Mistake-based Learning

Monday, 25 June 2007

Oops!

Am I just extraordinarily stubborn? or does everyone learn primarily through screwing shit up?

I’ve decided all my outlines and cards and timelines are bunk and I need an actual honest to god synopsis to make sure I’m on track on this manuscript. I’m feeling good about it scene-by-scene, as I’m writing, then I walk away from the computer at night and lay in bed eyes with eyes wide open thinking Shit. Shit. Shit. I’m drifting. I’m on a tangent. I’m not sticking to the theme. What’s the theme? Shit. Shit. Etc.

So, synopsis time. I swear I frustrate me — it seems I am incapable of learning from a teacher. I need to break every rule and flaunt every piece of advice and prove to myself through protracted, brutal personal experience that the way they tell you how to do it really is the best and easiest way to do it. AGH. If I’d done a freaking synopsis 16 months ago….. grr.

And yet, ha. HA! Because it will be better now. I will be better now. Ha!

Blogs as Idea Banks

Monday, 25 June 2007

Bank It

Do people use blogs for the purpose of having a searchable bank of plot, character and other story ideas? If not, why not? Isn’t that a kick-ass idea? Here’s where I’m coming from…

So, don’t know if you follow Jenny Crusie’s blog but she’s started a new one with two other writers - they’re all collaborating on a book and posting pretty much everything they’re doing in that collaboration online. They chat via IM every Sunday night and post their entire chats. It’s pretty interesting though a huge amount of info/brainstorming to follow.

http://dogsandgoddesses.com/

I’ve recently begun playing around with the idea of collaborating on a story - more on that when it’s more fleshed out - but anyway, seeing Jenny Crusie’s blog made me think, hmm, my partner and I could do this just to have idea-bank. Iit’s not like we’d have an audience like Jenny C and team, but that’s not the point. We’d have a searchable place to both dump ideas - hell, this would work even if they’re just notes I’m keeping for myself. I love my Moleskine notebooks, but they’re not very easy to reference as I’m insanely disordered and don’t have any kind of system. HMM!

Mary Oliver

Tuesday, 19 June 2007

I have another blog called The Gladdest Thing where I post a poem every few days — not my own poetry, don’t worry, but the work of actual poets. As part of that, I have a subscription list where people can sign up to receive the poems via email when I post them. (Yes, I know, people could just subscribe to the RSS feed and get ‘em that way, but some people like e-mail. And I’m a people pleaser. When it suits me.)

I’ve finally gotten a WordPress subscription-list plugin working which makes it pretty easy to post and send those emails at the same time, but even so, there are days where I want to type in a poem, and others I don’t. When I’m in the mood I type in a whole bunch and save them as drafts for the days when I want to send something out, but don’t want to type it in. The whole thing is pretty therapeutic. I read the poem a few times in a book; then I type it in; then a while later I go back and re-read all the stuff I’ve typed in to see what I’m in the mood to publish. Then after I publish I read the damned thing in my email to make sure it’s right, and on the site to make sure the formatting worked.

Which is a really long-winded way of saying I read the poems I send out at least half a dozen or a dozen times before I send them, and usually a few times afterwards as well.

And lately, with all that reading, I have been loving the poetry of Mary Oliver. Again and again and again her poems jump off the page or screen and shout “this is what you must pay attention to! this is what’s important!”

In what I’ve read of her work, she focuses in on one specific natural thing - the sun, or a grasshopper, or a blade of grass, or a honey tree, or the forest - and shows how we are connected to that thing. How that thing matters, and how we can use it to examine our lives - often lives far removed from the nature she’s referencing - and how we can make them better.

I never did like English Lit and the analysis and dissection of literature and poetry, so I avoided learning how to do it well, and it’s showing. I wish I’d paid more attention now because Oliver deserves more than a fan blog (f’blog? flog? hmm) with juvenile rantings about how awesome she is to showcase, um, how awesome she is. But see for yourself. Here are a few links to poems I’ve posted recently. Then go buy her books - they will make you happy.

P.S. Happy Birthday, Grandma M. I miss you.

High Concept

Monday, 04 June 2007

Not long ago Austin RWA brought Lori Wilde in to speak about high concept, and how her mastery of the technique sold a manuscript sight unseen. I don’t want to repeat Lori’s talk, nor replicate the contents of her handbook (visit her site to buy a copy of your own, I highly recommend it) but I’ve been adapting bits and pieces for my own use that I have to record somewhere other than a tiny brown Moleskine for my own sanity. So here ya go.

The purpose of this exercise is to create a single paragraph teaser description of your story, which will be used to sell it. Here’s how to construct the paragraph:

  1. Describe a well motivated, dynamic character involved in a specific occupation or situation,
  2. with a flaw for that will present her with the most problems in that situation or occupation.
  3. Introduce an incident that forces her to act or react, choosing between the flaw and some opportunity. The incident is passive - something that happens to her.
  4. How she reacts is different than your normal Joe, but
  5. due to a quirk of fate or ironic twist, her actions do not have the anticipated effect.

The important thing to note here is this isn’t meant to describe your entire story. It’s a teaser, it’s the “hook” everyone’s always talking about. Here’s how it would work for Romancing The Stone. (Ideally, the tone of the paragraph should reflect the tone of the story, but I didn’t try to do that here - one thing at a time, right?)

A romance writer who’s afraid to act on her dreams gets a desperate call from her kidnapped sister begging her to deliver a treasure map as ransom. Instead of calling the authorities, she rushes to Colombia carrying the map, where a quirk of fate sends her hundreds of miles in the wrong direction… and into the arms of her own personal hero.

This exercise is really hard to do for your own manuscript. Writers know so much about their own work that picking out just these a few details is like being asked to choose the best five hairs on your child’s head. But it’s worth it.

A good short teaser description can be used in query letters, during a pitch to an editor or agent, or over pink jello surprise when your great aunt Marge asks what you’re writing for the eighteen-thousandth time. It can also help focus the arc of your story during planning or revisions. Best of all, it puts you in control over the initial excitement and expectations of your readers.

Try it. Star Wars. Back To The Future. War of the Worlds. Oliver Twist. The Godfather. Animal House. Dazed and Confused, anyone?