Literary Writer

Further proof that I am a commercial writer stuck in a literary writer's mind...

I was contemplating music--GOOD music--and the fact that good music is very much like a good story. There is tension, rising action, conflict, a climax, and a resolution. So, good music is storytelling.

Then, I thought about the flipside of that. A good story has to have musicality. If it doesn't, it just is blah-blah-blah, fact-fact-fact, info dump.

YNY-3: Week 1

4 things to a great story:

1.       Great premise

2.       Compelling conflict

3.       Purposeful story structure

4.       Well executed scenes

Idea behind my story:
Everything is connected and even the mundane has place in sacredness.

Concept: (What if)
What if one person really could make a difference and truly save the world? What if a person is able to make a small change that could save or destroy the world? Which would they choose?

Premise:

It’s a story about a Shaman-Weaver who has to find the cause of the unwarranted death and destruction before the very fabric of the world is unraveled. While searching for the root of the growing chaos, she has to face her own innermost fears, insecurities and hidden malevolence. If she cannot overcome them, she—and all of humanity—will be lost.

My question

As I am doing world building for my story about Ahzriiona, I am discovering more things and characters that can have their stories told. Some of them are interesting. Some are just the background of why things are the way they are.

So, how do I pick which story to really tell right now? How do I choose which story will have enough commercial success to be able to tell the other stories that are there?

I know, I know. Just write. But, I want this to be successful. Not just published. S.U.C.C.E.S.S.F.U.L.

Bare Bones

2.1.15

I need to figure out the bare bones of my story. I have various richness of characters, but I don't have a good grasp of the world. I also don't have the essence of the story. Is it just good v. evil? I think it's more complex than that, but if that's the case, what is it when all the fluff, magic and costumes are taken away?

I don't know.


Feedback & Reflection from classmate (P.R):

Gina

You asked if disregarding Week-1, from your Week-2 description here what sort of character picture I get, who I see her as?

You certainly present the basis of several core conflicts, including fear v power, intimacy v fear/lack of commitment, however as I first observed, they don’t yet gel for me, probably because you haven’t yet picked one.

The biggest stumbling point for me even within the Week-2 description is why she wants to or needs to mess w dark magic, what that has to do w dead sisters (why does she need them), and why she chooses that path to deal w her insecurity or conflicts.

That help?

My reply:

Yep!  Thanks! 

A part I will have to work on is different language than "dark magic". The way I'm working on it is not good/bad = light/dark, but more along the mindset of matter/anti-matter. 

The other part is continued working on the "bare bones" of who Azriona is and what the story is supposed to be when all the fluff, magic, and costuming is taken away! 

Your feedback helps with that. 

Thanks, again.

And in regards to their own writing:

As I process Week-2 & 3 feedback, however, I AM struggling with the fine-point distinctions and the connections between “need”, “motive”, and “goal”.  Same with “obstacles”, “fears”, conflicts.

Pardon if this seems too cerebral (or too brain-dead), but I observe how for our assignments I write specific goals, obstacles, or a need to change.  I then myself see (and others kindly note) how it stillsounds too vague, too large, too general.  This is no defensive remark, it is an exploratory declaration. 

So, I decided to spend a few days re-figuring what these things mean to me, and to my characters. Here’s what I came up with.  It helped me, maybe can help others in our class if any have similar issues.

A psychologist named Maslow laid out a “hierarchy of needs”, with the basic idea being each person progresses sequentially to meet their needs – they can’t move on or satisfy the next w/o meeting the priorlevels of need.

Here’s Maslow’s hierarchy.

1.    Biologic Needs – food, air, water, maybe shelter

2.    Need for Safety -  protection and freedom from fear and anxiety

3.    Need to “Belong”, be a part of - involves both accepting and being accepted

4.    Need to BE loved, and TO Love

5.    Need for “Self-Esteem”

6.    Need to Self-Actualize (Grow)

For my current literary perspective, my characters’ Goals should come out of their Needs.  Motivation is the urge to meet (or avoid) their Needs.  “Conflict” is how Needs, Goals, Motivations, and the forces in the character or world collide, oppose or contradict each other.

Yeah, pretty basic, but getting them into this order was very helpful to me. 

One other thing then occurred to me- “Needs” may be universal, but in my perspective they are tilted toward ones where during our upbringing we likely did NOT get some-all satisfied.  That helped with the large Growth Arc I propose for Chatier’.

While I do not champion Maslow’s model, per se, it was a useful reference for assessing where my descriptions of the characters break down.  I think I was getting them mixed up in my previous assignments. 

That moved me back to your central question.

You asked me to better identify Chatier’s core conflict, and suggested possibly “control of self”. 

I thought about that.  It could fit.  However, she more or less attains that after becoming a pilot, and, yes, that would be enough for one book.  The “Aha” for her about control of self is the assault and car crash.

“I killed people.  I have to get some structure.  I have to get direction, training.  I have to get out of here.” 

A lot of her subsequent scenes have events to challenge that, but she never goes back to losing self control (except perhaps her self-blame) no matter the chaos.

Given this and her scenes that span across years, I dug for something more fundamental, more “core”.

So, before I run further with this, does this at least SOUND like a legitimate Core Conflict?

Autonomy (control and self) vs. Intimacy-vulnerability, “Other” (possible dependency, causing harm, etc) 

Explanation – the more a person tilts toward one aspect, the less they have of the other.

Is that still too vague, too general? 

I did formulate a second perhaps more pithy conflict: Guilt-shame vs. Forgiveness-acceptance as the way forward from trauma.  This conflict manifests in Chatier’ as a drive to atone (via self-sacrifice) to make up for anger or violence.

 In the final analysis, the “guilt-forgiveness” conflict looked to be secondary, but it still may be better in that it is less general and universal, a flaw you observed in my Week-1 descriptions. 

In general, I envision the Core Conflict across the story delivering one blow challenging one side of her balance (guilt v acceptance, autonomy v dependence), then another event knocking her to the other side, confounding her satisfaction and even her survival until she finds acknowledgement both in herself and from others that she’d done enough, tried her best, no matter the outcome.  (I address your “earn” v “find” observation later).

How’s it all end for her re: final arc of growth?

Presented with more a literary tone than “assignment talk”, on a grand scale she learns to trust there is some order in the universe within and among the chaos… and she learns to navigate within it, to metaphorically fly through it.  That’s all, just fly and glide and soar through it, eyeballs to the canopy and zenith, among and through the towering thunderheads.

See if this works better in enunciating a clear and vivid core conflict, and how it fits into the amended Growth Arc with scenes in my concurrent postings today. 

If OK, I will proceed with your other suggestions about how her challenges and changes must result in identifiable “Aha’s” a clear arc-of-growth.  I already tried to begin readdressing that in my concurrent posting today for her first three scenes – check that that subject-name please.

Thanks

Story v. World, II

1.28.15
STORY V.  WORLD

(Note: Evidently, this is something important to me. I wrote about this about 20 days ago. I hadn't remembered that I had, and hadn't quite started this blog yet. I thought it was all still just kicking around inside my brain! Well, one of these days I'll have to combine them.)

The characters of a story are made by the world they inhabit. The world of a story are affected by the characters that inhabit it. It's a cycle that is inter-dependent. Just how inder-dependent is up to the type of story.
I believe there are 4 types of stories. They stem from a rubric containing Story on the x-axis, and World on the y-axis. On the both of the sides (columns and rows), there are two categories: Simple, Complex. Fill in the table and you have 4 types of stories.

                                                     Story (Simple)                                Story (Complex)

World (Simple)         1. SimpleStory/SimpleWorld           2. ComplexStory/SimpleWorld

World (Complex)     4. SimpleStory/ComplexWorld        3. ComplexStory/ComplexWorld

1. A Simple Story in a Simple World requires a lot of audience input. They already know the basic rules of the world, the characters are known (or at least easily understandable), and the story makes an obvious point. An example of SimpleStory/SimpleWorld would be an Aesop's Fable. The audience understands that a lion is big and strong, a mouse is small and weak, a thorn in the foot really hurts, and being caught in a net would not be an easy thing to get out of. The story rolls along and everyone learns that even small and insignificant things can really be rather important. Or that you better make sure to repay a debt or you will be forever beholden and unable to get free of the ties that bind. 

2. In a Complex Story with a Simple World, the main focus is on the story. The World may be interesting, but it isn't a main player in the story. You could plunk the story into any world and the story would be able to continue. An example of this is Lord of the Rings. Yes. LOTR. The setting really is very simple. Beautiful, but simple. You have the Shire. You have Rivendale. You have Mordor. You have Rohan. The intricacies of the story, and what make it something that people read, re-read, obsess over are the characters and the story. The story is incredibly complex. Different pieces have to be understood to understand other pieces that may or may not take place. But, those pieces may not be fully relevent unless you know and understand the history of the characters--the why and whatfors of all those pieces. The way they weave together, turn back on themselves, flow back to a some destination in the future, that is what makes LOTR, Lord of the Rings.

3. A Complex Story in a Complex World requires a LOT of author input. The author must make sure the audience understands the various levels of the world because it acts as another character in the story. The reader has to understand the world to be able to understand the story. The story has lots of twists, turns, and layer upon layer upon layer. An example of a Complex Story/Complex World is Isaac Asimov's Foundation Series. Things unfold. Oh, but that unfolding actually folded something else inside it and now there is something else that must be unfolded. And then, once that piece is unfolded, you realize there are 1,000 Paper Cranes and you hope to make a wish. But, before you can make a wish you have to refold all of the cranes to make any sense of your wish in the first place!

4. That brings us to a Simple Story in a Complex World. At its core, the story is simple and known. The world makes the story spectacular because it's intricate, intersting, and gives a lot of opportunities for whiz-bang things to happen. An example of SimpleStory/ComplexWorld is Star Wars. Yes. SimpleStory/ComplexWorld. The complexity of a world that existed "a long time ago, in a far distant galaxy" is obvious. This story would not be as spectacular if it was in a different world. But the story is a simple one: Good vs. Evil, Light vs. Dark, Us vs. Them. But what about, the story of Annikan Skywalker becoming Darth Vader? Is he on the side of the Rebels or the Empire? He is the Empire. Good vs. Evil. And what about Yoda teaching Luke Skywalker that he holds keys to unlocking the true release of anyone held in captivity? Is he with the Rebels or Empire? Well, he has to decide and...Light vs. Dark. It's a story that has been told since stories have been being told: someone wants to be all-powerful and seeks to rule. And will do it via any oppressive means necessary. Someone else will stand up to them and say, "That's not right." Yes, there are side stories and the characters have various levels of conflict in deciding which side they will help. But, in the end, it's Us vs. Them.

All of these stories are necessary and entertaining. They are also important because they hold mirrors for us to look at ourselves and our connections to each other and our own world.  Sometimes, our story is simple. Sometimes it is complex. Sometimes the setting takes a large role in what happens in our story. Sometimes it doesn't. But, in the end, we get to participate in very diverse and complex stories in an increasingly complex and diverse world.
What will my final story be?

Storytelling

1.23.15
STORYTELLING

In oral storytelling, we very rarely tell a story in sequential order. I may start telling a story about when I went to the store:

I went to the store yesterday. I went in, and was walking through the produce department. And, oh yeah, I was wearing my favorite blue scarf. Anyway, I was by the oranges and the end of my scarf was sitting on the oranges. And the guy who had been standing there picking out oranges when I walked up said, "Hey! I'm here to get some oranges. Not the blues."

But we HEAR it sequentially. We put the scarf on me before I entered and had me walk up to the man standing at the oranges.

In my writing, how do I take advantage of that natural tendency of the brain to organize things into some sort of logical order? Is it even possible? Or will I have to write that way then put it in that order for the reader?

Time Management

1.14.15
(email that I sent to Michael Stackpole--instructor for YNY)

Question: How essential is it to repost pieces that we re-work after suggestions?

The comments and suggestions that you gave me for the world & character hooks are being considered (and worked on) as I continue writing and working on this week's assignments (and I hope those show in those new things!). And yes, I know that posting updated stuff to the forums then gives opportunity for feedback from classmates. But I'm just wondering how to best use my time.

Ah. I just realized that I am working through time-management: 

How do I make sure to spend time writing every day, doing assignments, read assigned reading, write, read from the reading list, write, read classmates postings, write suggestions to classmates postings, re-read responses to my postings, write some more, and oh, yeah, show up for work so I can continue paying bills, take care of family responsibilities, take a hike break, eat something more than the 2 stale fig newtons hiding in my book bag, make sure my sexual needs are being taken care of, go to board meetings, jot random ramblings into my notebook when I'm not writing, and actually make sure I get outside at least once a day?

Haha.

In any case...does the "grade" for participating each week include the posting of continuing non-editing development and integration of your suggestions?

(I haven't decided if I should be drinking more or less coffee...)