Greetings, Pantser. Hello, Outliner. Warm welcome to those in-between.
No matter what type of organizer you are it is important that your story has a plot. There is one exception to this which I will go over at the very end of this post. Please deal with my humor until then.
First, no matter how good or how bad a story is, no matter what genre that story belongs to, it shares one simple thing with all stories. There is some form of plot. When you put a sentence down to the paper, you are writing about *something*. That something will become your plot. Or at least part of it.
When you write your first draft, you may not know what your plot is until you get there. That is one of the joys of being a pantser -- or someone who writes by the seat of their pants. I have served my time as a pantser. It can be a great deal of fun. It keeps the mystery alive. Until the last word, the last page, when you sigh and realize that you are 'finished'. Crossing the finish line as a pantser can be very rewarding.
But let us not forget about the dedicated outliner. These folks -- I've done this as well -- plan their plots, their conflicts and their characters in advance of writing. These folks know where their story is going. These folks sit through the hard moments where they know exactly what is to come and cope with having to wait to get there. In a way, the outliner may feel as if they are putting the finishing touches on a story by writing the dialogs, the descriptions and the scenes out true to their outline.
Then there are the few who are both pantser and outliner. I fall into this category. After having done dramatic experimentation with both outlining and pantser'ing. These folks have a direction but leave the details up to chance. Many pantsers will often have a concept of where they want to go, but it changes on the fly. The hybrid will know where they want to go, the getting there is just an adventure waiting to happen.
All of these methods are correct. The magic is in the editing, but that is a different subject altogether.
Now that we have covered the three basic types of writers, let us dig right into the heart of the issue.
What is a plot? Why do I need it? And why do *you* feel like you need to tell me why *I* need a plot? Who the hell are you anyway?
There are many more questions that could suffer answering, but I will start with these.
What is a plot?
A plot is the driving force behind a story. It is your story. It is your synopsis, it is the reason your reader wants to keep reading your book. It is the conflict. It is the drama. It is the breath-taking moment when your character's dream has come true. It is every defining moment of your book. It is the why of your book. It is also the how of your book. It is the purpose of your book.
The plot, in the nitty-gritty world, is the series of events that take your book from the start to the end. It is the tangled weave that your character spins as he or she goes out on their adventures. It is the series of events that take your character to the conflict and the events that allow them to resolve the conflict.
Wikipedia defines a plot as: A literary term, a plot is all the events in a story particularly rendered toward the achievement of some particular artistic or emotional effect or general theme. An intricate, complicated plot is known as an imbroglio, but even the simplest statements of plot can have multiple inferences, such as with songs in the ballad tradition. Basically a plot is the story line or the way a story is written.
Why do I need it?
Why do you need air? Why do you eat? Why do you sleep? Why do you ask me this question?
This has been something that I have been answering a lot lately. This is actually what spurred me into writing this post. With National Novel Writing Month quickly approaching, many writers are struggling with this concept. Some are even throwing their hands up in disgust and giving up because they focus on their characters and end up with no plot, no world and no purpose for them. When asked about this.... they'd get offended and say their characters are the plot.
No, your characters -- no matter how beautiful or wonderful -- are not your plot. You need a plot. Get over it and make one. Start with your conflict. Once you know what the main conflict and the climax (The most tense, story changing event in your novel) it is MUCH easier to figure out the rest of your plot. Just remember, you do NOT have to have all of your plots tied to the climax. Side-adventures are allowed. In fact, they are encouraged. They can add a lot to a story even if it may not be directly related to the climax. Your climax is very much your defining moment in the book.
And why do *you* feel like you need to tell me why *I* need a plot? Who the hell are you anyway?
I am just a writer like any other. I just love the craft so much I feel the need to ramble on about it. You don't have to follow my advice. It is, after all, just advice. Do what you want. But, your story will be much better off with a good plot.
And if you somehow manage to get me to critique your book, you won't get the lecture about plots and realize 80,000 words in that your story is actually lacking a defining plot and you need to rewrite the whole thing -yet again-. If you fail to get a good plot, you will end up doing a full rewrite.
I know I have fallen into this trap.
As a side-note, a good plot does not need to be a complex plot. Sometimes the best plots are the simple ones.
Now, as I promised early (Look, Ma, I kept my promise. Really, I did!) there is a situation where plot... well, who needs it? National Novel Writing Month!
All the rules are gone for this. If it is fiction, have fun. Write whatever. No plot? Pfffft. Who needs a plot anyway? The point and beauty of National Novel Writing Month is to enjoy writing. To accomplish something you haven't before. By all means, throw aside the wicked plot and just write. You might be surprised at the plot that sneaks in, but do not be afraid to experiment and play. It isn't for the professional, but for that scared little writer who really wants to write a book but needs the experience.
Don't worry. You can worry about your plot on the next book. November is for you, new writer.
Showing posts with label plot hole. Show all posts
Showing posts with label plot hole. Show all posts
Wednesday, September 29, 2010
Thursday, May 27, 2010
Researching your novel
One thing that some Fantasy and Science Fiction writers (and authors) fail to realize is that research should be an important part of your world building process. It is very easy to fall to the temptation of just writing whatever you want when you are working on a F/SF novel.
This should not be the case.
I have been working on a young adult novel project lately. This has some fantastical elements - ghosts, legends, myths and the kin. But, in the end, it really is about a modern girl who gets to experience some pretty fantastic things. Fantasy? In a way.
Factual? As factual as any myth or legend can be.
Researched? You bet.
But, as I have been doing the research for this project, I realized something. No matter how much I would just jump in and write a fantasy novel, I would be doing research. However, not as much research as I should have been doing.
What things should I have researched for my fantasy novel projects? Well, I will provide you a list and my reasoning. Writing this young adult, I feel, has greatly improved my ability to see a plot line and condense it into something manageable. I will go into this a little later, as there is a research element involved here as well.
1: Basic sciences.
Magic, as we all know, is magical! It is not science. However, one thing should remain the same, even if you use magic in your world. This law of science should still apply. You suspend this, and you break your concept. Suspending disbelief -- or the act of convincing your reader that this could actually happen -- is vital if you want your fantasy novel to succeed. You can do this by looking at every action taken with magic and applying a basic physics law to it.
"Every action has an equal and opposite reaction."
If you throw a fireball, there will be the same force of the fireball expanding from the explosive point. In exchange, there should be a similar -- equivalent -- cost to the user. If you have a character that can just throw around massively damaging fireballs with no consequence and no reaction, belief in the sciences of the real world will not be suspended.
If you use fire a lot, research fire. This can include materials that burn best, and materials that do not burn at all. If throwing a fireball means that your character gets hit with the backlash, how can the character best protect themselves?
Exhaustion, both physical and mental, are the standard equal and opposite reaction of magic. Someone casts a fireball, and they become tired. If they become too tired, they risk death.
In the case of a cannon, the cannon recoils. But, hey, it is magic. You can bend the rules a little. But, you should always have this little rule in the back of your mind.
I would also keep the one about "What goes up must come down" firmly in mind. Especially if you have a character prone to tripping up the stairs.
2: Location, Location, Location.
Many people have it set in their minds that a F/SF novel must take place in many different locations. In some cases, this is true. In others, it is not. However, one thing does tend to be clear: The higher the number of locations pursued in a novel, the more convoluted the plot tends to become. Do not add locations just for the sake of adding locations. More locations does not give your novel an epic feel. Your writing, your style, and your story give your novel an epic feel.
When you research locations for a SF/F novel, there will be a lot of creation. The world should be yours. However, in order to suspend disbelief (here we go again...) you need to make your locations at least somewhat realistic. For this reason, I have taken to researching the equivalent on earth. Then, I see what is nearby.
Why do large cities tend to be where they are? Water supplies. Most large cities are near some form of major water supply. My home is actually on an Island. Many people I have spoken with did not realize that Montreal is in fact an island, but sure enough... there is water on all sides. Lots and lots of water. (For those who are not familiar with Montreal, it is in the middle of the St Lawrence river in Quebec... directly north of New York State.)
New York City? It has the Ocean. Baltimore? Chesapeake Bay. Miami? Ocean. Los Angeles, San Fran... Oceans, rivers and Lakes all fairly close. Ottawa? Has a river. Toronto has a lake. Chicago, Milwaukee both have a lake. Detroit likes those lakes, too. London has the ocean...
I'm sure you are getting the idea. Pay attention to the details of your location. This is particularly true of Fantasy novels. Your people will not live in a region where they can not get their basic needs: Food, Water and Shelter. They can make their own shelter, but they are in a lot of trouble if they cannot get food or water. Sure, that barren wasteland may seem like an awesome place to put a city, but large numbers of people will not be able to reside there. Not without a heck of a lot of explanation.
3: Resources
Civilized lands need resources for trade or for crafting. The resources available are determined by your location. When you research location types, do not forget to research valuable resources. You may not mention them in your novel, but these factors need to be kicking around in the back of your mind. This is an important part of what makes your world function.
4: Politics and Religion
Both of these are something that many are advised not to talk about in polite company. They can break friendships (and couples) about as fast as a penny falling to the floor from the counter. That said, these are often driving forces behind many plots. Making up your own politics and religion is great! But, you better do your research and see just how politics and religion can change a nation -- for better or for worse. With so many politicians around the world -- professional and the type who sit on their couches and comment on it -- you need to have a good idea of what actually is going on. Hitting the history books may be wise.
There are so many more things that you can research to make a SF/F novel happen. That said, it is important that you do not lose focus on the most important thing:
Your story needs a plot. It is not a story without a plot.
A plot has a beginning, a middle and an end. It is really just a big problem that needs solved. The resolution of the problem is the climax, and the stuff after that is just wrapping up the details.
You may love to write about a character, but your character needs to serve an important role to your plot.
Often, the most simple of plots are the most enjoyable to read. The more plots, the harder it is to follow.
A few examples of simplistic plots include Twilight and Harry Potter.
I will use Harry Potter in this case, as most people have had long exposure to it.. that, plus I have not read Twilight. I might read it in the future, but we will see.
Harry potter, through all of the books, has one main plot. This is the conflict between Harry + Voldemort. There are many subsequent plot lines, but all of them actually contribute, in one way or another, to the final showdown between Harry + Voldemort.
This is very important, people. Pay attention.
Every subsequent plot, in some way or another, contribute to the final showdown between Harry + Voldemort.
Your novel needs to be the same way. Every scene, every action and every dialog somehow needs to link to your main plot line.
This will really make your life a lot easier. It will also eliminate many plot holes. Easy to fix a problem when it doesn't exist in your book. (They will exist... but they will be much more minor than if you're flying off the cuff without your primary plot.)
I will leave you to chew on that a while on your own.
Good luck!
This should not be the case.
I have been working on a young adult novel project lately. This has some fantastical elements - ghosts, legends, myths and the kin. But, in the end, it really is about a modern girl who gets to experience some pretty fantastic things. Fantasy? In a way.
Factual? As factual as any myth or legend can be.
Researched? You bet.
But, as I have been doing the research for this project, I realized something. No matter how much I would just jump in and write a fantasy novel, I would be doing research. However, not as much research as I should have been doing.
What things should I have researched for my fantasy novel projects? Well, I will provide you a list and my reasoning. Writing this young adult, I feel, has greatly improved my ability to see a plot line and condense it into something manageable. I will go into this a little later, as there is a research element involved here as well.
1: Basic sciences.
Magic, as we all know, is magical! It is not science. However, one thing should remain the same, even if you use magic in your world. This law of science should still apply. You suspend this, and you break your concept. Suspending disbelief -- or the act of convincing your reader that this could actually happen -- is vital if you want your fantasy novel to succeed. You can do this by looking at every action taken with magic and applying a basic physics law to it.
"Every action has an equal and opposite reaction."
If you throw a fireball, there will be the same force of the fireball expanding from the explosive point. In exchange, there should be a similar -- equivalent -- cost to the user. If you have a character that can just throw around massively damaging fireballs with no consequence and no reaction, belief in the sciences of the real world will not be suspended.
If you use fire a lot, research fire. This can include materials that burn best, and materials that do not burn at all. If throwing a fireball means that your character gets hit with the backlash, how can the character best protect themselves?
Exhaustion, both physical and mental, are the standard equal and opposite reaction of magic. Someone casts a fireball, and they become tired. If they become too tired, they risk death.
In the case of a cannon, the cannon recoils. But, hey, it is magic. You can bend the rules a little. But, you should always have this little rule in the back of your mind.
I would also keep the one about "What goes up must come down" firmly in mind. Especially if you have a character prone to tripping up the stairs.
2: Location, Location, Location.
Many people have it set in their minds that a F/SF novel must take place in many different locations. In some cases, this is true. In others, it is not. However, one thing does tend to be clear: The higher the number of locations pursued in a novel, the more convoluted the plot tends to become. Do not add locations just for the sake of adding locations. More locations does not give your novel an epic feel. Your writing, your style, and your story give your novel an epic feel.
When you research locations for a SF/F novel, there will be a lot of creation. The world should be yours. However, in order to suspend disbelief (here we go again...) you need to make your locations at least somewhat realistic. For this reason, I have taken to researching the equivalent on earth. Then, I see what is nearby.
Why do large cities tend to be where they are? Water supplies. Most large cities are near some form of major water supply. My home is actually on an Island. Many people I have spoken with did not realize that Montreal is in fact an island, but sure enough... there is water on all sides. Lots and lots of water. (For those who are not familiar with Montreal, it is in the middle of the St Lawrence river in Quebec... directly north of New York State.)
New York City? It has the Ocean. Baltimore? Chesapeake Bay. Miami? Ocean. Los Angeles, San Fran... Oceans, rivers and Lakes all fairly close. Ottawa? Has a river. Toronto has a lake. Chicago, Milwaukee both have a lake. Detroit likes those lakes, too. London has the ocean...
I'm sure you are getting the idea. Pay attention to the details of your location. This is particularly true of Fantasy novels. Your people will not live in a region where they can not get their basic needs: Food, Water and Shelter. They can make their own shelter, but they are in a lot of trouble if they cannot get food or water. Sure, that barren wasteland may seem like an awesome place to put a city, but large numbers of people will not be able to reside there. Not without a heck of a lot of explanation.
3: Resources
Civilized lands need resources for trade or for crafting. The resources available are determined by your location. When you research location types, do not forget to research valuable resources. You may not mention them in your novel, but these factors need to be kicking around in the back of your mind. This is an important part of what makes your world function.
4: Politics and Religion
Both of these are something that many are advised not to talk about in polite company. They can break friendships (and couples) about as fast as a penny falling to the floor from the counter. That said, these are often driving forces behind many plots. Making up your own politics and religion is great! But, you better do your research and see just how politics and religion can change a nation -- for better or for worse. With so many politicians around the world -- professional and the type who sit on their couches and comment on it -- you need to have a good idea of what actually is going on. Hitting the history books may be wise.
There are so many more things that you can research to make a SF/F novel happen. That said, it is important that you do not lose focus on the most important thing:
Your story needs a plot. It is not a story without a plot.
A plot has a beginning, a middle and an end. It is really just a big problem that needs solved. The resolution of the problem is the climax, and the stuff after that is just wrapping up the details.
You may love to write about a character, but your character needs to serve an important role to your plot.
Often, the most simple of plots are the most enjoyable to read. The more plots, the harder it is to follow.
A few examples of simplistic plots include Twilight and Harry Potter.
I will use Harry Potter in this case, as most people have had long exposure to it.. that, plus I have not read Twilight. I might read it in the future, but we will see.
Harry potter, through all of the books, has one main plot. This is the conflict between Harry + Voldemort. There are many subsequent plot lines, but all of them actually contribute, in one way or another, to the final showdown between Harry + Voldemort.
This is very important, people. Pay attention.
Every subsequent plot, in some way or another, contribute to the final showdown between Harry + Voldemort.
Your novel needs to be the same way. Every scene, every action and every dialog somehow needs to link to your main plot line.
This will really make your life a lot easier. It will also eliminate many plot holes. Easy to fix a problem when it doesn't exist in your book. (They will exist... but they will be much more minor than if you're flying off the cuff without your primary plot.)
I will leave you to chew on that a while on your own.
Good luck!
Monday, January 11, 2010
The Plotting and Revision Process
Greetings!
This post will be similar to my map post. This is from my personal experiences and will not link out to other people's works, as some of my other posts have done. However, as editing and revisions are an important part of the writing process, I thought I would lay out how I am editing my epic novel series, just in case it proves useful to you. Feel free to use my method if you desire -- that is why I am posting it after all.
An epic series, whether it is science fiction or fantasy, shares one thing in common with every other epic series: length and detail. While I have been drafting this series, I have noticed one thing: my brain simply needs assistance keeping all of the details in order. The first draft got the general idea of the story onto paper, developed my characters so I have an idea of their personalities, where they start and where they go, and ensure that I have a good idea of where I want the story to go.
The revision process is making all of these details coherent and stick together. This post will relate, in some ways, to the devious plot hole post.
However, instead of covering how the plot hole is found, this will cover how I fix them.
For this project, I am using word 2007. I have the full version of it, which is proving invaluable.
Coupled with word 2007, I am using One Note. One Note is a journal program that is bundled with Office 2007. It is nearly as invaluable as word 2007 is. I'm quite fond of it. Thank you, Microsoft, for making a product that has behaved itself fantastically. However, that doesn't stop me from making backups out of sheer paranoia.
Now that I have listed my tools for this, I will make one commentary: my husband is cheap and didn't buy me note cards, so I had to make due without. He told me I could waste all of the printer paper I wanted, though. I will probably print 'note cards' for some parts of this process. For now, I am just using One Note and seeing how it goes from there.
An epic fantasy novel has a few characteristics. It has many characters, many lands, many cultures and many events going on throughout the world. For the sake of demonstration, and because I recently read the books, I will use David Edding's Belgariad and the Alera Codex as examples of *why* I'm doing this as I have.
If you have not read either of these series, I strongly recommend it. The Alera Codex (Jim Butcher) is very, very entertaining. The Belgariad I consider a classic.
The first thing I will note about both of these series is the rich characters found in them. The Belgariad typically follows two points of view: Belgarion and Ce'Nedra. Others are thrown in, but you mostly see the world from these two young folks.
The Alera Codex is deeper. It follows many PoVs, ranging from Tavi , his mother, and a long range of supporting *and* main characters. My novel shares the Alera Codex's methodology and character range. I found that my epic just could not be done with only one or two points of view.
Either way is fine.
While the Belgariad does not go into more than two direct PoVs (seriously at any rate), you get to see many other characters on the rate. Where Eddings' excels is through his ability to stay true to his characters. They grow and change, but you never go "What the heck, this character would not do this!". He builds up to the important roles as much as necessary. The Alera Codex uses characters that are deeply shadowed in shades of gray. They are mysteries and you never know exactly what will happen next.
I am attempting a blend of these two styles.
So, in order to accomplish this, I have to take all of the ground work that I have done in my first draft and put it to words. When I drafted, I went in with nothing but a keyboard, a copy of word 2007, and determination to get it done. Thus, I started to write. I did make the error of not pausing to write down character information as I went. I was too eager to get the story onto paper.
So now I have a lot of extra work on my hands. I suggest you write this stuff down as you go. It will save you time. However, it is very useful for rereading your story for plot holes if you do not choose to write it down as you go. I'm still torn a bit on which way I prefer, so I do jump back and forth between the methods.
My first step was to open One Note and start laying out my journals. Currently, I have the following journals made. Please note that this is a work in process and I am by no means done the general plotting footwork of this novel.
Characters, To Do, Kingdoms, Char 1 Plot, Char 2 Plot, Char 3 Plot, Char 4 Plot, Villain Plot
I have removed the names of my characters, but Chars 1-4 are the main protags / antags. The villain plot is the general overview of the bad guys ploys -- this involves more than one or four individuals with different stories, but a more concise, cohesive force. This may be different for others, but my main protagonists are not very cohesive, at least from the start. Because of this, I have to weave their plots separately. If my good guys were more united (such as Mercedes Lackey's Valdemar Heralds) I may have just had an Antagonist Plot and a Protagonist plot. However, this is not the case with this specific series. I will be adding a general Protagonist Plot tab, but I will mostly be working with the specific char plot lines.
So, let us delve a little deeper into what I'm doing with these journals!
This is the major list of my characters. I have cp'd a small snippet of the type of things I'm including in this listing. As I write sections that introduce or name these characters, I write down at least the very basics about them.
This is a bare bone model for a character. The more advanced the character, the more in depth I will go with this. However, this is the minimum I will tend to use if I name a character. I use this as a basic template, then build it as needed. Things I include for more common characters are the clothes that they wear, their professions, etc. This is a very good start for me when it is a minor character. (All major characters also start it this sort of information.)
Let us go a little into the specifics. I try to be as clear as possible when I write out this information. I want to remember what I meant later. For example, build is purely physical, just to help me remember what they look like a bit. Obviously, every character has different needs, so it is up to you to decide what is best for your book.
I have a section in this journal for every named character, regardless of whether it is a protag or an antag.
This is the basic template that I am using for the plot points. This will help me get their overall plot written out. Each Plot Point # will become a section of its own. I may have several Plot Point #'s per a chapter, but each plot point # will only have one Main Plot Point. This is to help keep all of the threads of the plot organized. I may add another column to reference previous plot point numbers so I don't have to dig back as often. The second, third and fourth points are to make small notes of important things that occur based off of their importance. I may have three or four things listed under secondary points. The Importance is just how vital this point is for the success of the plot I want for the novel.
I will use variants of this for all of the character points *and* the villain points.
This is the basics of my structure. Once I have the plot points listed out, I may print out the One Notebook as my note cards, cut them out per plot point and use that to determine where things should happen.
I am chewing on whether or not to have a "date of event" column in my plot. This may be very useful keeping things in chronological order, but I am still uncertain if I will do this.
Now that you know how I structure my notes for revisions, I can begin the rewrite. This is the second draft, and may or may not use sections from the original. I have some sections that will remain mostly intact. However, a lot of the sections can use improvement. While I will keep the general idea of the passages, I will not necessarily keep the exact wording. However, some gems will remain in the final novel! I know some of my more powerful sections will be remaining with some revisions for the sake of consistency.
The second draft is about letting that editor come out and play. While I will be doing a lot of writing and rewriting and working, I will be picking apart every section to make certain that I do this correctly. Writing in this stage is slow. When I work, I expect 500 to 1,000 words per hour. This is rather slow compared to many others I know. However, unlike some events during the year, Quality trumps Quantity. However, time is precious. If you are serious about novel writing, you will remember this. Time is precious. Do not waste it.
Good luck with your writing, and I hope this proves of some use to you!
This post will be similar to my map post. This is from my personal experiences and will not link out to other people's works, as some of my other posts have done. However, as editing and revisions are an important part of the writing process, I thought I would lay out how I am editing my epic novel series, just in case it proves useful to you. Feel free to use my method if you desire -- that is why I am posting it after all.
An epic series, whether it is science fiction or fantasy, shares one thing in common with every other epic series: length and detail. While I have been drafting this series, I have noticed one thing: my brain simply needs assistance keeping all of the details in order. The first draft got the general idea of the story onto paper, developed my characters so I have an idea of their personalities, where they start and where they go, and ensure that I have a good idea of where I want the story to go.
The revision process is making all of these details coherent and stick together. This post will relate, in some ways, to the devious plot hole post.
However, instead of covering how the plot hole is found, this will cover how I fix them.
For this project, I am using word 2007. I have the full version of it, which is proving invaluable.
Coupled with word 2007, I am using One Note. One Note is a journal program that is bundled with Office 2007. It is nearly as invaluable as word 2007 is. I'm quite fond of it. Thank you, Microsoft, for making a product that has behaved itself fantastically. However, that doesn't stop me from making backups out of sheer paranoia.
Now that I have listed my tools for this, I will make one commentary: my husband is cheap and didn't buy me note cards, so I had to make due without. He told me I could waste all of the printer paper I wanted, though. I will probably print 'note cards' for some parts of this process. For now, I am just using One Note and seeing how it goes from there.
An epic fantasy novel has a few characteristics. It has many characters, many lands, many cultures and many events going on throughout the world. For the sake of demonstration, and because I recently read the books, I will use David Edding's Belgariad and the Alera Codex as examples of *why* I'm doing this as I have.
If you have not read either of these series, I strongly recommend it. The Alera Codex (Jim Butcher) is very, very entertaining. The Belgariad I consider a classic.
The first thing I will note about both of these series is the rich characters found in them. The Belgariad typically follows two points of view: Belgarion and Ce'Nedra. Others are thrown in, but you mostly see the world from these two young folks.
The Alera Codex is deeper. It follows many PoVs, ranging from Tavi , his mother, and a long range of supporting *and* main characters. My novel shares the Alera Codex's methodology and character range. I found that my epic just could not be done with only one or two points of view.
Either way is fine.
While the Belgariad does not go into more than two direct PoVs (seriously at any rate), you get to see many other characters on the rate. Where Eddings' excels is through his ability to stay true to his characters. They grow and change, but you never go "What the heck, this character would not do this!". He builds up to the important roles as much as necessary. The Alera Codex uses characters that are deeply shadowed in shades of gray. They are mysteries and you never know exactly what will happen next.
I am attempting a blend of these two styles.
So, in order to accomplish this, I have to take all of the ground work that I have done in my first draft and put it to words. When I drafted, I went in with nothing but a keyboard, a copy of word 2007, and determination to get it done. Thus, I started to write. I did make the error of not pausing to write down character information as I went. I was too eager to get the story onto paper.
So now I have a lot of extra work on my hands. I suggest you write this stuff down as you go. It will save you time. However, it is very useful for rereading your story for plot holes if you do not choose to write it down as you go. I'm still torn a bit on which way I prefer, so I do jump back and forth between the methods.
My first step was to open One Note and start laying out my journals. Currently, I have the following journals made. Please note that this is a work in process and I am by no means done the general plotting footwork of this novel.
Characters, To Do, Kingdoms, Char 1 Plot, Char 2 Plot, Char 3 Plot, Char 4 Plot, Villain Plot
I have removed the names of my characters, but Chars 1-4 are the main protags / antags. The villain plot is the general overview of the bad guys ploys -- this involves more than one or four individuals with different stories, but a more concise, cohesive force. This may be different for others, but my main protagonists are not very cohesive, at least from the start. Because of this, I have to weave their plots separately. If my good guys were more united (such as Mercedes Lackey's Valdemar Heralds) I may have just had an Antagonist Plot and a Protagonist plot. However, this is not the case with this specific series. I will be adding a general Protagonist Plot tab, but I will mostly be working with the specific char plot lines.
So, let us delve a little deeper into what I'm doing with these journals!
- Characters
This is the major list of my characters. I have cp'd a small snippet of the type of things I'm including in this listing. As I write sections that introduce or name these characters, I write down at least the very basics about them.
| Age | Gender | Hair | Eyes | Build |
| 24 | M | Pale | Blue | Tall/Muscular |
| Personality | Likes | Dislikes |
|
|
|
This is a bare bone model for a character. The more advanced the character, the more in depth I will go with this. However, this is the minimum I will tend to use if I name a character. I use this as a basic template, then build it as needed. Things I include for more common characters are the clothes that they wear, their professions, etc. This is a very good start for me when it is a minor character. (All major characters also start it this sort of information.)
Let us go a little into the specifics. I try to be as clear as possible when I write out this information. I want to remember what I meant later. For example, build is purely physical, just to help me remember what they look like a bit. Obviously, every character has different needs, so it is up to you to decide what is best for your book.
I have a section in this journal for every named character, regardless of whether it is a protag or an antag.
- To Do
- General To Do List
- Character Modifications
- Plot Hole Fixes
- Kingdoms
- Character Plot Points
| Plot Point # | Main Plot Point | Second Point | Third point | Fourth point | Importance |
This is the basic template that I am using for the plot points. This will help me get their overall plot written out. Each Plot Point # will become a section of its own. I may have several Plot Point #'s per a chapter, but each plot point # will only have one Main Plot Point. This is to help keep all of the threads of the plot organized. I may add another column to reference previous plot point numbers so I don't have to dig back as often. The second, third and fourth points are to make small notes of important things that occur based off of their importance. I may have three or four things listed under secondary points. The Importance is just how vital this point is for the success of the plot I want for the novel.
I will use variants of this for all of the character points *and* the villain points.
This is the basics of my structure. Once I have the plot points listed out, I may print out the One Notebook as my note cards, cut them out per plot point and use that to determine where things should happen.
I am chewing on whether or not to have a "date of event" column in my plot. This may be very useful keeping things in chronological order, but I am still uncertain if I will do this.
Now that you know how I structure my notes for revisions, I can begin the rewrite. This is the second draft, and may or may not use sections from the original. I have some sections that will remain mostly intact. However, a lot of the sections can use improvement. While I will keep the general idea of the passages, I will not necessarily keep the exact wording. However, some gems will remain in the final novel! I know some of my more powerful sections will be remaining with some revisions for the sake of consistency.
The second draft is about letting that editor come out and play. While I will be doing a lot of writing and rewriting and working, I will be picking apart every section to make certain that I do this correctly. Writing in this stage is slow. When I work, I expect 500 to 1,000 words per hour. This is rather slow compared to many others I know. However, unlike some events during the year, Quality trumps Quantity. However, time is precious. If you are serious about novel writing, you will remember this. Time is precious. Do not waste it.
Good luck with your writing, and I hope this proves of some use to you!
Tuesday, January 5, 2010
The Stereotypes and Cliches of Fantasy Writing
First, I'd like to thank Ian T. Healy (spelled correctly this time..) for the subject of today's blog post. His original post is as follows: @rebeccablain "Fantasy: more than dark elves, demons, and magic"
There is so much more to this subject than just dark elves, demon and magic... so I thought it would be a good time to do the post on the whole lot of them.
Let us first be honest with ourselves. It is very difficult to write a 100% original fantasy piece. With thousands of fantasy novels on the shelves, many of the ideas held within those volumes are twists on cliches or stereotypes of some sort until they are no longer cliche or stereotypical.
However, there are a lot of writers who stick with the cliche / stereotype. This is a shame, but it is not really avoidable. After all, you must border on true genius in order to totally escape having these elements in your novels.
With that said, I will start by regurgitating a very insightful post from a short story publisher of the science fiction and fantasy genres. If you are not aware of this publisher, you should be. Allow me to introduce you to Clarkesworld Magazine. The below is an except from their submissions page. This content is a direct copy paste and used for educational purposes. It in no fashion belongs to me. I only wish I were this brilliant.
Let us go through this list and pursue just why these are stereotypical, cliche, or hard to sell.
Reason: Well, first, anything timid or meek isn't really a challenge. Second, give us a better villain, something more interesting, please! Granted, this is just my interpretation, but I wouldn't be interested in reading this.
I have done a few of them... you can figure out the rest.
Dark Elves, Dragons and Dungeons, Oh my!
Novel or short story writing is not without entering into the world of stereotypes and cliches. I have stated this before, I will state it again in the future, I am certain. What will determine whether or not you are a good writer is what you do with the stereotypes and cliches you come up with.
There is nothing stating that you cannot use a cliche or stereotype. However, in order to succeed, it is up to you to make certain that you somehow twist it so that it becomes something new. Making something unique is truly a difficult task. It is very difficult, as a writer, to separate yourself from the things that inspire you. Writers who read and enjoy a certain series will often pick up aspects of that series in their own writing. It is so very common. The key is that you catch yourself doing it and transform trash into gold. Until you make it your own, those elements are trash. Just accept that, it will make you a better writer in the long run.
Is there more to fantasy beyond the stereotypes? Of course there is. Make your Dark Elves distinct by stepping away from the normal evil elves and go into a world where these elves separated from their lighter skinned brethren for a good purpose. Have them just be a genetic mutation and no different than their lighter counterparts. Get rid of the lighter counterparts altogether. And for the love of all that is pure, don't make them look and act like a cookie cutter. Make them dark skinned humans with an ear mutation. Do something to make them different than opening a Dungeon Master's Guide and reading about it.
Dragons? There are lots you can do with dragons. The best concept I've heard for a dragon? Make them stupid and dislike hoarding things. That will make people stop long enough to go "What the heck is this?"
The instant you make your reader ask questions is the moment that you are stepping away from the stereotype. Fantasy need not be cookie cutter. If you find your concept in another book, add or take away until your concept becomes unique. Then take it and make it your own. Only then will you surpass the cliche.
I cannot give you a template on making sure your races and people are not stereotypical. That is something personal you have to conquer on your own. However, we have all dealt with it. If you find a truly unique concept, work with it. It may just go somewhere really pleasant.
There is so much more to this subject than just dark elves, demon and magic... so I thought it would be a good time to do the post on the whole lot of them.
Let us first be honest with ourselves. It is very difficult to write a 100% original fantasy piece. With thousands of fantasy novels on the shelves, many of the ideas held within those volumes are twists on cliches or stereotypes of some sort until they are no longer cliche or stereotypical.
However, there are a lot of writers who stick with the cliche / stereotype. This is a shame, but it is not really avoidable. After all, you must border on true genius in order to totally escape having these elements in your novels.
With that said, I will start by regurgitating a very insightful post from a short story publisher of the science fiction and fantasy genres. If you are not aware of this publisher, you should be. Allow me to introduce you to Clarkesworld Magazine. The below is an except from their submissions page. This content is a direct copy paste and used for educational purposes. It in no fashion belongs to me. I only wish I were this brilliant.
Though no particular setting, theme, or plot is anathema to us, the following are likely hard sells:
- stories in which a milquetoast civilian government is depicted as the sole obstacle to either catching some depraved criminal or to an uncomplicated military victory
- stories in which the words "thou" or "thine" appear
- talking cats
- talking swords
- stories where the climax is dependent on the spilling of intestines
- stories where FTL travel is as easy as is it on television shows or movies
- time travel too
- stories that depend on some vestigial belief in Judeo-Christian mythology in order to be frightening (i.e., Cain and Abel are vampires, the End Times are a' comin', Communion wine turns to Christ's literal blood and it's HIV positive, Satan's gonna getcha, etc.)
- stories about rapist-murderer-cannibals
- stories about young kids playing in some field and discovering ANYTHING. (a body, an alien craft, Excalibur, ANYTHING).
- stories about the stuff we all read in Scientific American three months ago
- stories where the Republicans, or Democrats, or Libertarians, or the Spartacist League, etc. take over the world and either save or ruin it
- your AD&D game
- "funny" stories that depend on, or even include, puns
- sexy vampires, wanton werewolves, or lusty pirates
- zombies or zombie-wannabes
- stories originally intended for someone's upcoming theme anthology or issue
- stories where the protagonist is either widely despised or widely admired simply because he or she is just so smart and/or strange
- stories that take place within an artsy-fartsy bohemia as written by an author who has clearly never experienced one
- your trunk stories
Let us go through this list and pursue just why these are stereotypical, cliche, or hard to sell.
- stories in which a milquetoast civilian government is depicted as the sole obstacle to either catching some depraved criminal or to an uncomplicated military victory
Reason: Well, first, anything timid or meek isn't really a challenge. Second, give us a better villain, something more interesting, please! Granted, this is just my interpretation, but I wouldn't be interested in reading this.
- stories in which the words "thou" or "thine" appear
- talking cat, talking swords, talking.. anything.
- stories where the climax is dependent on the spilling of intestines
- stories where FTL travel is as easy as is it on television shows or movies (time travel too)
- stories that depend on some vestigial belief in Judeo-Christian mythology in order to be frightening (i.e., Cain and Abel are vampires, the End Times are a' comin', Communion wine turns to Christ's literal blood and it's HIV positive, Satan's gonna getcha, etc.)
I have done a few of them... you can figure out the rest.
Dark Elves, Dragons and Dungeons, Oh my!
Novel or short story writing is not without entering into the world of stereotypes and cliches. I have stated this before, I will state it again in the future, I am certain. What will determine whether or not you are a good writer is what you do with the stereotypes and cliches you come up with.
There is nothing stating that you cannot use a cliche or stereotype. However, in order to succeed, it is up to you to make certain that you somehow twist it so that it becomes something new. Making something unique is truly a difficult task. It is very difficult, as a writer, to separate yourself from the things that inspire you. Writers who read and enjoy a certain series will often pick up aspects of that series in their own writing. It is so very common. The key is that you catch yourself doing it and transform trash into gold. Until you make it your own, those elements are trash. Just accept that, it will make you a better writer in the long run.
Is there more to fantasy beyond the stereotypes? Of course there is. Make your Dark Elves distinct by stepping away from the normal evil elves and go into a world where these elves separated from their lighter skinned brethren for a good purpose. Have them just be a genetic mutation and no different than their lighter counterparts. Get rid of the lighter counterparts altogether. And for the love of all that is pure, don't make them look and act like a cookie cutter. Make them dark skinned humans with an ear mutation. Do something to make them different than opening a Dungeon Master's Guide and reading about it.
Dragons? There are lots you can do with dragons. The best concept I've heard for a dragon? Make them stupid and dislike hoarding things. That will make people stop long enough to go "What the heck is this?"
The instant you make your reader ask questions is the moment that you are stepping away from the stereotype. Fantasy need not be cookie cutter. If you find your concept in another book, add or take away until your concept becomes unique. Then take it and make it your own. Only then will you surpass the cliche.
I cannot give you a template on making sure your races and people are not stereotypical. That is something personal you have to conquer on your own. However, we have all dealt with it. If you find a truly unique concept, work with it. It may just go somewhere really pleasant.
Tuesday, December 8, 2009
The Plot Hole
Happy New Year, everyone! I apologize for the delay of this post. I was visiting family for the holidays and only returned recently. At least I can say I had a great time this year, and I managed to get a variety of fantastic photographs of roads in the winter. I like photographs of roads, and I like photographs of winter. Three hours of photographing roads in winter was highly enjoyable.
With that short side trip out of the way, onto the writing related subject!
---
Arguably, the plot is one of the most important parts of your novel. It is the whole point of the story. The plot determines what your characters need to do versus what reactions they have and *actually* do. It is the plot that is responsible for many headaches author's suffer over the course of their writing careers. With writing blocks, where authors cannot seem to form the next phase of the plot, coupled with the infamous plot hole, there are more downfalls than anything else when it comes to this subject.
The Plot Hole
What most people are concerned with is the plot hole. It is the most obvious form of writing problem and can stop new and experienced author alike dead in their tracks. The plot hole is many things. It is a show stopper, an annoyance, and something feared as people work on their stories. Below, you will find some of the common characteristics and symptoms of plot holes.
1: Inconsistancy.
At first, this is more of an error than an actual plot hole. However, it is not uncommon for inconsistancies in writing to bloom into a plot hole. Allow me to give you an example. Let us say that we have a story about a woman who has been kidnapped by three men because she is the daughter of a noble. So far, so good. However, let us take it a step further and have one of the men doing the kidnapping a noble -- of the same family. This is the potential for a plot hole. Right now, it isn't, but if the story develops so that the group is targetting all members of that noble family, you will need to justify just how that man came to be in that group. If not done correctly, it becomes a plot hole. If done properly, it is a plot device. More on plot devices later, however.
2: Developed Personalities turn into Plot Holes
One problem that many writers do not anticipate is the growth and development of their main characters. This often means that the story you originally came up with never comes to pass because your characters would not take an action required for it to do so. So, you end up writing a story with a certain ending in mind, but your character decides to take the north road instead of the south road. All of those loose ends that you were planning on wrapping up have a tendancy to become plot holes. This is ok. If your story has developed in this way, you can go back and close the holes later. However, you need to be aware of them come editing time.
3: You forgot about something
I'm guilty of this frequently. Editing is often a blend of fixing sentences, structure and all of those little things I have forgotten I had intended to do but never actually got around to doing! This can result in adding a lot more words than you anticipated, or cutting out a lot to remove the threads you were tossing around in your mind as you were writing and forgot about. Take heart, however. Even professional writers make this mistake. Having forgotten about something does not mean you cannot have a good book. The difference between a good writer and a 'bad' one is that the good one will either find a way to add that forgotten bit in later or make it so that the reader forgets about it as well. (After all, random 'what the hell?' moments happen in the real world as well...) A bad writer, or an experienced one, may end up sweating out the majority of their body weight over a small issue they had forgotten. A golden rule to remember is this: it is your book. You can fix it.
4: Ideas that evolve while you write.
Writing can be an extremely fun and creative process. When you come up with new ideas, these ideas evolve. This evolution can very easily lead to the plot hole. Most new writers -- and even experienced ones -- will allow the plot holes to form at this stage. First drafts are meant for this. However, if you are a writer who dislikes second drafts, this will cause you a significant number of problems.
Let us face the truth: there is little that you can do as a writer that does not have the potential to turn into a blazing plot hole that threatens to devour your writing. But, what can you do about it?
Let's find out.
Resolving Plot Holes
This is the second thing people think of when they are addressing a plot hole. Fixing a plot hole is important. A good book ties up as many loose strings as possible. When a series ends, you want a sense of closure. While a standalone or series is in the middle, closure is not as necessary. At the end of the book (or series), however, you want your readers to feel satisfied. Leaving plot holes can remove this feeling.
In order to resolve your plot holes, you must have a plot. If you have a plot hole and wish to resolve it, don't just resolve it right away. Stop now. This is not step two.
Identifying your Plot
Plot Holes exist because you have a plot. Isn't that fancy? However, resolving plot holes before you have outlined your entire novel can result in the creation of even more plot holes. Note cards, white boards or notes on paper -- no matter how you go about it, it is important that you identify all aspects of your plot. Only then can you determine how you can resolve a plot hole without adding a new plot hole to your story.
When you identify your plot and your apparent holes, you may even be able to add more depth to your novel. Sometimes plot holes are golden treasures in disguise. Consider what you can do with your plot hole before you pick up your shovel. Sometimes there are inconsistencies in the plot that need fixed, and sometimes there are just plots you did not pursue far enough. This is for you to decide.
Now you can go back and resolve whatever plot holes that you may have.
Here are a few sites that also cover the infamous plot hole:
Wikipedia's Entry on the Plot Hole
Cracked's 8 Classic Movie Plot Holes: This isn't for books, but it does demonstrate just how movies and books can get away with plot holes.
Leah Michelle's Take on the Plot Hole
Truth be told, I don't use a lot of resources when I fix plot holes. I just do it. However, as I find more interesting sites, I'll try to get them listed here.
With that short side trip out of the way, onto the writing related subject!
---
Arguably, the plot is one of the most important parts of your novel. It is the whole point of the story. The plot determines what your characters need to do versus what reactions they have and *actually* do. It is the plot that is responsible for many headaches author's suffer over the course of their writing careers. With writing blocks, where authors cannot seem to form the next phase of the plot, coupled with the infamous plot hole, there are more downfalls than anything else when it comes to this subject.
The Plot Hole
What most people are concerned with is the plot hole. It is the most obvious form of writing problem and can stop new and experienced author alike dead in their tracks. The plot hole is many things. It is a show stopper, an annoyance, and something feared as people work on their stories. Below, you will find some of the common characteristics and symptoms of plot holes.
1: Inconsistancy.
At first, this is more of an error than an actual plot hole. However, it is not uncommon for inconsistancies in writing to bloom into a plot hole. Allow me to give you an example. Let us say that we have a story about a woman who has been kidnapped by three men because she is the daughter of a noble. So far, so good. However, let us take it a step further and have one of the men doing the kidnapping a noble -- of the same family. This is the potential for a plot hole. Right now, it isn't, but if the story develops so that the group is targetting all members of that noble family, you will need to justify just how that man came to be in that group. If not done correctly, it becomes a plot hole. If done properly, it is a plot device. More on plot devices later, however.
2: Developed Personalities turn into Plot Holes
One problem that many writers do not anticipate is the growth and development of their main characters. This often means that the story you originally came up with never comes to pass because your characters would not take an action required for it to do so. So, you end up writing a story with a certain ending in mind, but your character decides to take the north road instead of the south road. All of those loose ends that you were planning on wrapping up have a tendancy to become plot holes. This is ok. If your story has developed in this way, you can go back and close the holes later. However, you need to be aware of them come editing time.
3: You forgot about something
I'm guilty of this frequently. Editing is often a blend of fixing sentences, structure and all of those little things I have forgotten I had intended to do but never actually got around to doing! This can result in adding a lot more words than you anticipated, or cutting out a lot to remove the threads you were tossing around in your mind as you were writing and forgot about. Take heart, however. Even professional writers make this mistake. Having forgotten about something does not mean you cannot have a good book. The difference between a good writer and a 'bad' one is that the good one will either find a way to add that forgotten bit in later or make it so that the reader forgets about it as well. (After all, random 'what the hell?' moments happen in the real world as well...) A bad writer, or an experienced one, may end up sweating out the majority of their body weight over a small issue they had forgotten. A golden rule to remember is this: it is your book. You can fix it.
4: Ideas that evolve while you write.
Writing can be an extremely fun and creative process. When you come up with new ideas, these ideas evolve. This evolution can very easily lead to the plot hole. Most new writers -- and even experienced ones -- will allow the plot holes to form at this stage. First drafts are meant for this. However, if you are a writer who dislikes second drafts, this will cause you a significant number of problems.
Let us face the truth: there is little that you can do as a writer that does not have the potential to turn into a blazing plot hole that threatens to devour your writing. But, what can you do about it?
Let's find out.
Resolving Plot Holes
This is the second thing people think of when they are addressing a plot hole. Fixing a plot hole is important. A good book ties up as many loose strings as possible. When a series ends, you want a sense of closure. While a standalone or series is in the middle, closure is not as necessary. At the end of the book (or series), however, you want your readers to feel satisfied. Leaving plot holes can remove this feeling.
In order to resolve your plot holes, you must have a plot. If you have a plot hole and wish to resolve it, don't just resolve it right away. Stop now. This is not step two.
Identifying your Plot
Plot Holes exist because you have a plot. Isn't that fancy? However, resolving plot holes before you have outlined your entire novel can result in the creation of even more plot holes. Note cards, white boards or notes on paper -- no matter how you go about it, it is important that you identify all aspects of your plot. Only then can you determine how you can resolve a plot hole without adding a new plot hole to your story.
When you identify your plot and your apparent holes, you may even be able to add more depth to your novel. Sometimes plot holes are golden treasures in disguise. Consider what you can do with your plot hole before you pick up your shovel. Sometimes there are inconsistencies in the plot that need fixed, and sometimes there are just plots you did not pursue far enough. This is for you to decide.
Now you can go back and resolve whatever plot holes that you may have.
Here are a few sites that also cover the infamous plot hole:
Wikipedia's Entry on the Plot Hole
Cracked's 8 Classic Movie Plot Holes: This isn't for books, but it does demonstrate just how movies and books can get away with plot holes.
Leah Michelle's Take on the Plot Hole
Truth be told, I don't use a lot of resources when I fix plot holes. I just do it. However, as I find more interesting sites, I'll try to get them listed here.
Subscribe to:
Posts (Atom)
