How Michael Moorcock Wrote A Novel In Three Days

Today I'd like to talk about science fiction and fantasy author Michael Moorcock and his guidelines for writing a 45,000 to 60,000 word novel in three days. 

This feels like a confession--and I suppose it is!--but I wasn't familiar with Moorcock's work until a couple of years ago. He's one of only a few genre writers who have also published successful literary novels. Also--and this is straight from Michael Moorcock's Wikipedia page--The Times named Moorcock in their list of The 50 greatest British writers since 1945.

I think I discovered Moorcock around the same time as Lester Dent. It seems that, when Moorcock first started out, he was a pulpiteer of sorts:

"Most of Moorcock's earlier work consisted of short stories and relatively brief novels: he has mentioned that 'I could write 15,000 words a day and gave myself three days a volume. That's how, for instance, the Hawkmoon books were written.'" (Michael Moorcock, Wikipedia)

Michael Moorcock's Formula

In "How to Write a Book in Three Days," Eric Rosenfield writes:

"In the early days of Michael Moorcock's 50-plus-years career, when he was living paycheck-to-paycheck, he wrote a whole slew of action-adventure sword-and-sorcery novels very, very quickly, including his most famous books about the tortured anti-hero Elric. In 1992, he published a collection of interviews conducted by Colin Greenland called Michael Moorcock: Death is No Obstacle, in which he discusses his writing method. In the first chapter, "Six Days to Save the World", he says those early novels were written in about "three to ten days" each, and outlines exactly how one accomplishes such fast writing."

That's what I'd like to talk about today: How Michael Moorcock did it, how he wrote a book in only a few days. 

All the quotations in what follows (except where otherwise indicated) are from Michael Moorcock: Death is No Obstacle via Rosenfield's article. I would love to read Death Is No Obstacle, and to provide an expanded overview of Moorcock's writing techniques, but I refuse to pay the $150 it's selling for on Amazon! I hope that, one day, the book will become available as an ebook.

1. Be Prepared. 

MM: "If you're going to do a piece of work in three days, you have to have everything properly prepared."

Good advice. Great advice! But what, exactly, would this preparation consist of? 

Michael Moorcock talks about how to prepare to write a book quickly at various points later in the interview, and we'll look at that, but here I'd like to talk about some of the things Lester Dent did to prepare to write a story in a short amount of time. 

You might wonder why I've chosen Lester Dent. It's because Moorcock mentions Dent and his formula in both Death is No Obstacle and in his list of 10 rules for writers:

"7. For a good melodrama study the famous "Lester Dent master plot formula" which you can find online. It was written to show how to write a short story for the pulps, but can be adapted successfully for most stories of any length or genre." (Michael Moorcock's Rules For Writers, The Guardian)

Also, anytime a person sits down to write a massive amount in a short span of time, one needs to prepare and, even though a 45,000 word book is a lot longer than a 6,000 word story, still, many of the things we need to set up are the same--or at least similar.

Lester Dent on what must be in place to write a story quickly:

Lester Dent writes that you need to think about four things before sitting down to write a story:

1. A DIFFERENT MURDER METHOD FOR VILLAIN TO USE

2. A DIFFERENT THING FOR VILLAIN TO BE SEEKING

3. A DIFFERENT LOCALE

4. A MENACE WHICH IS TO HANG LIKE A CLOUD OVER HERO [2]

I think that by "different" Dent meant a thing that was unusual, something mysterious; something that would catch a readers attention (I'll talk about this in more detail in point 5, perhaps I'll get to that on Friday).

You don't need to come up with something unique and mysterious for each of (1), (2) and (3), above. As Dent writes:

"One of these DIFFERENT things would be nice, two better, three swell. It may help if they are fully in mind before tackling the rest."[2]

In other words, come up with ideas for all three, but only one of them needs to be different and mysterious. 

By now we should have:

a. A murder method.

b. The villain's goal.

c. The setting.

One of a, b or c must be different; interesting, attention grabbing, mysterious. If all of them are, great! But we only need one.

d. A menace which hangs over the hero.

Here's how I think about the menace. Imagine a man in a rowboat being chased by a shark. The man is paddling toward land as fast as he can, but the shark is slowly gaining.

A hero/protagonist is driven by two forces: the situation he is trying to escape (the shark) and whatever it is he hopes to achieve; his goal (the land). Generally these two things are related (being chased by the shark explains the man's emphatic desire to reach land) and yet are distinct.

Using this analogy, the menace that hangs over the hero is his fear of the shark, anticipating being made into a nice light, very bloody, snack.  (In a sense, too, the shark, the menace, provides the ticking clock, but we'll look more at that later in this series.)

Links/References/Notes

1. The Wet Asphalt articles on Michael Moorcock:

1a. Elric and Michael Moorcock

1b. On writing ...

1c. How to Write a Book in Three Days: Lessons from Michael Moorcock

1d. Formula, Fiction and the Work of Michael Moorcock

1e. So How'd I Do?

1f. Review: The Best of Michael Moorcock

1g. Michael Moorcock: The Wet Asphalt Interview

2. Lester Dent Pulp Paper Master Fiction Plot, by Lester Dent hosted over at paper-dragon.com.

Photo credit: "News from the Pottery Market" by *Light Painting* under Creative Commons Attribution 2.0.

Creativity, Inc: Ed Catmull On Success, Candor And Fear Of Failure

I'm reading Creativity, Inc. by Ed Catmull.[1] For me, the most interesting parts are where Catmull talks about failure and how to handle failure. 

Failure is an intrinsic part of a creative person's life, whether they are a singer, a songwriter, whether they play an instrument or write stories. We've all experienced failure of some sort and if there is one thing I believe with all my heart it is that how we handle failure goes a long way to determining whether we will succeed.

In Creativity, Inc. Catmull writes:

"Left to their own devices, most people don’t want to fail. But Andrew Stanton isn’t most people. As I’ve mentioned, he’s known around Pixar for repeating the phrases “fail early and fail fast” and “be wrong as fast as you can.” He thinks of failure like learning to ride a bike; it isn’t conceivable that you would learn to do this without making mistakes—without toppling over a few times. “Get a bike that’s as low to the ground as you can find, put on elbow and knee pads so you’re not afraid of falling, and go,” he says. If you apply this mindset to everything new you attempt, you can begin to subvert the negative connotation associated with making mistakes. Says Andrew: “You wouldn’t say to somebody who is first learning to play the guitar, ‘You better think really hard about where you put your fingers on the guitar neck before you strum, because you only get to strum once, and that’s it. And if you get that wrong, we’re going to move on.’ That’s no way to learn, is it?”

Agreed!

The idea here isn't that one should try to fail--I can picture someone sitting in a bar nursing their third scotch and soda saying, "I'm on my third divorce, whoohoo!"--but that our goal shouldn't be to avoid failure since that path leads to mediocrity. Instead, we should strive to achieve success. 

Fear of failure leads to taking fewer risks and innovating less. Instead, we want our curiosity to drive experimentation. The alternative is to play it safe so we won't fail, but if we look at things that way, if we take "don't fail" as our goal, we'll never do anything brilliant. 

And, yes, maybe we will never do anything stunningly brilliant, but it's a lot more fun to be creative and fail occasionally than to play it safe, never fail, and hate what we do. 

Pixar's Rough Drafts Suck

This line suprised me: "early on, all of our movies suck." That got my attention! Here's the entire quotation:

"[C]andor could not be more crucial to our creative process. Why? Because early on, all of our movies suck. That’s a blunt assessment, I know, but I make a point of repeating it often, and I choose that phrasing because saying it in a softer way fails to convey how bad the first versions of our films really are. I’m not trying to be modest or self-effacing by saying this. Pixar films are not good at first, and our job is to make them so—to go, as I say, “from suck to not-suck.” This idea—that all the movies we now think of as brilliant were, at one time, terrible—is a hard concept for many to grasp. But think about how easy it would be for a movie about talking toys to feel derivative, sappy, or overtly merchandise-driven. Think about how off-putting a movie about rats preparing food could be, or how risky it must’ve seemed to start WALL-E with 39 dialogue-free minutes. We dare to attempt these stories, but we don’t get them right on the first pass. And this is as it should be. Creativity has to start somewhere, and we are true believers in the power of bracing, candid feedback and the iterative process—reworking, reworking, and reworking again, until a flawed story finds its throughline or a hollow character finds its soul."

That's courageous! And they've gotten terrific results. (By the way, Maria Popova over at BrainPickings.com has written a wonderful article about Catmull's book.)

Having planted my feet firmly on the "failure is an agent of learning" bandwagon, I'd like to offer a couple of notes of warning.

1. Pick the right people.

Catmull writes:

"Don’t wait for things to be perfect before you share them with others. Show early and show often. It’ll be pretty when we get there, but it won’t be pretty along the way. And that’s as it should be."

I agree! In principle. 

Yes, in the best groups that's true. But I've learnt from experience that humans have good reasons to fear speaking up in groups, to fear sharing the product of their creativity with others. Unfortunately some--whether through ignorance or malice--find glee in ripping the creative efforts of others to painful, bloody, shreds. Don't give them the chance.

Yes, share your creative work with others, but test them first. Don't wear your heart on your sleeve the first time. Get to know your collaborators and make sure they're the right fit for you. A team that is simpatico (and here I'm thinking of writer, beta readers, editor, etc.) is a beautiful thing. One that isn't grinds everyone down. Picking the right people to rely on is key. (IMHO)

2. Don't try to fail.

I know I've said this before, but it's an important point. 

Catmull is saying that you shouldn't aim to avoid failure--you shouldn't have that as your goal--because that's focusing on the wrong thing. Rather, aim for the stars and embrace failure when it happens. 

Of course, if you're aiming high, if you're trying to do things no one else has, you're going to fail. A lot. But Catmull says that's okay. You're learning. Adapting. Evolving. A culture--whether corporate or otherwise--that doesn't foster people who are willing to take risks will never achieve anything truly great. Anything truly different. Why? Because they will be too fearful to strike out where no one has gone before (yes, I'm hearing the Star Trek theme in my head!)

I think Ed Catmull's book, Creativity, Inc. is a must for any creative professional to read, especially the chapters on candor (Chapter 5) and fear of failure (Chapter 6). 

Notes/Links/References

1. Ed Catmull is a computer scientist and president of Walt Disney Animation Studios and Pixar Animation Studios.

Photo credit: "spring in the park" by *Light Painting* under Creative Commons Attribution 2.0.

Parts of Story: The Preconditions For Suspense

What follows is the final section of Parts of Story: Plot. (Yes, I'm doing a happy dance!) 

If you've been enjoying these posts, don't worry, there will be many more since I have yet to write the second and third parts in this series: Parts of Story: Setting and Characterization & Parts of Story: Point of View and Theme. That said, I will continue doing a normal blog post every Monday, Wednesday and Friday. All the chapters will be prefaced with "Parts of Story" so if you'd rather not read as I blog my book, those posts are easy to ignore.

For those of you who have signed up for my newsletter, I expect to have Parts of Story: Plot finished by Friday May 9th. At that time I'll send out an email to everyone. It is difficult to put into words how much I appreciate you guys and gals, my readers. As a small thank you I would like to make Parts of Story: Plot free for a week to anyone would requests a copy. I'll explain the logistics of all that in the newsletter. 

Okay! Enough talk. Here is the final chapter:

In order for a tale to be suspenseful, what must be the case?

1. Conflict

What is conflict? How is it generated? 

It's simple. Conflict results from the clash of two things: the character's goal and the opposition to that goal.

The hero seeks something, desires something--freedom, money, love, respect--and he has a goal. This goal is concrete. It's so specific one could film the hero attaining it. 

Something that the hero fears opposes him, something that has the ability to prevent the hero from achieving his goal and, thus, attaining his desire.

If the hero desires freedom then early parole might be his concrete goal, something we could depict by the huge outer doors of a prison opening and the hero walking out into the world, once again in charge of his life.

Perhaps the warden decides to frame the hero for something he didn't do and, in so doing, keep him imprisoned longer. 

If the hero desires money then a concrete goal might be to rob the bank on 1st and 3rd at three o'clock in the afternoon of July 4th, when the guards change shifts. 

But perhaps the bank brings in extra security guards for July 4th and some of them are Navy Seals.

And so on.

2. Stakes

To create suspense, the stakes of the conflict should be clearly spelled out in advance, before the hero is menaced by the danger. 

The general stakes for most horror movies are as follows: 

The hero wins: the hero (and possibly one or more other characters) escape the evil and live.

The hero loses: the hero fails to escape the evil and everyone dies.  

By the way, The Cabin in the Woods gives these stakes an interesting twist. It's a huge spoiler, so skip this paragraph if you haven't seen the movie and want the ending to be a surprise. Ready? Okay ... In The Cabin in the Woods Joss Whedon and Drew Goddard put an ironic twist on the stakes making it the case that if the hero (Marty) wins and escapes the evil then the world will end. On the other hand, if the hero allows himself to be killed then the world will be safe ... and five other people will be brutally murdered every single year the world stays that way. Talk about a no-win situation!

3. A ticking clock

“Make them laugh, make them cry, make them wait.”

-- Charles Dickens

To help build tension it helps if, in some way or other, the hero is racing against a clock, though perhaps not an actual clock. They must be under pressure. This both sets a deadline and gives the character time to plan, to agonize and, finally, to fight; time in which the reader can agonize.

Raise A Question

When we talk about creating suspense we, of course, are talking about an emotional state that exists within a reader/viewer/listener. Generally we try to evoke this emotional state by getting our readers to identify with our characters--especially our hero. We make it clear what the hero needs and then we force the protagonist into danger as he tries to attain his goal.

Yes, certainly, this kind of conflict creates suspense. But I would like to point out that there is another, related, way to create suspense: raise a question.

Lee Child is a great proponent of this method. He even goes so far as to say that it doesn't especially matter whether your readers care about the characters or the subject matter; there is something about a question being raised that makes us want to know the answer.

I agree.

The other day I read a fabulous short story--"In The Cave" by Tessa Hadley--where suspense was generated by a question the storyteller asked: What happened to break the hero's infatuation with her almost-boyfriend? 

Yes, I read on because the writing was enchanting, and because of the conflict generated by the clash of the protagonist's current state of affairs and the state of affairs she desired for herself. But, mostly, I read on because I wanted to know the answer to the question the storyteller had raised in the first paragraph: Why hadn't it worked out between the protagonist and her companion?

In Summary

Suspense is an emotional state within your reader, one most writers wish to evoke, and that emotional state depends upon two things. First, the reader asking the question: what happens next? Second, the reader being interested enough in the characters for the answer to matter.

Characterization Or Plot: Which Is Most Important To Readers?

The other day I watched a video of Lee Child talking about writing. It was a question and answer period and someone asked how he got in touch with his character, Jack Reacher. They asked how he knew Reacher's likes, wants, needs, fears, and so on.

Lee Child said something to the effect that Jack Reacher is a fictional character and, as such, had no likes or dislikes. It was the reader who had likes and dislikes. Child didn't care about what Reacher wanted he cared about what the reader wanted. And, he added, hopefully they'd want to turn the page![1]

This startled me. 

One of the first things I wondered in my budding career as a writer--I think I was about four at the time--was how to make my parents interested in my stories. Really interested, not just "Oh another story, how lovely." It was a challenge since my interests weren't their interests and vice versa.

Since then my audience has changed radically, but the question has remained the same: How can I write stories that make readers want to finish them, stories which drag readers from the first sentence to the last sentence?

From what I can tell, here's the standard answer:

You get a reader to care about the story by creating a round character, a 3D character, one with hopes and wants and needs and fears and then you break their hearts. 

You endanger what they care about most, you strip them of what they need, and then you give them a way to win it back, but the way is narrow and fraught with deadly peril. The environment opposes them, some of their allies oppose them, their all-too-human enemy opposes them. And the obstacles keep getting thornier and higher and eventually seem insurmountable. 

But the hero has heart. He's not giving up. He battles on. And he's clever. He's got skills. We, the readers, can't help but root for him and find it impossible to sleep until we know how it all turned out in the end. Did he achieve his goal or did he lose everything? (Which I think, really, equates to us wondering what kind of a universe it is. Fair or random.)

That was a (very) rough sketch, but you know what I'm talking about. That's the bones of the hero's quest.

But ... is that it? Is that right? Is that (the hero's quest, character identification, creating 3D characters, and so on) how we get people to care about stories?

Let me play devil's advocate:

"Characters don't have hopes or wants or needs or fears because they don't exist! They're fictional. Besides, they don't have any money so they can't invest in one's next book, so what writers should be concerned with are the hopes and wants and needs and fears of flesh and blood readers. And (in general) what matters to humans is mystery and puzzles and action."

Or something.

I think, in practise, readers read on because they care about both the characters and the bells and whistles of the plot; action and mystery and all that kind of thing.

I know I've used it as an example too many times, but it's one of my favorite movies, and it does illustrate my point beautifully. In Indiana Jones and Raiders of the Lost Ark, I did care whether Indy found the ark and it didn't have anything to do with me wanting Indy to achieve his goal (or because I cared about the character yada yada), it had to do with the ark itself. I was curious whether this really was the Ark of the Covenant and, if Indy or the Nazi's found it, what it would do. And would whatever it did be cool. (And it was!)

Something similar happened when I watched the first season of Game of Thrones. One of the questions that season was: Are dragons real? Is Daenerys Targaryen part dragon or is she just delusional? The last episode of that season answered the question beautifully. 

I did care about Daenerys and whether she salvaged something from the ashes of her life, but more than anything I wondered: Do dragons exist? Granted, I wouldn't have cared as much about the answer if Daenerys hadn't staked her life on it. And this only mattered because I'd come to care about the character. But still.

I think what I'm talking about, or gesturing toward, is the interaction of character and plot. Readers care about the plot, in part, because of the characters and we get interested in the characters, in part, because the plot spurred them on to do interesting things.

What do you think? Why do you read stories? Is it the plot? The characters? The interaction of the two? 

Links/References

1. I can't remember exactly where I saw this, I was going through Lee Child's interview page. I think I watched everything from 2012 on.

Photo link: "2014-120 - yellow" by Robert Couse-Baker under Creative Commons Attribution 2.0.

Parts Of Story: How To Create Suspense

What is suspense and how is it created?

Lee Goldberg once said that, "Suspense is an escalating sense of apprehension or fear, a building of pressure, heading either towards an uncertain conclusion or a horrifyingly certain one." Either way, the reader asks: What's going to happen next?

In what follows I look at what suspense is and then, in the next chapter, turn to examine the preconditions for suspense. Namely:

a) A real danger to the hero. 

b) The possibility that the hero will escape the danger. 

c) A finite amount of time, sometimes called a ticking clock.

Dramatic Irony

Dramatic irony can be used to increase the audience's sense of curiosity and concern for the hero.

There are many kinds of irony: verbal, dramatic and situational. Here, though, I'm only going to discuss dramatic irony.

Dramatic Irony And Suspense: An Example

Scenario 1: Imagine a hero inching along a darkened path, oblivious to the deadly shadow soundlessly creeping up behind him, poised to suck the lifeforce from his bones.

Scenario 2: Imagine that, as before, our hero inches along a darkened path anticipating a threat just round the bend. He doesn't know whether there's a monster there, but there could be. Unlike before there's no deadly shadow stalking him ... at least, not that we know of.

The first scenario creates suspense, in part, by giving the reader/audience more information than the hero possesses. We see the danger creeping up on him and want to scream: Turn around!

In the second scenario there is no such disparity of knowledge. We know what the hero knows and, with him, we cringe as he rounds every corner, every bend in the twisty road. 

Some Aspects of Dramatic Irony

a. Surface meaning vs underlying meaning

Dramatic irony occurs when the surface meaning of an utterance is at variance with its deeper meaning. 

Meanings don't exist in a vacuum. It's people who understand utterances, it's people who understand meaning, whom things matter to. 

Dramatic irony depends upon certain people knowing more than others. Some who hear the utterance will be stranded at the surface while others will understand the deeper meaning.

Let's look at the possibilities.

a.i. The audience knows less than one or more of the characters.

For instance, tension, suspense, can be generated when we see a character's reaction to, for example, the contents of a suitcase even though we never find out what it contained.

This example comes from Pulp Fiction. Vincent Vega looks into the suitcase, it's eery illumination playing over his face. For a moment he seems lost in whatever he sees. Stunned. Overwhelmed. The viewer doesn't know what's in the suitcase, but Vincent Vega and Jules Winnfield do. Vega is looking right at it and, damn him, he's not telling! 

a.ii. The audience knows more than one or more of the characters.

I think this is the far more common scenario. It happens on almost every show I watch, nearly every episode.

A character knows less about something than another character or the audience, and they don't know they know less.

For example, a couple of months ago I re-watched the scifi/horror classic Alien, a movie that has aged remarkably well. At one point one of the characters--Brett--searches for Jones the cat. Everyone on the ship is going back into stasis and that includes Jones, but Brett needs to catch him first. Yes, sure, the alien is on the loose too, but in this scene Brett isn't overly worried about meeting the alien since he knows Jones is in the area and, therefore, attributes any weird noises to the spooked feline.

Brett hears a noise, looks beneath nearby machinery, and spots the recalcitrant feline. Brett tries to coax the cat out of his hiding spot but, just as the cat walks toward him, we see a tentacle unfurl behind the man. Jones hisses and darts away. Brett is stunned. He thinks the cat hissed at him. Puzzled, he keeps calling Jones, trying to coax the cat out of hiding. While Brett does this we see the alien slowly, silently, unfurl behind Brett. 

At this point in the movie, if you're anything like me, you gripped the cushion you had a strangle hold on and screamed: Turn around!

And, of course, Brett does but it's too late. He's monster chow.

This is the kind of thing we mean when we say that in dramatic irony "the implications of a situation, speech, etc, are understood by the audience but not by the characters in the play." In this scene both the cat and the alien had more information than Brett did and, as so often happens in horror movies, Brett paid for that inequality with his life.

b. Unwise behavior.

When a passage contains dramatic irony, the character from whom information is being kept usually reacts in a way that is inappropriate and unwise.

In the example from Alien, running away and hiding would have been both appropriate and wise. Standing in front of the alien calling out "kitty, kitty," ... not so much.

Summary: Irony occurs when there is an incongruity, or contrast, between what the expectations of a situation are and what is really the case.

(Note: This post is from one of the chapters of my upcoming book, Parts of Story.)

Lester Dent's Master Fiction Formula: The Fourth And Final 1,500 Words

Here we are at last. This is the last post in a five part series on how to write a short story the Lester Dent way. (Here's a link to the first article in this series: Lester Dent's Short Story Master Formula.)

Today we're going to finish talking about Dent's master plot formula for how he wrote a 6,000 word short story.  

The Final 1,500 Words

If you read my other posts you'll notice a familiar progression:

- A complication is introduced.

The complication can be anything that makes it difficult for the hero to attain her goal, or that outright prevents her from attaining it. 

In The Princess Bride, the Man in Black's goal is to rescue Princess Buttercup, but there are complications. First he has to fight Inigo, a master swordsman, then Fezzik throws a massive boulder at him. Finally, the Man in Black must match wits with Vizzini. But then—surprise!—there's a reversal and the Princess is taken away from him again. Now, though, things are truly dire for all involved. Westley is taken away to a dungeon and strapped into (cue ominous music) the Machine.

But, again, it is the initial complication that kicks off the action. It's like a tiny snowball being rolled down a mountain heavy with snow. That tiny snowball, given time, can create an avalanche. 

- The hero overcomes the complication. 

The hero often doesn't overcome the initial complication right away. It could take several tries. It is usually only at the very end of the story that the hero has a flash of insight and wrenches victory from the jaws of defeat. (see: Using Conflicts And Setbacks To Create Narrative Drive)

- The hero, using his skill and intelligence, rescues himself.

It's important that the hero isn't helped, that he gets himself out of the fix he's in himself. After all, that's what heroes do! Even when they're so weak they can barely stand, they have to subdue their enemies themselves. If not with their brawn, then with their wit and a good bluff.

- The hero and the villain face off. This is it, the climax. This is where things will be settled one way or another.

Although both the hero and the villain probably have helpers, no one else can be involved at this stage. The hero must win—or lose—under her own steam.

- As part of the climax we learn the solution to the main mystery: How was the victim killed? We learn how the deed was done, who did it and why.

As you'll recall, what started this all off was a mystery. In Dent's case, it was usually a murder mystery. He wrote:

"A different murder method could be—different. Thinking of shooting, knifing, hydrocyanic, garroting, poison needles, scorpions, a few others, and writing them on paper gets them where they may suggest something. Scorpions and their poison bite? Maybe mosquitoes or flies treated with deadly germs?"

In other words, introduce a mystery in the beginning. (Every time I think of the importance of introducing mystery into a story, or the importance of mystery in creating suspense, I think of J.J. Abrams' wonderful TED talk: The Mystery Box.)

Here, at the end of our 6,000 word story, we pull the curtain back and explain the mystery.

- The villain pulls something out of his hat, something that surprises the hero. 

Here we have another All Is Lost moment, but then the hero turns things around. Perhaps the hero only pretended to be taken off guard, perhaps the hero had been deceiving the villain, playing him. Our hero turns things around to win the day.

- Final twist. 

The final twist should come as a big surprise to your reader. If you've kept the villain's identity a secret—perhaps he has been wearing a mask, perhaps the battle is taking place long-distance, perhaps one of his minions has been standing in for him—now is the time to reveal it. The shock value is sometimes increased if, earlier, the hero met the villain under another guise.

- Wrap things up. 

Make sure there are no unintended loose ends. If you intend this short story to be the first part of a series then it's fine to leave one or two minor threads unresolved. But do check your threads/arcs and make sure you've closed off all the ones you intended to.

- Close with a punch line. Have the hero say something snappy.

Dent, in his Doc Savage books, generally closed with something funny. An inside joke.

A Caveat

This was how Lester Dent wrote a 6,000 word short story he intended to sell to the markets of his day. This is an outline, probably a great outline, of how to write a pulp story. Dent wrote in the 30s, 40s and 50s and, naturally, the markets have changed a lot in the intervening 60 or so years. That said, great fiction is great fiction. I think that to the extent Dent caught on to something lasting with his formula it will be as helpful in our day as it was in his.

It's up to you how to, as well as whether to, use Dent's formula. Dent never claimed that his formula was the only way of writing a story, only that it was his way. And, to his credit, he did sell a lot of short stories and during a very tough time--the Great Depression. 

Sometimes when I'm stuck for an idea, sometimes when I just don't know what's going to happen next, it helps me to approach things from another perspective. If you are in that situation it is my hope that the simple act of reading these posts may help shake something loose and get you writing again. As long as Dent's guidelines are applied with thoughtful awareness, their use isn't going to turn an interesting story into an uninteresting one. On the other hand, it just might give a drab story a bit of life. (Also see Deborah Chester's post, Moon Alligators, for ways of spicing up a story.)

If a story works, it works. It doesn't matter how it was put together. 

Previous posts in this series:

- Lester Dent's Short Story Master Formula

- Lester Dent: How To Write A 6,000 Word Short Story: The First Quarter

- Lester Dent's Master Fiction Formula: The Second 1,500 Words

- Lester Dent's Master Fiction Formula: The Third 1,500 Words 

Photo credit: "2014-116 - lines" by Robert Couse-Baker under Creative Commons Attribution 2.0.

Stakes: How To Make Goals Matter

I've already discussed conflict and the importance of having goals, but a goal is useless without stakes.

Stakes are the possible consequences of a course of action. What will happen if the protagonist achieves her goal? What will happen if she doesn't?  

Stakes generate tension. Conflict. They create suspense.

For example, let's say we have a character, Bob. Bob is on a diet, he wants to lose 20 pounds before his brother's wedding. Here are two possible versions of the story:

a. Bob lost 20 pounds in time for his brother's wedding.

b. Bob failed to lose 20 pounds.

Either way: So what? Why should we care?

How about this:

c. Bob makes a bet with his brother that if he can't fit into his tux in time for the wedding he'll pay for the wedding. But paying for the wedding would wipe out Bob's savings and he wouldn't be able to take his girlfriend on the dream vacation he has been promising her for the past four years. If Bob doesn't make good on his promise, his girlfriend will leave him. He knows he was an idiot to make the bet but what's done is done. He can't welsh. Will Bob be able to lose the 20 pounds before the wedding or will he fail, pay for his brother's wedding and die alone?

That's better. It's still not a terribly interesting story, but there's potential. As soon as Bob has something to lose and something to gain, we can begin to care about what happens to him.

The possible consequences of a course of action must be clear.

In order for the stakes to be clear, the goal must be clear.

A protagonist wants something. She can want more than one thing, but she must want one thing desperately and more than anything else. The thing that is desperately, passionately, wanted becomes the story goal. If the protagonist achieves the goal then she's succeeded, if not then she's failed.

For instance, in Indiana Jones and Raiders of the Lost Ark, if Indiana finds the ark and brings it back with him then he has succeeded. If not, he's failed.

What are the stakes? If Indy achieves his goal then he gets professional kudos and the opportunity to study a fascinating artifact. If he doesn't, then the Nazi war machine will use the ark to help turn the tide of war in their favor.

Of course, the goal can change along the way. In The Firm Mitch McDeere starts out wanting to be a rich lawyer then, about halfway through the story, his goal changes: he just wants to be free, he doesn't want either the FBI or the mob to own him.

The stakes must matter to the characters

If the stakes don't matter to the characters that's like creating a beautiful car but neglecting to put any gas in the engine. If the stakes don't matter to the characters there's nothing to drive the story. After all, if your characters don't care about achieving the goal, why would readers?

The other day I was walking through a fairground and one of the hawkers called out to me. "Hey! You want to play this game? I know you do. It's fun and you could win a great prize." 

"Oh?" I said. "What prize?" 

The boy-man held up a big stuffed pink and green elephant.

No thanks. It would be cheaper--a lot cheaper--for me to just go out and buy myself a stuffed animal. Though if he'd held up the promise of a critique by, say, Stephen King I'd have played. Heck, he wouldn't have been able to get rid of me!

This point, about the stakes needing to matter to your characters, is also about believability. When the going gets tough and your character is getting beaten up, whether literally or figuratively, they need a strong--in other words believable--reason for why they keep on keeping on.

The stakes must tie into your characters' wants and fears.

How do you, as a storyteller, make it plausible that your characters will go through hell to achieve their goal? We've just seen how. You make the stakes matter to the characters. How do you do that? You tie the stakes into your characters wants and fears.

I think this is one reason why stakes are often life and death. Whether or not a person continues living matters a great deal and it doesn't need explanation. If a burglar pulls out a gun and points it at your character as they're taking a shortcut through a dark alley, the reader understands their panic. 

A character's wants and fears should be unique. So should the stakes.

What does the character want? What drives him? What gets him up in the morning? If he won an obscene amount of money what would he do with it? 

What does the character fear? When he was a kid what kind of beasties lived under his bed? Everyone fears hunger, pain and death, give your character unique fears. One of the things I loved about Mr. Monk was that he was scared of milk. Milk! Who is scared of milk? Monk, that's who. That says something about a character.

A character's wants should reveal something unique about him.

Why a character's wants and fears are important.

Why, from a storytelling perspective, do a character's wants and fears matter? I've heard different answers to this question. Some say they matter because they tie characters to their goals, other say they matter because they tie characters to the story. And those answers are, I think, good answers. They're both correct. 

But I would also say that the stakes tie the reader to the characters and, in so doing, to the story.

For example, in William Goldman's incomparable story, The Princess Bride, why did Inigo Montoya devote his life to becoming a master swordsman? It was because the six-fingered man (Count Rugen) killed his father and Inigo had sworn to avenge his father's death. So yes, sure, Inigo's goal was to kill Rugen but I would argue that generally, he wanted to do right by his father. The love that Inigo had for his father was the glue that kept him focused on his goal. 

What are the stakes for Inigo? When Inigo finally fights Count Rugen it seems as though Inigo is dying, felled by a sneaky, dishonorable, blow meted out by Rugen. We understand from the very beginning: the stakes of this contest, this battle, are life and death and Rugen isn't going to fight fair.

All that is true, but I would argue that for Inigo the stakes that matter to him aren't life and death--his life and death--they are whether he succeeds in avenging his father. If he were to discover that avenging his father would mean his death he wouldn't hesitate. If Inigo doesn't succeed in avenging his father's death, it seems to me that Inigo wouldn't want to live. Inigo doesn't count his life as precious, he lives with one goal in mind: avenge his father's death.

Does the reader/viewer see it that way as well? I don't think so. I think we care much more than Inigo does about his life. Yes, absolutely, we want to see justice done. We want to watch Inigo complete his quest and kill the dishonorable Count Rugen. But it is also very important to us--much more important than it is to Inigo himself--that he survive.  

So all that has been building up to this: the stakes of the character aren't necessarily our stakes. We don't necessarily care about the same things the character cares about. 

When, at the end of the story, the stakes of the battle between Inigo and Count Rugen come down to life and death, I care more about Inigo's life than he does. 

Stakes: Internal and External

Just as characters have internal and external goals so there are internal and external stakes.

For instance, in the movie Shrek the protagonist's internal conflict, his challenge, was to risk rejection and let people in, to let others know how he really felt (for example, to tell Princess Fiona he loved her). Shrek needed to risk rejection so he could make connections with others and find true love.

Shrek's outer challenge was to rescue Princess Fiona so Lord Farquaad would remove the fairytale creatures from his swamp.

Different kinds of stakes accompany different kinds of goals. If Shrek failed to rescue Princess Fiona from the castle, Lord Farquaad would have had Shrek killed. If Shrek failed to lower his defences and let people in, he would have lost the love of Princess Fiona and endured a sad and lonely existence in his now vacant swamp. A pyrrhic victory.

It's not size, it's complexity

It's not the size of the stakes that count, it's their complexity. Complex stakes involve not just a character's internal or external goals, but both together. It's not just about saving the world, it's about overcoming one's fears to save the world. 

Escalate the stakes

Stories contain complications. The hero sets out to do one thing, a complication pops up and blocks him, he tries to get around the complication by doing something but that only makes things worse, and so on.

As I discussed in the chapter on Try-Fail Cycles, the stakes escalate throughout the story until everything comes to a fever pitch at the end.

Conflicting goals mean conflicting stakes

For instance, in Indiana Jones and Raiders of the Lost Ark, there's a terrific scene in the middle where Indy ducks into a tent to hide from the bad guys and comes across Marion tied to a tent pole. Indy begins to untie Marion then realizes that if the Nazis discover Marion missing they'll know he is in the camp looking for the ark. He can't give himself away.

What does Indy do? He ties Marion back up! She is furious with him. It's a great scene.

Lets take a look at the stakes at play in this scene. At the beginning of the scene Indy is trying to hide from a guard so he ducks inside a tent.

Indiana's stakes:

Goal: Escape the guard's notice and obtain the ark.

Success: Indiana doesn't get captured and is one step closer to his goal. 

Failure: Indiana is captured, possibly tortured. He fails to obtain the ark and the world is taken over by the Nazis.

Marion's stakes:

Goal: Get untied, sneak out of the Nazi camp, go to America.

Success: Marion gets her freedom.

Failure: Marion's future is unknown. She could be tortured, various nasty things could happen to her.

In the middle of the scene the stakes change when Indy realizes he has to tie Marion back up or risk losing the ark.

Indy's Goal: To NOT completely alienate the affections of Miriam.

Success: Marion's love and gratitude.

Failure: Her lasting wrath.

For Indy to succeed in winning Marion's affection--or just to avoid making her furious with him--he must help her escape. But he can't. If he helps her, then he risks his primary mission. So he fails to achieve this minor goal, accepts Marion's wrath, ties her back up, and exits the tent.

The point is that conflicting mini-goals with their own stakes often pop up within a scene. The scene between Indiana and Marion was especially interesting, I thought, because it highlighted their diametrically opposed interests. Marion would much rather just escape and forget all about the ark, but not Indy.

*  *  *

As we've seen, characters have goals. Depending upon whether they attain these goals different things come about. Good things will happen if they attain the goals, bad things if they don't. This--the space between where the character is and where the character could be; the possible future that awaits them--creates conflict and conflict is the engine that moves a story forward. Simple as that.

Parts of Story: Try-Fail Cycles

One of the most useful tools or techniques for writing engaging prose is the try-fail cycle. The try-fail cycle lies at the heart of how to unfold a conflict in such a way that it generates suspense.

The nuts and bolts of the try-fail cycle.

For every conflict that comes up, a question can be asked: Will our hero succeed? There are four possible answers:

1) Yes

2) Yes, BUT

3) No

4) No, AND

Let's look at each of these.

1. Yes.

Although in real life we love it when we get what we want, this is boring for others. When families get together at Christmas what's the gossip about? It's all about who got divorced, who lost their job. It's about the bad things--or at least the sad things--that have happened to the people in our lives.

Being told that, yes, the hero will succeed won't generate conflict. It's not interesting. 

Imagine someone told you the following story:

Bob woke up Wednesday morning with an overpowering desire for waffles. Bob promptly got up and took himself over to the nearest waffle house and ate a hot, flaky, buttery, waffle. The End.

Boring.

Even if we give Bob some motivation, it still doesn't help matters:

Bob's wife, Cindy, woke up Wednesday morning with an overpowering desire for waffles. Cindy was seven months pregnant and hadn't had any appetite for the last three days. Her doctor was worried. When Cindy woke up wanting waffles Bob was overjoyed. "You wait right here," he said, "I'll get you a stack of the fluffiest, most mouth watering, waffles you've ever had. Be right back." 

Bob jumped in his car, got the waffles, and gave them to his wife. She scarfed them down in no time and everyone was happy. The End.

See? Still boring.

I won't write it out, but what if we gave Bob a few obstacles? What if Bob jumped in his car and it wouldn't start? He investigates and discovers his battery is dead. Bob heads over to the neighbor's house hoping he'll help jump start his car but his neighbor isn't home.

Bob peers through the neighbor's window hoping the man just fell asleep on the couch. Instead of seeing his neighbor--an ancient relic who shuffles about, his underwear sagging dangerously--he sees an attractive young woman he doesn't recognize. She's moving around the living room putting valuables into a sack. His neighbour is being robbed!

Bob tries to call the police on his cell but can't get a signal. He wonders if he should bang on the window or say something to the intruder to scare her off. As Bob peers through the window wondering what he should do the woman turns and sees him. She screams something at him he doesn't understand (it's muffled by the glass), pulls a gun from her pocket and points it at him.

Bob, a spike of fear raising goosebumps along his arms ...

And so on.

That's not as boring. I might be able to do something with that. And it's all because we didn't give the hero what he wanted.

2. Yes, BUT ...

As we've seen, a hero needs setbacks because if what he desires were handed to him that would be dull.

With "Yes, BUT" we give the hero something he wanted but introduce a complication. For instance, in my story, Bob's goal was to drive to the waffle house and buy his wife some waffles. Is Bob able to get into his car? Yes! BUT his battery is dead. That's the complication. 

By setting up goals and obstacles and making Bob hop from one to the other, getting in more trouble each time he fails, the story becomes more interesting. Why? Because character is revealed through adversity.

3. No.

For fictional characters, answering the question, "Will the hero get what he desires?" with "No" is almost as bad as answering it with, "Yes." We don't want to see our heroes fail. We want to see them triumph over adversity, or at least make some progress toward triumphing. Imagine this scenario:

Bob woke up Wednesday morning with an overpowering desire for waffles. Bob tried to drive to a waffle house but his car wouldn't start. Dejected and waffle-less, Bob climbed back into bed. The End.

Not interesting.

4. No, AND ...

This is very common. Not only doesn't the protagonist achieve what he set out to but another complication is thrown in his path. We saw it above. The question is: will he get a jump start from his neighbour? The answer: No, AND he has a gun pointed at him.

I'll talk more about this in a minute.

Conflicts & Setbacks

Your main character has goals, he wants things. But if he got everything he wanted right away then your story would be as entertaining as watching paint dry. The solution: be mean. Give your main character setbacks, lots of them. 

In Indiana Jones and Raiders of the Lost Ark, Indiana Jones goes on a quest to find and bring back the lost Ark of the Covenant. About halfway through the movie he finds the ark but is captured and, along with Marion, sealed inside an ancient burial vault and left to die.

What follows is one of the best sequences of conflicts and setbacks I've come across. Let's start after Indy finds the ark. 

Question: Does Indy find the ark?

Answer: Yes.

Complication: BUT Indy is captured, thrown into a pit of snakes, and the antagonist takes the ark.

Remember that it has been established early on in the movie that Indiana hates snakes. Spiders and all manner of creepy-crawlies he's fine with, just don't bring him near a snake! (And, yes, I know that there's no logical reason why there would be that many snakes in an ancient burial vault, but the scene still works.)

Question: Do Indy and Marion survive the pit of snakes? 

Answer: Yes, they use torches to keep the snakes at bay.

Complication: BUT the torches are about to burn out.

Question: Do Indy and Marion escape the pit of snakes before their torches burn out?

Answer: Yes, Indy crashes a pillar through a wall providing them an escape.

Complication: BUT the room they enter is filled with skeletons that seem to come alive.

Question: Will Indy and Marion escape the ancient burial vault they've been entombed in?

Answer: Yes.

Complication: BUT the bad guys have the ark and Indy needs to get it back.

Notice that after every goal Indy achieves there is a setback.

Another fabulous sequence in the first Indiana Jones movie occurs a little after the midpoint when Indy decides he and Marion need to get on the plane that the German's will be using to fly the ark out of the country. 

Indy fails in the end (the plane blows up) but the sequence of goals and conflicts create a memorable scene. Let's take a look.

Question: Will Indy commandeer the plane?

Answer: No.

Complication: AND Indy is spotted crawling up the plane, toward the pilot.

Question: Indy and a bad guy fight. Will Indy win?

Answer: Yes.

Complication: BUT a much bigger man starts a fight with Indy (AND the pilot sees indy and knows he's trying to commandeer the plane).

Question: The pilot starts to take pot shots at Indy. Will Indy escape being hit?

Answer: Yes, Indy dodges the pilot's bullets.

Complication: BUT the pilot keeps shooting. 

Question: Indy is fighting a huge bad guy. It looks like he has no chance of winning. Will Indy, against all odds, win the fight against the Man-Mountain? 

Answer: No, Indy is not going to win a fist-fight with the Man-Mountain.

Complication: AND the pilot is still shooting at him.

Question: The pilot takes aim at Indy, from this angle he can't miss. Will Indy survive?

Answer: Yes, indy survives. Marion hits the pilot over the head and knocks him unconscious.

Complication: BUT as the pilot slumps over in the cockpit he hits some levers and starts the plane rolling forward while Indy fights the Man-Mountain on the ground below.

Question: Marion climbs into the cockpit to remove the pilot and stop the plane from moving. Does she succeed?

Answer: No.

Complication: AND Marion gets locked inside the cockpit.

You get the idea. The entire scene is well worth watching.

One thing I want to point out before I leave this chapter is that the stakes for our hero gradually escalate throughout the scene. At first Indy just wants to board the plane, then he gets into a fist fight, then there's an impossibly huge guy he has to fight, then someone starts shooting at him, then the plane begins to move, then there's a truckload of German soldiers who see him, then Marion explodes gasoline containers, then there's gasoline on the ground running toward the fire.

At the end of the scene an ocean of gasoline is rushing toward the burning remains of the gas canisters while the Man-Mountain continues to beat Indy to a pulp and, of course, the whole camp has noticed the gasoline barrels explode and is rushing to investigate. It's quite something.

Try-Fail cycles are present in every story. The next time you read a book or watch one of your favorite TV shows, look for the try-fail cycles.

George R.R. Martin On The Art And Craft Of Writing: 9 Tips For Writers

Have you read George R.R. Martin's interview in Rolling Stone magazine? I was amazed and a little shaken by the depth of Martin's innate, intuitive, grasp of storytelling. All the more so because this wasn't an interview conducted with writers in mind. He didn't set out to give writing advice--at least, I don't think he did--but, nevertheless, the advice was there.

Here's what I've taken away from the interview:

1. Ideas are cheap, it's the execution of the ideas that's important.

Martin says:

"Ideas are cheap. I have more ideas now than I could ever write up. To my mind, it's the execution that is all-important. I'm proud of my work, but I don't know if I'd ever claim it's enormously original. You look at Shakespeare, who borrowed all of his plots. In A Song of Ice and Fire, I take stuff from the Wars of the Roses and other fantasy things, and all these things work around in my head and somehow they jell into what I hope is uniquely my own."

2. Prose writers can learn from screenwriters.

One thing I was surprised to discover about George R.R. Martin, though I discovered it some time ago, was that Martin had been a screenwriter. He had, as it turns out, worked on one of my mother's favorite series, one which we watched together: Beauty and the Beast (1987-1990).

When asked whether Martin feels his writing in A Song of Fire and Ice benefited from his time in Hollywood, Martin replies:

"I do. The big secret about writing screenplays and teleplays is that it's much easier than writing a novel or any kind of prose. William Goldman said everything that needed to be said about it in Adventures in the Screen Trade: It's all structure, structure and dialogue. Being there improved my sense of structure and dialogue. I'd spent so many years sitting alone in a room, facing a computer or typewriter before that. It was almost exhilarating to go into an office where there were other people – and to have a cup of coffee, and to talk about stories or developments in writers' meetings."

Martin adds that he got into trouble with the network for wanting to make The Beast a darker than they were comfortable with. Martin says,

"But CBS didn't want blood, or for the beast to kill people. They wanted us to show him picking up someone and throwing them across the room, and then they would get up and run away. Oh, my God, horrible monster! [Laughs] It was ludicrous. The character had to remain likeable."

Which brings us to the third point:

3. Don't worry about your characters being likeable.

Martin excels at writing the kind of characters readers--and viewers--love to hate and he does it by being ruthless; ruthless to the characters and, to a certain extent, to his readers, but we'll get to that later.

4. Massacre your darlings.

Martin says:

"The more I write about a character, the more affection I feel . . . even for the worst of them. Which doesn't mean I won't kill them. Whoever it was who said "Kill your darlings" was referring to his favorite lines in a story, but it's just as true for characters. The moment the reader begins to believe that a character is protected by the magical cloak of authorial immunity, tension goes out the window. The Red Wedding was tremendously hard to write. I skipped over it until I finished the entirety of A Storm of Swords, then I went back and forced myself to write that chapter. I loved those characters too much. But I knew it had to be done. The TV Red Wedding is even worse than the book, of course, because [GoT creators David Benioff and D.B. Weiss] turned it up to 11 by bringing in Talisa, pregnant with Robb's child, none of which happened in the book. So we get a pregnant woman stabbed repeatedly in the belly."

5. How George R.R. Martin does worldbuilding: don't build the world first, build it as you write.

Martin says: 

"It all occurs at the same time with me. I don't build the world first, then write in it. I just write the story, and then put it together. Drawing a map took me, I don't know, a half-hour. You fill in a few things, then as you write more it becomes more and more alive."

That's how George R.R. Martin does it. Different strokes and all that. But I find it interesting that--although I'll have ideas about the setting in advance of sitting down and putting pen to paper--the bulk of world development (and character development) gets worked out as I scribble that first zero draft.

Martin had this to say about The Wall:

"The Wall predates anything else. I can trace back the inspiration for that to 1981. I was in England visiting a friend, and as we approached the border of England and Scotland, we stopped to see Hadrian's Wall. I stood up there and I tried to imagine what it was like to be a Roman legionary, standing on this wall, looking at these distant hills. It was a very profound feeling. For the Romans at that time, this was the end of civilization; it was the end of the world. We know that there were Scots beyond the hills, but they didn't know that. It could have been any kind of monster. It was the sense of this barrier against dark forces – it planted something in me. But when you write fantasy, everything is bigger and more colorful, so I took the Wall and made it three times as long and 700 feet high, and made it out of ice."

6. Surprise your readers.

Throughout Martin's interview I felt that one of its themes was that the key to good writing--no, to great writing--is surprise. The ability to surprise your reader. In response to the interviewer's mention of Jaime pushing Bran Stark out a window, Martin says:

"I've had a million people tell me that was the moment that hooked them, where they said, "Well, this is just not the same story I read a million times before." Bran is the first viewpoint character. In the back of their heads, people are thinking Bran is the hero of the story. He's young King Arthur. We're going to follow this young boy – and then, boom: You don't expect something like that to happen to him. So that was successful [laughs]."

Later in the interview Martin says:

"I knew right from the beginning that Ned wasn't going to survive. Both as a writer and as a reader I like stories that surprise me. Hitchcock's Psycho has tremendous impact because Janet Leigh is the movie's star: She's stealing, traveling across country – are the cops going to get her? – and all that. The next thing is, she's being knifed in the shower – you're only 40 minutes into the movie. What the hell is happening? The star just died! After that, you really don't know what the hell is going to happen. It's great; I loved that. That's what I was going for with Ned: The protector who was keeping it all together is swept off the board. So that makes it much more suspenseful. Jeopardy is really there."

7. Explore the deep issues.

George R.R. Martin uses his writing as a medium to explore the deeper issues, the deeper questions, of life. Questions such as "Is redemption possible?" Martin says:

"One of the things I wanted to explore with Jaime, and with so many of the characters, is the whole issue of redemption. When can we be redeemed? Is redemption even possible? I don't have an answer. But when do we forgive people? You see it all around in our society, in constant debates. Should we forgive Michael Vick? I have friends who are dog-lovers who will never forgive Michael Vick. Michael Vick has served years in prison; he's apologized. Has he apologized sufficiently? Woody Allen: Is Woody Allen someone that we should laud, or someone that we should despise? Or Roman Polanski, Paula Deen. Our society is full of people who have fallen in one way or another, and what do we do with these people? How many good acts make up for a bad act? If you're a Nazi war criminal and then spend the next 40 years doing good deeds and feeding the hungry, does that make up for being a concentration-camp guard? I don't know the answer, but these are questions worth thinking about. I want there to be a possibility of redemption for us, because we all do terrible things. We should be able to be forgiven. Because if there is no possibility of redemption, what's the answer then?"

"Does the Queen of Thorns need redemption? Did the Queen of Thorns kill Hitler, or did she murder a 13-year-old boy [King Joffrey]? Or both? She had good reasons to remove Joffrey. Is it a case where the end justifies the means? I don't know. That's what I want the reader or viewer to wrestle with, and to debate."

Martin also brings up Jaime and his attempts on Bran's life. He reminds us that "Jaime isn't just trying to kill Bran because he's an annoying little kid. Bran has seen something that is basically a death sentence for Jaime, for Cersei, and their children – their three actual children." Martin asks fans of the series whether, if they were in Jaime's position, would they try to kill Bran? The fan will say, "No. Never!" Then Martin will ask, "What if killing Bran would save your family? What if killing him would save your children?" Then, often, people hesitate. The answer doesn't seem as clear.

The point is--my point at least--that these questions don't have an easy answer (if, indeed, they have an answer at all). But they are questions that, when incorporated into a story, make great fiction.

8. Write great characters, not great heroes--there's no such thing.

Martin says: 

"[...] I do think there are things worth fighting for. Men are still capable of great heroism. But I don't necessarily think there are heroes. That's something that's very much in my books: I believe in great characters. We're all capable of doing great things, and of doing bad things. We have the angels and the demons inside of us, and our lives are a succession of choices."

9. Write for yourself rather than others.

Martin mentions that he has gotten a lot of mail, much of it critical, from both readers and viewers concerning The Red Wedding. He seems to understand as well as sympathize with his fans reactions, but is not apologetic. He says:

"One letter I got was from a woman, a waitress. She wrote me: "I work hard all day, I'm divorced, I have a couple of children. My life is very hard, and my one pleasure is I come home and I read fantasy, and I escape to other worlds. Then I read your book, and God, it was fucking horrifying. I don't read for this. This is a nightmare. Why would you do this to me?" That letter actually reached me. I wrote her back and basically said, "I'm sorry; I do understand where you're coming from." Some people do read . . . I don't like to use the word escape, because escapism has such a pejorative aspect, but it takes you to another world. Maybe it is escape. Reading fiction has helped me through some bad times in my own life. The night my father died, I was in Michigan and I got word from my mother. I couldn't get to a plane until the next day, so I sat around thinking about my father, the good and the bad in our relationship. I remember I opened whatever book I was reading, and for a few hours, I was able to stop thinking about my father's death. It was a relief. [...] I understand where the other people are coming from. There are a lot of books out there. Let everyone find the kind of book that speaks to them, and speaks to what they need emotionally."

A wonderful interview, both informative and strangely moving. Highly recommended. Once again, these quotations were from George R.R. Martin: The Rolling Stone Interview.

Photo credit: "There is a House in Infrared" by Ian Sane under Creative Commons Attribution 2.0.

Parts of Story: The Importance of Sequels

In the previous chapter we discussed the structure of a sequel. Now lets talk about what a sequel does and how it does it.

Jim Butcher, author of the bestselling Dresden Files series, writes:

"Sequels, frankly, are what really make or break books. How you choose to show your reader your character's reactions determines everything about the reader's response to the events of the story."

Sequels have four main roles:

- Readers identify with characters. Sequels are where your readers bond with your characters; they are where, hopefully, readers will come to empathize with them. This is where the bulk of a character's development occurs.

- Time can move rapidly. Scenes are time-unified. If you want to skip forward, say, a week, that should happen in a sequel.

- Pacing. We use sequels to control the pace of a story. Long sequels slow down the pace while short ones speed it up.

- Fine tune your novel. By varying the amount of time you spend of each of a sequels parts, by varying your emphasis, you can change a flighty character into a brainy one or make a despicable character likeable. 

Lets take a look at each of these points.

1. Readers Identify With Characters

In Dwight V. Swain's book, Creating Characters, he writes that emotion is what gives a character direction. If, at the end of a scene, a bully has just kicked sand in your protagonist's face--or murdered their spouse--that character is going to be in pain and, consequently, motivated to make sure the killer pays for his actions. In short, strong emotion gives a character direction.

Further, in a sequel we get to show the kind of things the character dwells on, the sort of things he responds to. 

As characters reflect on the events of the previous scene each will focus on what, given their specific nature, was important to them. If a character is bloodthirsty she will recall her kills with gusto or longing. If a character is especially concerned with the welfare of others--perhaps overly so--she will focus on the harm she allowed to come to an innocent, perhaps ignoring the harm she herself suffered, or the reasons why the harm occurred.

2. Time Passes Quickly

A scene is time-unified; there are no breaks, no huge gaps. One thing happens, then another, then another, until the scene is over and the protagonist's goal has been attained--or not. Sequels are places where time can be disjointed and move quickly. 

3. Using Sequels To Control Pace

Character development tends to slow the pace of a story while action speeds it up. If you read a book and it seems as though you never got to know any of the characters, not enough to really care about them, chances are there were very few sequels in the book, or the sequels were short and insubstantial. 

On the other hand, if a book seems to drag, if it seems to explore the relationships between the characters ad nauseum, if there are short sprints of action followed by endless second-guessing and rumination, then chances are you'll find that it has long involved sequels and short scenes.

4. Sequels Help You Fine Tune Your Novel

Jim Butcher writes: 

"This basic structure for sequels is pretty much the ENTIRE secret of my success. I do it like this in every freaking book I write. I know it works because check it out. People like my books. They like them for some of the special effects, sure, and for some of the story ideas sometimes--but mostly it's because they find themselves caring about what happens to the characters, and that happens in sequels."

I think Jim Butcher is underestimating the appeal of both his unique voice and his wit, but that's still a powerful recommendation of sequels. I encourage you to read Jim Butcher's discussion of sequels in it's entirety. I'm not going to go into it in any depth here, but one of the most valuable things sequels can do for you is assist you in fine-tuning your novels during rewrites.

For instance, if you're writing a romance novel and there isn't enough pathos, enough passion, make the sequels longer and focus on your characters' emotional reactions. If the pace is lagging, make the sequels shorter. 

Here are a few character types Jim Butcher mentioned, types that can illustrate how sequels can help you shape a character.

Brainy characters:

- Emotional Reaction: Normal

- Cognitive Reaction: Heavy

- Anticipation: Light

- Decision/Choice: Normal or Light depending on what you want to do in the next scene.

It's no surprise that brainy characters will have more substantial Cognitive Reaction sections. Jim Butcher adds, though, that it's a good idea to play up the anticipation part. Build suspense, tension, around what is going to happen when the protagonist makes her move.

The result? In Sir Conan Arthur Doyle's Sherlock Holmes stories the great detective hates explaining his method because then his amazing conclusion seems like a cheap trick, it seems as though anyone could have done it. It's the same here, by veiling exactly how the protagonist came to their conclusion the feat looks more impressive and generates curiosity in the reader: How'd he know that? 

Characters trying to pick a side:

- Emotional Reaction: Normal

- Cognitive Reaction: Normal

- Anticipation: Heavy

- Decision: None

This helps build suspense. By withholding a character's final decision from the reader, when that character goes into action in the next scene you know they've made a choice and you know what the stakes are but you don't know what their decision was. That makes a reader curious, and that curiosity will make them want to turn the page.

How to make a character's motivations clear:

If your character's motivations aren't clear then make sure that the stages of your sequels are in the right order (Emotional Reaction then Cognitive Reaction then Anticipation then Decision) and that his choices are consistent. 

For instance, if your protagonist is a hero's hero type (lawful good) he probably wouldn't choose to endanger the life of someone else even if it meant his death, except in extraordinary circumstances. I just finished reading George R.R. Martin's interview in Rolling Stone and he reminds us that even the best character can do horrible things given the right (or wrong) circumstances. Martin asks: If you could save the lives of your lover and your children by killing another man's child, would you? It's an excellent interview.

Sequels in a murder mystery:

- Emotional Reaction: Light

- Cognitive Reaction: Heavy

- Anticipation: Normal

- Decision/Choice: Light or None

In a murder mystery novel, the cognitive reaction part will receive a lot of space and each possible murderer is going to be given a lot of attention. But, as Jim Butcher points out, writers usually veil the "choice" aspect and keep their sleuth's best guess about the identity of the killer as surprise for the reveal at the end. That's when the sleuth explains his methods and how he came to figure out the identity of the murderer.

Romance

- Emotional Reaction: Heavy

- Cognitive Reaction: Light

- Anticipation: Normal

- Decision/Choice: Normal or Light

It isn't that heroes and heroines in romance stories are any less brainy than those in murder mysteries, but readers of romances are more interested in the interpersonal relationships than are readers of murder mysteries. Take, for example, a whodunit. As the name suggests, what the reader cares about is figuring out who did the crime. In such a mystery romantic connections that don't have anything to do with solving the crime would be an irritating irrelevance.

Those are just a few of the many, many, ways sequels can be used to shape your characters and, thus, your readers reactions.

Since writing these chapters I've begun seeing sequels everywhere, not just in books; TV shows and movies use them as well.

In the next chapter we'll look at the stakes of the hero's quest.

(Note: This post is from one of the chapters of my upcoming book, Parts of Story, which I usually publish separately. But this particular chapter proved to be a bit thorny and was taking so much time I decided to post it as one of my three weekly posts. I'm sorry if that creates any confusion. Thanks for your patience as I (slowly) blog my book. Cheers!)