone is different and have different situations and challenges, but the key to writing is scheduling, consistency, and drive.

Snap, Crackle, Pop

 

In this eFile and other writings, time has been spent discussing the importance of the beginning, in particular, the first paragraph, the first page, and the first 10% of the story. What has not been considered is THE END.

During initial story development it is important for the protagonist and antagonist to have goals. That applies to the story as well, so while laying out the outline, details, and notes, a couple important questions to answer are:

1. What are the main characters' goals?
2. What is the story's goal?

The entire story answers the Who, When, Where, How, and Why. Then, as the very first paragraph starts everything rolling, the very last paragraph ends the journey, but it needs to be as special as the first to leave the reader satisfied. This would be the “clincher,” a memorable closing, something that leaves an impression upon the reader and say succinctly what has been discussed during the preceding pages.

In Rudyard Kipling's “Rikki-Tikki-Tavi,” a pet mongoose saves his human child, Teddy, from a cobra. Kipling's clincher was the mongoose's soliloquy, “Oh, it's you,” said he. (Referring the appearance of Teddy's parents.) “What are you bothering for? All the cobras are dead; and if they weren't I'm here.”

Rod Serling's “Twilight Zone” TV series used the works of many writers whose stories are memorable because of the ending. One story was “To Serve Man.” Aliens come to earth and help eradicate disease and hunger. This benevolent act is uncovered in the very last minute of the story – the book the aliens dropped, “To Serve Man,” is a cook book.

In the short story, “Mariann and the Snake,” a teenage girl has a dream of something terrible coming out of her bedroom closet during the night. Sure enough, a mouse appears and sets the household in an uproar. The next night, another mouse appears, this time followed by a deadly snake. Everyone evacuates safely as the dad stands guard so the snake can not invade the rest of the house. Huddled on the neighbor's yard across the street, a policeman comes to inform them that they can't find the snake. (From “Stories for a Sleepless Night.”)

This final shot to impress the reader is in addition to closure, or letting the reader know what happened to the main characters and some of the supporting ones as well. In the final scene of the “Harry Potter” series, we discover that Harry has married Ron's sister, Ginny, and Ron has married Hermione. They have children that are now on the way to Hogwarts. Even Draco Malfoy has a family and seems to be on nodding terms with Harry; a powerful message about change and forgiveness in that very brief encounter.

Start with a snap. Carry on with a crackle. End with a pop.