Story Openings: Tags, Traits and Tropes

Yesterday I began a discussion of Tags and Traits and talked about how they can help bring a character to life. Today I’d like to extend that discussion by talking about ... 

2. How tags and traits can help us fit a character to their role in a story.

In this section we’re going to talk about the various roles a character can play, so let’s confront the elephant in the room: stereotypes.

Stereotypes are boring, but certain kinds of stereotypes—tropes—have gotten a bad rap. (If you think this is an outrageous view, please hear me out.)

Stereotypes vs Tropes

The way I’m using the word here, a trope is “a significant or recurrent theme; a motif.”

A stereotype, on the other hand, is “a widely held but fixed and oversimplified image or idea of a particular type of person or thing.”

For example, what’s the detective stereotype? When I say ‘detective’ what comes to mind?

Is the image of a man or woman? What are they wearing? How old are they? Are they a professional detective or do they moonlight? Do they have a Watson? On Saturday night, are they more likely to frequent a lady’s tea circle or a run-down bar? Do they have an arch-enemy?

My guess is that each of you has a radically different image of a detective. Why? Because there really isn’t any one stereotype of a detective, there are many, one for each sub-genre of detective story.

For instance, if you thought of a man who is a private detective, one who has a helper/sidekick and an arch-enemy then according to tvtropes.org (a truly wonderful site) you’re thinking about the trope of the Great Detective (e.g., Sherlock Holmes). 

Or perhaps you thought of the Defective Detective (e.g., Monk) or of a Detective Drama (e.g., Death in Paradise).

Or perhaps, like me, you thought of a fluffy old lady who knits and seems scattered but has a brain like a scythe (the Little Old Lady Investigates trope). But, then, you could be more the Hardboiled Detective type.

My point in mentioning all these tropes is to show that ‘the stereotypical detective’ doesn’t exist. We—I—talk about ‘the mystery genre’ but there’s really no such thing, not if what we mean by that is something concrete enough to actually produce a trope. No, there are a plethora of tropes, each unique to its sub-genre—or so I would argue.

We’re almost ready to explore the question of whether tropes can be a writer’s friend. But, first, let’s look at ...

The role of the trope

Let me approach this by example. Let’s say we want to write a tea cozy mystery, or “cozy” for short. (This is from the Little Old Lady Investigates trope.)

- The sleuth is usually female.

- The sleuth is older, usually in the second half of her life.

- The sleuth doesn’t get paid for solving the murder. Perhaps she is retired or perhaps, like Jessica Fletcher (Murder, She Wrote), she writes murder mysteries and sleuths on the side.

- The sleuth is a Cool Old Lady. She is clever; witty. She stands up for what she thinks is right. She is practically always polite and takes the high road. (Most people completely discount the ability of the Little Old Lady to solve a crime because, well, she’s a little old lady!) 

Okay, that about does it. Those traits won’t hold true for every case but—since this is the trope—they should capture the more important qualities of most of the sleuths in this sub-genre.

The big question: Should you cast to type or against type?

If you write a cozy would you cast to type and embrace the trope or would you cast against type and create something new, fresh, surprising? 

If I wanted to cast against type then perhaps I’d create a young male police officer, a rookie, who is a bit of a dweeb and couldn’t knit a scarf if his life depended on it.

This could work. My character would be fresh, new, unexpected. On the other hand, I would be throwing away one of the biggest assets a genre writer has: all those folks who love reading traditional cozy mysteries. Even worse, if a reader of traditional cozy mysteries were to pick up my book they’d likely be expecting a sleuth cast to type so, chances are, they’d be disappointed. Disappointed readers often give one star reviews and return books. 

I’m not saying this is a reason not to write against type, but it’s something to keep in mind when making your decision. 

My point here is simply that it’s the authors choice. Just as there’s nothing in the least wrong with writing against type (though there are consequences) there’s nothing wrong with embracing a trope. Doing so will give you a character cozy readers will immediately recognize and, hopefully, love. But you can’t use the type as-is, it needs a twist.

Tweaking A Trope

The danger with writing to type is, as you know, that your character will be exactly what the reader expects and so she’ll be bored silly. We need to tweak the trope so that our character stands out from the crowd.

For example we could keep practically everything the same but make our protagonist male rather than female. Or we could make the protagonist young rather than middle-aged. Or perhaps our granny has been uprooted from her life in the village and must brave the mean streets of the big city. Or instead of being sweet and kind she’s grumpy and selfish (the Agatha Raisin mysteries). Or perhaps the sleuth is a teenager visiting his grandmother. He solves the crimes but, because the police won’t listen to a kid, his gran takes the credit.

So, in short, if you choose to write to type (a) know the trope of the sub-genre you’ve chosen and (b) give it a twist. Above all, make sure your character is unique.

A Digression: Write What You Know

I think this is one reason folks say “Write what you know.” Even if you’ve never been a detective, even if you’ve never even met a detective, put parts of yourself—as well as folks you know well, folks you have strong feelings about for good or ill—into your character. 

Writers are a bit like Dr. Frankenstein. We take bits from our souls, bits from the souls of others, stitch them together and hope to make our creatures’ hearts beat, to make them live and breathe. I think once you reach that level of intimacy and specificity you can’t help but create something unique.

Putting it all together: Tags, Traits and Tropes

It’s taken us a while to get here, but we’ve done it. Now we’re ready to start using Tags and Traits to hook our character up to the role they’ll play in the story.

Once again, let’s do this by example. Let’s say we’ve decided to write a cozy mystery and we’re going to write to type. Yesterday we discussed the importance of tags and traits in breathing life into a character, to make them memorable, to make them the kind of artificial person readers will empathize with, the kind they will either love or loathe.

As we’ll see in a later post, Dwight V. Swain holds that there are four kinds of tags:

i. Tags of appearance

ii. Tags of speech

iii. Tags of manner

iv. Tags of attitude

I’m only going to use tags of appearance in this article but I will go into each of these categories in some detail in a later post. 

Let’s say that our sleuth has moved from a quaint English village into the hustle and bustle of London. She’s gotten to the stage where she needs a bit of help and her wealthy nephew invites her to stay with him in his spacious penthouse.  

Given the trope for this sub-genre, what tags and traits might we give our character? 

Tags of Appearance

What we want to do is choose characteristics which will make our little old lady sleuth memorable AND which will connect her to the trope.

Ball of yarn

Glinda Ellison, my sleuth, is going to crochet rather than knit but, like Miss Marple, a crochet hook and ball of yarn will be her near constant companions. 

How this hooks into the trope: Crochet reinforces her ‘harmless old lady’ feel and balls of yarn can roll all sorts of interesting places—behind couches, doors, into private bathrooms and all manner of restricted areas—thus providing our sleuth with a credible excuse to snoop.

Something fluffy 

She will always wear at least one thing she has crocheted and it will be something pastel colored and fluffy. 

How this hooks into the trope: The puffy frilliness reinforces her ‘harmless old lady’ feel.

Butterfly necklace

I want something that ties my sleuth to her nephew (Richard Fox), and I want this something to indicate how well off he is. At first I thought of having Richard give Glinda an emerald broach. I did a search on “emerald broach” and ended up at Tiffany & Co. looking at this lovely butterfly pendant. Butterflies are critters of air, which I associate with intellect. Sharp wit, though, can be like a two-edged sword, injuring both the prey and the huntsman, bringing them both to ruin. Perfect!

The other day I wrote about how the tarot can be used to help develop characters, so let’s see if it can help us fill in Glinda’s character information. Keeping with the butterfly motif, I’m going to say that Glinda was born in an air sign. Gemini, ruled by Mercury (quick intelligence), seems perfect. 

Richard is wealthy, so he’s going to be an earth sign, Virgo. I chose Virgo because I want him to be bright like his favorite aunt (Virgo, too, is ruled by Mercury) but I need to give him a weakness. The fall of Virgo is Venus, which is perfect! He’s going to be too smart for his own good and unlucky in love.

I’m going to stop there. Hopefully that gives you an idea how a character’s tags and traits can tie them to their story role and, in so doing, both make them unique and give them a simulacrum of life.

My apologies for the long post. I’ll continue this discussion on Monday when we chat about how tags and traits can help us build a character’s arc. Stay tuned!

Photo credit: "Roaring lion" by Tambako The Jaguar under Creative Commons Attribution 2.0.

Story Openings: Tags And Traits: Bringing Characters To Life

I know I said I would write about how to create a great story opening by introducing a minor mystery. I’m still going to write about that, but not today! Instead, I want to go back to the topic of my last post—creating, and introducing, characters. There are a few things I want to mention.

The Goal of Writing

Let’s go back to basics. What is our goal in creating characters? And, beyond that, why do we write? What is our objective? Here’s Jim Butcher’s answer: To make characters interesting and, in so doing, to get readers to empathize with the characters. He writes:

“If you can manage to create a vivid character in a reader's mind, then establish him as someone believable, you have a real shot at the Holy Grail of character design. If you do your job, you will create a sense of empathy in your reader for your characters. This is what makes people burst out laughing while reading. It's what makes readers cry, or cheer, or run off to take a cold shower.

“[...] empathy takes time to build and it relies heavily upon the skilled use of sequels. But if you can get the reader to this point, as an author, then you WIN. Big time. This is the ENTIRE GOAL of all this character work, because the reader's emotional involvement is the single most important factor in how well your story is going to fly.

“Or put another way, if you can make people love who you want them to love and hate who you want them to hate, you're going to have readers coming back to you over and over again.” (Characters)

How do we make characters interesting? Jim Butcher mentions a few ways in his post (and I urge you, if you’ve never read it—or if you haven’t read it recently—to do so) but I think these all, more or less, fall under the heading of tags and traits, two of the most important tools in character creation.

Tags and Traits

As we’ve seen, we want our characters to be interesting. We want them to catch and hold the reader’s attention. How do we do this?

Using tags and traits to bring a character to life

Dwight V. Swain in “Techniques of a Selling Writer” asks: How is a character brought to life? His answer: You make them (a) vivid and (b) credible.

How does one do this? One word: uniqueness. 

The first step in making vivid, credible, characters lies in distinguishing each character from every other character. It is through the very process of rendering your characters unique that they begin to live and breathe. 

Why is uniqueness important?

In order to have a story with range and depth it needs to, at various times, provoke a wide range of emotions in the reader. How do we do that? Through creating characters that span the emotional spectrum.

Swain writes:

“Liking characters is vital to your reader. So is disliking, and feeling pity and contempt and respect and tenderness and sexual excitement.

“Why?

“Because without such variations of emotional reaction, the reader can’t care what happens to your people.

“If he doesn’t care, he can achieve no sense of inner tension when they’re endangered.”

Swain goes on to list five things that can make a character unique. I'm going to go through each of these points in the next few days. Today, let's begin with a discussion of the dominant impression.

1. Determine the dominant impression (also called an adjective of description)

When you meet someone new, they make a certain impression on you. One fellow I met, I’ll call him John, went on to become one of my best friends, but when I first met him I thought he was dangerous. Specifically, I thought he was a perpetually scowling, six-foot-four-inch mountain of very intimidating muscle. I couldn’t ever see myself getting into a car alone with him and, say, driving along a lonely stretch of highway. 

As so often happens, my first impression was WAY off, but, then, first impressions often are.

Dwight V. Swain urges us to ask ourselves what image we want our readers to receive. What’s the first impression you want your character to make on the reader? Do you want the reader to think a character is tidy, dignified, cruel, sweet, old, beautiful, slim, smart, angry, touchy, tranquil, shy or something else entirely. (Here’s a page with a great many adjectives of description.)

Keep in mind that the first impression is just that, a first impression. First impressions are often misleading and we go on to revise them. (In murder mysteries first impressions are almost always false, though rarely completely so. I’ll talk more about this in a later post on writing a cozy mystery.) But that’s good! The first impression is merely the beginning of that character’s arc.

When you’re devising a character’s first impression keep in mind that characters don’t have to be likable, just memorable. 

For example, recall Sherlock’s introduction in the series of the same name. He whipped a corpse! NOT a likable character—not initially—but very interesting. Also, recall Jim Moriarty (played by Andrew Scott). Moriarty was one of my favorite characters but I didn’t think he was likable.

That’s it for today! I’ll pick up this series on Friday when we’ll examine the pros and cons of sculpting a character that plays to type.

Question: What is your protagonist’s dominant impression?

Photo credit: "Oskar running in the snow II" by Tambako The Jaguar under Creative Commons Attribution-NoDerivs 2.0.

Story Openings: Throwing Trouble at the Protagonist

As you’ve likely heard again and again, to be commercially competitive in today’s market your story’s opening has to shine.

Although an opening can be good—even great—without each of the five characteristics we began discussing on Friday, it’s not a bad idea to know what they are and to try and include as many as your story will allow (more on that in a later post).

On Friday we looked at one of these characteristics: immediate action. (If you would like to take a look at that article, here’s the link: Story Openings: Five Choices.) Which is to say that something interesting and memorable should happen right off the bat.

Today let’s look at the second characteristic of a great opening: meeting the protagonist as soon as possible and throwing some trouble at them.

2. Seeing the protagonist in a pinch

If you read the first article in this series you’ll know that these five points are from Chris Winkle’s wonderful must-read article: The Keys to a Great Opening Scene.

Chris Winkle writes:

“Think of it this way: you get +2 to audience attachment if you open the story from the viewpoint of your protagonist. Don’t give that up easily.”

I agree! In principle.

As a reader I’m going to be sticking with the protagonist through the lion’s share of the story, after all, the story is an account of how this person overcomes obstacles to achieve their goal. I don’t want to read about a minor character who dies after a few pages only to discover that I don’t much care for the protagonist and that I’m completely unsympathetic with her goal.

That’s NOT time well wasted!

As a writer I want to hook readers early. I want them to care about the protagonist and whether she can overcome the obstacles in her way and achieve her goal. If they become attached to a minor character who dies I’ve lost all the momentum I’ve built up. Also, often Chapter One, in addition to having all new characters, will take place in a different setting. It’s like beginning over from scratch. Not optimal.

We’ve seen that there are substantial drawbacks associated with not opening a story with the protagonist. You might wonder why, given this, it’s such a common way of beginning a story! CW answers this question when he writes:

“What I don’t recommend is the common practice of highlighting the villain in the opening instead of the protagonist, through the eyes of a redshirt. This is done to allow action and set tension, while keeping the main character in a state of blissful ignorance about the big problem at hand. It does that effectively, but it keeps writers from [introducing the protagonist at the earliest possible moment].

Exactly. Opening scenes—I think of them as trailers but they’re often called prologues—are used when we need action at the beginning but we’re not going to introduce the Big Bad until later on in the story. For example, George R.R. Martin uses the prologue of “A Game of Thrones” to introduce the threat that lies beyond the Wall, the white walkers.

Also, occasionally we want to show our readers what the antagonist is capable of without informing the protagonist of the antagonist’s abilities. When we show what atrocities the antagonist is capable of, we acquaint the reader with the stakes of the contest. We’ve shown the reader what will happen to the protagonist if he/she fails. (Of course, when the protagonist meets the antagonist the stakes will have escalated.)

For example, recall the first few scenes of The Matrix where Trinity runs from the Agents. I’d bet that no one, after watching that incredible, impossible, opening sequence, went: “Meh. I don’t know; same old, same old.” 

I read an article about the psychology of flow a couple of days ago, “that state of intense focus and crisp sense of clarity where you forget yourself, lose track of time, and feel like you’re part of something larger.” Yes. That. When I watched the opening of The Matrix I think I forgot to breathe. 

From a story perspective, I thought the trailer worked because it allowed us to meet the antagonist (even though the Matrix itself was the ultimate antagonist, its agents were the embodiment of that force) and still watch Neo’s journey from ignorance to knowledge, something that wouldn’t have been possible if he was forced to confront the antagonistic force himself.

But Chris Winkle has an excellent point. When I realized Neo rather than Trinity was the main character I was a wee bit disappointed, but in that case it didn’t matter. After the first half hour the story had swallowed me whole; there was no way I was leaving the theater until the credits started rolling.

And, yes, The Matrix was a movie but the same principle applies to stories told in novel form. If you present the average reader with a captivating story they’ll stick around. If the author pens a fabulous trailer/prologue they’ve demonstrated what they’re capable of, what the gist of the story will be, and, based on that, readers can decide whether they want to stick around.

When a prologue/trailer can lose readers.

Now, I’ll admit, that strategy doesn’t always work. Sometimes I’ll stop reading. But I’ve found that when I put the book down three things are usually true of the story:

a. There’s been a radical change of setting. 

If I’m introduced to a uniquely interesting setting, if that’s a part of what interested me, then if the setting changes and changes in such a way that I think the change is permanent, my disappointment might be enough for me to set the book aside.

b. There’s a complete change of characters. 

By this I mean that the character one reads about in the introduction seems to be in no way related to the characters that come after. The characters in Chapter One aren’t connected to the person in the trailer by family or profession or ... well, anything!

As we’ll see later when we discuss specific story openings, “Relic” by Douglas Preston and Lincoln Child avoids this by making the connection between the redshirt of the trailer and the main characters obvious from the beginning. They are all anthropologists and we know the redshirt has found and sent back something mysterious and dangerous that will form the core of the novel. As a result, the trailer feels like an integral part of the story.

c. The goal of the main character in the trailer/prologue is not related to the goal of the main character in Chapter One.

I think it’s a good idea to show the connection between the redshirt and the protagonist as soon as possible. That is, within the first few pages of Chapter One. The connection doesn’t have to be spelled out in minute detail, but there has to be some connection, no matter how tenuous. But, well, maybe that’s just me!

I’ll take this topic up again on Wednesday when we look at point number three: being introduced to a mystery. Stay tuned!

Photo credit: "The Court of Disney Captains" by JD Hancock under Creative Commons Attribution 2.0.

Story Openings: Five Choices

Mythcreants is fast becoming one of my favorite blogs. Chris Winkle’s articles have the enviable quality of being both witty and informative.

I started off the day today by feeding Twitter. I comb through various blogs I’ve subscribed to (I use feedly.com and love it; and, no, I don’t have an affiliate relationship with them!), read the articles and then tweet links to those I found myself wishing I’d written.

Well, you know how it is, I started reading one article, followed a link to another and then fell down the social media version of the rabbit hole.[1]

Happily, though, I found “The Keys to a Great Opening Scene” over at Mythcreants. “The Keys” is the kind of post I look for, the kind of thing I love to read then keep in the back of my mind as I review my recent reads.

Then I thought, this is a blog post! I can use CS’s five-keys-to-writing-a-great-opening and go through the last few books I read, books that I enjoyed, to see how they score. (The books I look at will also be best sellers; I add that qualification as a kind of objective measure. That way you’ll know it wasn’t just me and three other people who thought these books were fabulous.)

Before I get started I’d like to make it clear that I agree with CW. Each of his five keys do (IMHO) make for a stronger opening. But, that said, many wonderful books, books that have sold fabulously well, lack one or more of these features. In that light I want to stress that if a book’s opening doesn’t receive a perfect score it’s not meant to reflect negatively on the book. No. I mention it to embolden nervous writers to try out different things, to experiment.

The Criteria

First, let’s take a quick look at the criteria Chris Winkle puts forward in his article The Keys to a Great Opening Scene. (I urge you to read CW’s article and to allow yourself to follow his rabbit warren of links. His site has some of the best articles on writing I’ve come across.)

1. Immediate Action

Chris Winkle writes:

“[...] surprising them [readers] with action and conflict in your opening scene is the single most effective way to keep them reading.”

CW links to another of his articles, one in which he discusses conflict in-depth (see: Five Ways to Add Conflict to Your Story). I’m not going to go into the kind of depth CW has, but I’ll just mention ...

a. Conflict within a character. 

The protagonist has conflicting desires. Part of him wants to find the buried treasure of the ancients even if it kills him while another part wants to stay at home with his family and watch his children grow up. 

Or the protagonist wants to become partner in the leading law firm in New York but she also wants to be there for her spouse who was recently diagnosed with a potentially deadly disease. Unfortunately, she can’t do both.

b. Conflict between one character and another. 

There’s goal centered conflict where the protagonist and antagonist each want the same thing but only one of them can have it. If Indiana Jones brings the Ark back to America then Dr. René Belloq can’t bring it to Hitler, and vice versa. 

But there’s also conflict between ideals. Again drawing from Indiana Jones and Raiders of the Lost Ark, Indiana Jones cared about the artifacts themselves while Belloq was only interested in what the artifact could do for him. (The same could be said regarding their views of people, especially Marion.)

c. Conflict between the protagonist’s allies. 

Strictly speaking this is a subdivision of (b), but it feels different enough to warrant it’s own point. As before, this conflict could be internal or external. 

Internal: For example, a personality conflict. One person is loud and likes telling off-color jokes while another despises off-color jokes and just wants quiet so they could, I don’t know, read, sleep, write or merely hear oneself think. (Not, of course, that I’ve ever been in that situation personally. Of course not.)

External: Not all of the merry band of adventurers have the same goal. for example, in The Matrix, Cypher regrets taking the red pill and—far from wanting to destroy the matrix—wants to reenter it.

Again, I urge you to read CW’s article, “The Keys to a Great Opening Scene.”

Looks like I’m going to have to pick this up on Monday! Next time I’ll explore the pros and cons of beginning a story with a trailer or prologue.

Update: Here is an index to the posts in this series:

- Story Openings: Five Choices (the current post)
- Story Openings: Throwing Trouble at the Protagonist
- Story Openings: Tags and Traits: Bringing Characters to Life

- Story Openings: Tags, Traits and Tropes
- Story Openings: The Power of Paradox (upcoming)

Notes:

1. I want to share something with you that made me chuckle. Science Fiction and Fantasy author Tim Powers recently said:

“[...] you go to Wikipedia for some virtuous reason, because you need to find out about something. Except there’s those words in blue and you click on those and oh gee what is that, and pretty soon you’re eight levels in and you can’t find your way back to the page you started out wanting to look at. And then there’s a little sidebar that says ‘two-headed dog,’ and you think, well, jeez, what the hell’s that.

“And then if anything leads you to YouTube, you’ve had it.”

That’s from Mitch Wagner’s interview with Tim Powers: Interview With a Secret Historian. It’s a great read. Thanks to +Andy Goldman for recommending it.

Photo credit: "spence" by greg westfall under Creative Commons Attribution 2.0.

Plot Wheels And The Tarot: Part 2 of 2

On Monday I wrote about using the tarot as a kind of plot wheel, something to help spark ideas, to help create a structure for a story. (see:  Plot Wheels And The Tarot) This structure would simply be a starting point, an intuition pump not a straight-jacket. 

Also, as I said Monday, don’t worry too much about the meanings traditionally associated with the cards. Look at the artwork and let your imagination go. (For this exercise it helps to have a richly illustrated deck such as the Rider-Wait deck illustrated by Pamela Coleman Smith.)

As we saw yesterday, our protagonist—let’s call her Regan—wants material success (IV of Disks); that’s her initial goal. Which is going to be difficult. She has good intentions but, like Hamlet, has the tendency to overthink things (VIII of Swords). If she doesn’t get over this and act when the time is right then her dreams will die (X of Swords).

Let’s forge ahead now and look at the stakes, at what Regan will get if she wins and what she’ll lose if she doesn’t.

5. The Stakes: What the protagonist could win: VI of Cups

The VI of Cups signifies pleasure. The way I read this card, this pleasure isn’t quite the kind of pleasure that comes from acquisition of material things, this is the kind of pleasure found (hopefully) at the end of life; the Greeks called it eudaemonia. It involves looking back on one’s past and feeling a quiet kind of contentment, perhaps even of pride. To my mind, this is close to the ultimate happiness.

But the VI of Cups comes with a warning. The way I read this card, there is the possibility of illusion creeping in, one seeing one’s past the way one would like it to have been rather than how it actually was.

How this card applies to the spread: Regan could win more than she knows. She could gain far more than the fleeting happiness that comes from acquiring baubles, if only she can stay focused.  

6. The Stakes: What the protagonist could lose: IV of Wands

We’ve seen what Regan could win, now let’s look at what she could lose. The IV of Wands speaks of completion. This card in the Rider-Waite deck reminds me of a wedding, of nuptials. 

As in the Princess Bride, what is at stake is nothing less than true love. If Regan can stop overthinking things and muster the strength of will to meet the obstacles before her head on then, like Princess Buttercup, she has a chance at true happiness. But if she falters she could lose everything: her shot at true love, her job and even her life.

7. A tool or gift that could help the protagonist defeat the opposition and attain her goal: III of Cups.

The three of cups is about abundance. In this context, it seems to me that the card signifies generosity. There are times to be frugal and then there are times to let out all the stops. In order to overcome the obstacles before her, Regan must give 110 percent. If she holds anything back, if she falters, then ruin (X of Swords) awaits her.

8. A person, situation or personality trait that the protagonist must overcome (/integrate) if they are to achieve their goal: The Tower.

Even though, as I said Monday, I don’t believe tarot cards are magical, whenever The Tower comes up in a spread I catch my breath. To me, The Tower signifies a stripping away of the (generally false) securities we have surrounded ourselves with. The Tower speaks to a ripping away of masks, an unraveling of our personal armor.

The tower destroys our safe place, it overwhelms us and strips us of our (often dysfunctional) ways of coping. There is no safe place.

Not a comfortable, safe, cuddly card!

In in the context of our spread—of the protagonist’s arc—what could The Tower mean? I think it refers to the antagonist. This is just the function of the antagonist in the story. At some point the hero/protagonist comes to her lowest point. Everything has been stripped away from her, all her clever ways of coping. 

This process is painful but, in the end, it can prove to be a good thing. Some of those ways of coping might have been destructive (overeating, drug use, filling one’s life with work so one doesn’t have to think, and so on). 

In order for the protagonist to meet the antagonist head on and leave victorious Regan must ditch her old, harmful, ways of coping. She must die to her old self, her old ways, and come back transformed.

9. Final Situation: II of Cups.

The II of Cups is one of my favorite cards. For me, it signifies not only true love, but a blended, harmonious, enlightened, life. This is the card of the Renaissance man/woman. 

Since we decided this was to be a love story, this card tells us we’ll have a happy-ever-after ending.

10. Protagonist’s end state: The Empress

But Regan is about much more than her relationships. In the end, living happily-ever-after is a consequence of the changes in herself. The lovers come together in the end because of the growth and changes in Regan.

I see The Empress, in the context of our story, as signifying creation. We saw that Regan’s main internal flaw was her hesitancy, her anxiety, her inability to choose one course of action and stick with it (VIII of Swords). By the end of the story her defenses were stripped away (The Tower) forcing her to be decisive or face ruin (X of Swords). she has overcome this and, now, is equipped to bring about (/create) her version of the world. She is able to focus on her dreams, her plans, and make them reality.

That’s it! This was a general analysis, a template that can be realized in many different ways. If something in it inspired you, please take it and use it!

I’m curious, have you ever used tarot cards when trying to create a character? Have you ever pulled a few cards in an effort to kickstart your creativity and spin a story? 

Photo credit: The Healing Process by Sean McGrath under Creative Commons Attribution 2.0.

Plot Wheels And The Tarot

Ever since I first saw the tarot—it was my friend’s mother’s Rider-Waite deck—I’ve been interested in the history of the tarot. Recently I’ve been thinking about how I could use tarot cards as a kind of plot wheel. (see: NaNoWriMo, Erle Stanley Gardner, Perry Mason and Plot Wheels)

But, first, a disclaimer. For me tarot cards, though beautiful and thought provoking, and though they have a rich history, are simply cards: rectangles of paper printed with colorful inks and published by U.S. Games Systems Inc. They are no more intrinsically magical than a box of Cheerios.

But there’s no reason why we can’t use the Tarot as a creative aid. So, in that spirit, I put together a card spread intended to help writers prime their idea pumps. 

The Writer’s Tarot: A Character Arc

Choosing a protagonist

I was thinking—keeping with the theme of the tarot—of talking about the Decans and using Heinrich Cornelius Agrippa’s descriptions to help generate a character, but I’ve decided to go with a more modern approach. WritingExercises.co.uk has a number of terrific random generators, you might want to try out the one for characters. Also, check out the character generator, as well as the skills and abilities generator, over at Seventh Sanctum. (Warning! These sites are time sinks.)

Remember, we don’t have to make all our decisions about the character right away. Her outlines will likely become clearer once we start thinking about the shape of the story.

The character I’ve picked for this example is as follows:

“A fun-loving 27 year-old woman, who comes from a wealthy background, lives in a country cottage and tends to worry a lot.”

The Spread

(Click on the picture to enlarge)

That’s not terribly informative so I’ll do an example spread and step through it card by card.

The Cards

1. The starting state in the Ordinary World: VI of Swords

2. Initial Goal: IV of Pentacles

3. The internal obstacle to the initial goal: VIII of Swords

4. The external obstacle to the initial goal: X of Swords

5. Stakes: Win: VI of Cups

6. Stakes: Lose: IV Wands

7. A tool or gift that could help the protagonist defeat the opposition and attain her goal: III of Cups

8. A person, situation or personality trait that the protagonist must overcome (deal with/integrate) if they are to achieve their goal: The Tower.

9. Final Situation: II Cups

10. Protagonist’s end state: The Empress

Choose the genre

I think part of the key to success here is to let your own creativity take the lead and not to be too concerned with the meanings that have been associated with the cards. Remember, we’re just using the cards as a guide, as an intuition pump. If you would like to completely ignore the traditional meanings and come up with your own based on the card itself and what those images suggest to you, please do!

There are two kinds of cards in tarot decks: majors (or trumps) and minors. In most modern decks there are 21 trump cards which reflect universal themes and minor cards which reflect personal themes. The minor cards are divided into four suits: wands, cups, swords and disks (or pentacles). 

Although you can make up whatever meanings you like for the suits, here are a few commonly accepted associations:

Wands --> Work, Business

Cups --> Love, marriage, pleasure

Swords --> Trouble, loss, scandal, quarreling

Pentacles/Disks --> Money, goods & purely personal matters

Interpreting the spread

First, let’s look at the general distribution of cards:

Wands: 1

Cups: 3

Swords: 3

Disks: 1

Trumps: The Tower, The Empress

When I look at this spread I see cups. Yes, there are the same number of cups as swords, but the II of Cups in the 9th position combined with The Empress as the protagonist’s end state suggests (to me at least) a love story.

Stepping through the spread

1. The Ordinary World: VI of Swords 

The first card indicates the starting state of the character. What is the single biggest influence on them?

Here we have the six of swords. This is the Science card or, alternatively, the Lord of Learned Success. It indicates that our protagonist’s intelligence as well as her sense of right and wrong is balanced. She can see the solution to a problem and also has the guts to do the right thing. But her intelligence and courage are about to be put to the test.

What this means: The protagonist’s life, her world, is in balance. She’s at a good place, all systems normal, and she’s grown comfortable coasting along. 

(Keep in mind that it doesn’t matter to me if my imagination carries me away from the traditional meaning of the card. This is all about generating ideas. The cards are only starting points.)

2. The protagonist’s initial goal: IV of Pentacles

The four of pentacles has to do with material gain, with wealth maintained by law and order.

In our spread this card has to do with the protagonist’s initial goal. This card tells us what she’s shooting for. She wants riches, wealth, the American Dream. This card also reminds us that her success, if achieved, may be fleeting.

3. The main internal obstacle to the protagonist’s success: VIII of Swords.

In most stories there is both an internal and external obstacle to the protagonist achieving her goal. The card we’ve drawn for the internal obstacle is the eight of swords.

The protagonist is anxious. I’m going to say that the protagonist has trouble with anxiety. She either feels paralyzed and can’t make up her mind or else keeps changing her mind, trying out one new thing then another. If she continues like this, she won’t be able to attain her goal.

Since we saw at the beginning that the protagonist’s life was in balance, we can infer that something has occurred since then to shatter this balance. This something is the Inciting Incident. (Information about the Inciting Incident isn’t included in the current spread.)

4. The main external obstacle to the protagonist’s success: X of Swords.

This is the external obstacle to the protagonist’s goal of living the good life; that is, of filling her life with material riches.

Many people see the death card, the 13th trump, as indicating the end of life when, actually, it only indicates a profound change. Unfortunately, if one wants to welcome something new into one’s life—a new job, a new outlook on life—one often needs to first get rid of the old job, the old way of thinking. One thing needs to die for another to be born.

The ten of swords, though, indicates ruin. And, yes, sometimes death. This is not a feel-good card. 

So—thinking about how this card could fit into our love story—I’m going to take it that the external obstacle to our protagonist’s dream of material success is something that could either kill her or kill her dream by permanently cutting her off from her goal.

Summary of the story so far

This post is a bit long, so I’ll complete my analysis in the next one. Here’s what we have so far:

This is a love story so the antagonist/nemesis is the man (or woman) the protagonist will fall in love with. But this can’t happen right away; if the protagonist and antagonist aren’t kept apart there will be no story. (Girl and boy see each other, fall madly in love, and ride off into the sunset together isn’t going to keep anyone turning pages!) So, although the protagonist feels irresistibly drawn to the antagonist, she needs to realize he is all kinds of wrong for her. She thinks: Whoever I end up with, it’s not going to be him.

The protagonist wants material success so let’s have it that the man she’s drawn to isn’t wealthy. Perhaps he’s a scientist. Although he makes a decent wage he’s too focused on, say, developing a cheap, biodegradable fuel that will save the environment to worry about money. 

That’s it for today! I’ll pick this up in my next post.

Update: The next and final part of this two part series is here: Plot Wheels And The Tarot: Part 2 of 2.

In this post I’ve played fast and lose with the traditional meanings assigned to tarot cards but if you’d like to learn more about the traditional meanings, the origins of the tarot, and so on, I would recommend  Robert Wang’s book “The Qabalistic Tarot.”

Photo credit: "I_Ching" by Cristian C under Creative Commons Attribution-ShareAlike 2.0.

Five Tips: A Miscellany of Writing Advice

Today I’m going to do something a bit different. I’ve finished reading Robert McKee’s “Story” but there are some odds and ends, advice that was occasionally revelatory, that I never shared. So that’s what I’m doing today. 

Many of the points that follow have to do with writing a mystery. That’s not an accident! Yes, you guessed it, I’m taking another run at writing a grizzly murder mystery. My strategy this time is to keep it short; by which I mean under 10,000 words.

I’ve reached the stage where I’ve got the story (what actually happens) more or less clear in my mind but the plot (the order in which the events in of story are presented to the reader) is still shrouded in impenetrable gloom.

Robert McKee On Writing

1. The five essential elements of a thriller.

According to McKee the five essential elements of a thriller are:

a. A cheap surprise. For McKee, a cheap surprise is a sudden shock out of nowhere whereas a true surprise involves a revelation. 

b. A false ending. You think the story’s over and then ... one final twist!

c. The protagonist is shown to be a victim.

d. A speech made in praise of the villain.

e. A scene in which the hero is at the mercy of the villain.

In my experience, while (a), (b), (d) and (e) do often occur in thrillers, (c) does not. But perhaps I haven’t seen enough thrillers!

2. What makes one story a murder mystery and another a thriller?

McKee’s answer: Point of view! In “Story” he writes:

“CRIME. Subgenres vary chiefly by the answer to this question: From whose point of view do we regard the crime?” His answer:

Murder Mystery --> Master detective’s POV

Caper --> Master criminal’s POV

Detective --> Cop’s POV

Gangster --> Crook’s POV

Thriller/Revenge Tale --> Victim’s POV

Courtroom --> Lawyer’s POV

Newspaper --> Reporter’s POV

Espionage --> Spy’s POV

Prison Drama --> Inmate’s POV

Film Noir --> “POV of a protagonist who may be part criminal, part detective, part victim of a femme fatale.”

I don’t agree with McKee. I don’t think POV is the essential characteristic that separates, say, a prison drama from a detective story. Why? Because I think that a drama could still be a prison drama if told from, say, a guards POV and that, similarly, were a person other than a master detective to tell a story of crime and detection, it could still be a murder mystery (after all, the Sherlock Holmes stories were told from Watson’s point of view.)

But, that said, I thought this list was interesting and potentially useful. 

3. About TV: “The key to the long form is dimensionality of character.”

That’s going to take a bit of unwrapping. 

By “long form” McKee is referring to what he calls 100-hour stories (e.g., Breaking Bad). 

As for “dimensionality of character” ...

“A dimension is a consistent contradiction in the nature of the character.”

For example, Walter White is incredibly gentle with some people and brutal with others. One might think that someone who treats a baby with such tenderness wouldn’t be capable of the level of brutality we saw Walter White achieve. 

So, in other words, the more contradictions you can believably weave into your character, the better. For instance, passive + aggressive, cruel + kind, arrogant + meek, brilliant + ignorant, and so on.

As I mentioned in an earlier post, often the key to showing a characters many dimensions is to pair him with other characters that will tease out these various qualities. (For more about this see: Mind Worms And The Essence of Drama as well as The Key To Making A Character Multidimensional: Pairs of Opposites.)

McKee’s comments here came from “The God of Story” by Alec Sokolow and Tony Camin.

4. The single most important question to ask yourself about your story: “Why am I attracted to this material?”

This is what McKee calls one of the big questions. 

I don’t agree with everything McKee says, though even what I don’t agree with often contains enough interest to warrant studying it. This, though, I agree with completely.

Why do you need to write this story? What need does it fill, what itch does it scratch? Are you fed up with multinational corporations raping the earth? Or perhaps you’re exasperated with (as my father called them) those darn environmentalists (he also shook his cane when a ‘young-un’ came too close to the lawn—really) trying to hogtie good, honest capitalists. Whatever your passion, whatever your outrage, whatever gets your juices flowing, transform it and connect it up to the story.   

5. The difference between English murder mysteries and American murder mysteries.

McKee said:

“In the English tradition a murder is committed and the investigation drives inward: you know, you’ve got six possible murderers. In the American Tradition, a murder is committed, we start to investigate, and it turns out to encompass all of society.”

For example, someone finds “an innocuous note saying that a professor has disappeared while hiking in the Andes, and some little bureaucrat is charged with finding out what happened, and he finds a conspiracy that runs to the White House.” (The Real McKee, New Yorker)

BTW, as an example of a mystery in the American tradition McKee mentions “The Parallax View.”

That’s not the first time someone has talked about the key difference between English and American murder mysteries—and it certainly won’t be the last!—but McKee’s formulation is both concise and clear. 

I think this is a good thing to keep in mind; at least, it’s something I try to keep in mind. English murder mysteries tend to   be narrow and deep. That is, they tend to tunnel inward into the lives of the victim and the suspects. American murder mysteries, on the other hand, tend to be wide and thin. That is, they tend to spread outward through society.

6. The protagonist’s arc

a. Balance. At the start of the story the protagonist’s life is more or less in balance.

b. The Inciting Incident. The protagonist’s life falls out of balance.

c. The Call to Adventure. This imbalance instills within the protagonist a conscious or unconscious desire to bring his life—to bring the world—back into balance.

But McKee isn’t just talking about character arcs. He says:

“The students realize that it’s their life I’m talking about: it’s out of balance, they’re struggling to put it into balance. How are they going to do it? They have conceived of that object, that something that if they could get it, would restore the balance of their life. Now, for the character, it could be that he needs to right the injustice that was done to his family; it could be to find something worth living for him to get up in the morning. Right? But for the student it’s a successful piece of writing and until they achieve a successful piece of writing their lives will be perpetually out of balance.”

I doubt that by “successful” McKee is only referring to monetary success. I think that, for some writers, a successful story would be one they were proud of having written. Or, to put it another way, a successful story, for some, could be a satisfying story. One that scratches a certain, internal, itch. One that brings—no matter how briefly—balance.

Balance

What McKee says here intrigues me. Everyone’s life, he says, is out of balance. His, mine, yours. Perhaps there wasn’t one single event, or one single cause, responsible for this imbalance but, regardless, we want to (consciously or unconsciously) achieve balance. 

If you’re a writer, or you want to be a writer, then that’s one way that (again, perhaps unconsciously) you’re striving to achieve balance. Balance in your life, balance in your world. 

Once we understand this, we also gain a greater understanding of our characters and of the quests we send them on.

Okay, maybe I read between the lines a wee bit! If you’d like to read the interview and judge for yourself, the above was from “The Real McKee: Lessons of a screenwriting guru” by Ian Parker over at the New Yorker.

That’s it! 

I’m curious. What is the most valuable advice you were ever given about writing? Please share!

Photo credit: Untitled by Thomas Leuthard under Creative Commons Attribution 2.0.

Four Tips For Writing Flash Fiction, And Why You Should!

Once upon a time, I couldn’t write a 2,000 word piece of fiction if my life depended on it. 100,000 words, sure. 50,000 words, fine. 10,000 words, okay. 2,000? Ha! Nope. 

Now I can. 

What changed? One thing: I’d started to write flash fiction. 

I hadn’t thought much about this until a few days ago when a reader left a comment on Short Story Structures: Several Ways Of Structuring Short Fiction. Sean mentioned he’d had a similar problem and overcome it through writing flash fiction, stories told in fewer than 1,000 words.

So, today, I’d like to write about flash fiction—what it is and how to get started writing it. (For more on flash fiction and what it is, see: Five Reasons To Write Flash Fiction.)

1. Only write part of the larger story.

Full-length stories have a certain shape. There’s a beginning, a middle and an end. In the beginning, the protagonist takes up a quest. In the middle, the protagonist enters the special (and strange) world of the adventure. At the end, the protagonist takes the fight to the enemy, finally overcoming the obstacles to attaining her goal. Or not.

One cannot do all this in 1,000 words or less. The trick is to pick just one part of the larger story to explore. 

For example, one could begin in the middle, before the protagonist’s confrontation with the antagonist and write about their epic battle. Or one could begin at the end, at the climax, and write about how the protagonist defeats the antagonist (or was trounced by them, it’s up to you and the kind of story you’re writing). OR you could take just one event from the beginning—perhaps the Call to Adventure—and focus on that. 

When the protagonist receives her Call to Adventure she often demurs and has to be cajoled. Something has to happen to change her mind. Perhaps a mentor will talk with her, perhaps the protagonist will be given something (in fairy tales this is often a magical item) that can help them on the journey, or perhaps the antagonist will hurt someone the protagonist cares about (think Star Wars) in a misguided effort to intimidate the protagonist. 

Those are just examples. You can pick any part of the protagonist’s journey and spin it into a (very) short story.

2. Use only one or two principle characters.

 In my flash fiction I usually only use two principle characters, a protagonist and antagonist. Other characters may be mentioned or play small parts, but I’ve found there really isn’t enough space to develop more than two characters. (But that could just be me. Experiment!)

3. End in the middle.

David Gaffney has put together a terrific article on the subject of writing flash fiction over at theguardian.com. It’s entitled “Stories in your pocket: how to write flash fiction.” Gaffney urges writers not to put the end of the story at ... well, the end of the story! He writes:

“[...] place the denouement in the middle of the story, allowing us time, as the rest of the text spins out, to consider the situation along with the narrator, and ruminate on the decisions his characters have taken.”

That sounds fun, I’m going to try that the next time I write a piece of very short fiction.

4. End with a twist.

David Gaffney doesn’t say this—in fact, it would seem to go against what he says—but I like flash fiction that ends with a twist. It’s difficult to do well, though.

I’ve shared this story before, but I love it and it’s a terrific example of a super-short tale with a killer twist. The story is called "Bad Dreams":

‘Daddy, I had a bad dream.’

You blink your eyes and pull up on your elbows. Your clock glows red in the darkness—it’s 3:23. ‘Do you want to climb into bed and tell me about it?’

‘No, Daddy.’

The oddness of the situation wakes you up more fully. You can barely make out your daughter’s pale form in the darkness of your room. ‘Why not, sweetie?’

‘Because in my dream, when I told you about the dream, the thing wearing Mommy’s skin sat up.’

For a moment, you feel paralyzed; you can’t take your eyes off of your daughter. The covers behind you begin to shift.

I love that ending!

So, what are you waiting for? The next time you’re stuck in a lineup or in a bus or taxi, whip out your writer’s pad and get started on a lightening fast bit of fiction. What would happen if ...

That’s it!

If you’d like to practice writing flash fiction, I publish a writing prompt every weekday. A number of people who are far more creative than I am poke their head in and occasionally contribute. It’s an open group, so if the mood takes you feel free to come on by.

Another great place to practice the art and craft of writing short is Chuck Wendig’s blog. Every Friday he publishes a writing prompt. You post your work on your own web-estate and drop a link to your work in a comment. (Note: Due to his enthusiastic and creative use of decidedly adult language, Wendig’s website is NSFW.) Here’s an example: Flash Fiction Challenge: Superheroes Plus.

Photo credit: "One of these Things is not like the others." by JD Hancock under Creative Commons Attribution 2.0.

Robert McKee: A Writer’s Method

Yesterday I finally finished Story by Robert McKee. It’s an excellent writing resource, one I would recommend to anyone interested in kicking their writing up a notch.

Although McKee’s book is primarily for screenwriters much of what he says is applicable to novelists as well. Why? Because what writers and screenwriters are both concerned about above anything else is creating a terrific story.

In this post, I’d like to focus on something McKee says at the end of his book about a writer’s methodology. 

McKee writes that, generally speaking, there are two ways to write a story: from the outside in and from the inside out. Let’s look at each of these in turn.

Writing from the outside in.

Here’s the skeleton of this idea:

1. Person comes up with a fantastic idea.

2. Person commits the idea to paper by writing a first draft. This process can take a few weeks, months or years.

3. In subsequent drafts, person tries to fit the ideas teased out in the rough draft into some kind of structure.

I think this is what most writers do. They sit down, sketch out a few ideas, have two or three ideas that fit together in interesting ways, they have a vague-ish feeling for what is going to happen in the middle and at the end, and then they put their butt in their chair and they write.

Writing from the inside out.

Here’s the skeleton:

1. Person comes up with a fantastic idea.

2. Person fiddles with the idea (or ideas) and creates a (~10 page) step-outline; this gives them the overall structure of the story. This process can take a few weeks or a few months. (No dialogue is written during this stage.)

3. The step-outline is turned into a 60 to 90 page treatment.

4. Person writes a first draft.

The Step-Outline: Two Parts

Part One: The Outline

A step-outline is a lot like a traditional writer's outline with one major difference—and I'll get to that in a moment. In a step-outline you describe each scene in the story.

• What is the setting? Indoors? Outdoors? 
• Which characters are in it? 
• What goals do the characters have, and are their goals thwarted? If so, how? 
• What are the stakes? 
• What kind of emotional change occurs? And so on. 

An outline usually runs around 10 pages, give or take. So let’s do the math. Let’s say you want to write an 80,000 word novel and that this novel will have about 60 scenes in it. That means there'll be about 1333 words per scene. If we want to fit 60 scenes into 10 pages than means (assuming a page holds about 300 words) that we need to fit 6 scenes per page. At 300 words per page that means each scene's description must take NO MORE than 50 words. (To give you an idea, this paragraph has about 100 words in it.) That's not a lot of words!

Part Two: The Major Difference

The second part of a step-outline—and this is the bit I said I’d get to—is that, for each scene ...

“[...] the writer indicates what step in the design of the story he sees this scene fulfilling—at least for the moment. Which scenes set up the Inciting Incident? Which is the Inciting Incident? First Act Climax? Perhaps a Mid-Act Climax? Second Act? Third? Fourth? Or more? He does this for Central Plot and subplots alike.”

(For more on three-act and four-act structures, see Parts of Story: A General Story Structure and A Four Act Structure.)

You might be wondering, WHY on earth go into this much detail? Here’s McKee’s answer: to destroy your work.

When I first read that I was taken aback. What? Destroy my work? Why would any sane writer (which, granted, might be a contradiction in terms ;) want to destroy his work? McKee Explains:

“Taste and experience tell him that 90 percent of everything he writes, regardless of his genius, is mediocre at best. In his patient search for quality, he must create far more material than he can use, then destroy it. He may sketch a scene a dozen different ways before finally throwing the idea of the scene out of the outline. He may destroy sequences, whole acts.”

I can imagine Lee Child shuddering. 

When I read this I wondered, Is that true? Are 90 percent of my ideas thrown out? But ... yes. I have to say that more-or-less matches what I do now. By the time I reach the final draft of a story most of the original ideas have been discarded or transformed in some way. And I think that usually works out for the best, one’s first impulse, though often good, is often not the very best that could be achieved. In any case, it’s something to think about.

Pitching

After you’ve got the step-outline done you need to work up a pitch so you can get feedback from others. (For more on writing a pitch see: The Structure of Short Stories: The Elevator Pitch Version.) And most people want to do this before they write a first draft because they may find they need to go back to the drawing board.

McKee writes:

“[The writer] wants to tell or pitch his story so he can see it unfold in time, watch it play on the thoughts and feelings of another human being. He wants to look in that person’s eyes and see the story happen there. So he pitches and studies the reactions: Is my friend hooked by my Inciting Incident? Listening and leaning in? Or are his eyes wandering? Am I holding him as I build and turn the progressions? And when I hit the Climax, do I get a strong reaction of the kind I want?”

You want your story to grab the person’s attention, to cause him to experience the emotions you were trying to elicit. McKee continues:

“Regardless of genre, if a story can’t work in ten minutes, how will it work in 110 minutes? It won’t get better when it gets bigger. Everything that’s wrong with it in a ten-minute pitch is ten times worse onscreen.”

Again, obviously, McKee is directing those remarks to screenwriters, but it holds for novelists as well. If we can’t hold someone’s attention through a 5 or 10 minute pitch, good luck holding their attention for the 10 or so hours it will take them to read the book!

The Treatment

After the step-outline is completed screenwriters create what’s called a treatment. While opinions differ as to how long a treatment should be, McKee holds a treatment should be about 60 to 90 double-spaced pages while others claim that 5 to 10 will usually get the job done. My guess is that what McKee calls an outline others refer to as a treatment. Whatever. As long as we know what we’re talking about the name isn’t important.

What goes into a treatment?

The idea is to expand “each scene from its one or two sentences to a paragraph or more of double-spaced, present-tense, moment by moment description.”

So, again, let’s say we’re writing an 80,000 word book and that our treatment will come out to 80 double-sided pages. That’s 24,000 words. Dividing that into 60 scenes we get 400 words. 

One thing to note is that dialogue isn’t included in a treatment. McKee writes:

“In treatment the writer indicates what characters talk about—‘he wants her to do this, but she refuses,’ for example—but never writes dialogue. Instead, he creates the subtext—the true thoughts and feelings underneath what is said and done. We may think we know what our characters are thinking and feeling, but we don’t know until we write it down.”

McKee holds that “dialogue written after in-depth preparation creates character-specific voices.” Which is a pretty big payoff.

Analysis

I think McKee is onto something. Myself, I use what McKee might view as an unholy amalgam of the two methods.

For example, as you may recall from previous posts, despite being a died in the wool fan of murder mysteries I’ve never written one. So, just a few weeks ago I cooked up an idea to write a short murder mystery (around 10,000 words) in seven (or so) parts but I wanted my sleuth to have a superpower. As a bonus, I had the first two scenes clear in my head.

So far, so good. I sat down and wrote the scenes I had in mind and then realized the story was turning into a thriller rather than a whodunit. So I drew up a detailed outline using most of the character’s I’d created in my first attempt. I broke the story into scenes and sketched out how each scene would end. Then I determined which characters would appear in which scenes and (first) what the clues would be and (second) where and how to fit them in.

Now I just have to put my butt in my chair and write. (grin)

Do you have a writing method you stick to or do you write by the seat of your pants?

Photo credit: "Look, a bird" by 55Laney69 under Creative Commons Attribution 2.0.

Six Ways To Begin A Story: Archetypal Openings

A well-written opening reflects the kind of story you’ve written. If it’s a horror then the opening should communicate this; similarly for romances, mysteries, westerns and so on. While many stories employ archetypes—in fact, I think that the very best stories always do—the level of involvement varies.

Before I discuss that, though, lets talk about the difference between archetypes and stereotypes.

Archetypes vs Stereotypes

I think of a stereotype as a solid unchanging but shallow impression, with the added sense that it doesn’t truly reflect the person portrayed. That is, it doesn’t accurately represent the humanity, the deeper truth, of the situation.

An archetype, on the other hand, is something we’re connected to on the basis of shared experience. For example, I think we’ve all had the experience of hearing something that shouldn’t go bump-in-the-dark go bump-in-the-dark. 

We have all been alone in the cold dark and felt things glide silently through the darkness, coming for us. When we write a story about such things, such shared experiences, even though we might not have the writing skill of, say, Gillian Flynn, our readers are there with us. They are inside our character’s skin and it is the reader’s awareness of being in similar situations, that archetypal awareness, that connects them to that character.

Now, I can hear you asking ...

Given that definition aren’t all openings archetypal?

 I believe that all effective openings are archetypal to some degree, but that some are more so than others. For example:

“This is the saddest story I have ever heard.” (The Good Soldier by Ford Madox Ford)

Anyone who has ever been very sad (and who hasn’t?) can connect with this. In that sense, this is an archetypal opening. It would have also worked if instead of “saddest” the author had used “most horrific” or “bloodiest” or “most profane,” and so on. Choose your superlative ... though “most boring,” although archetypal, wouldn’t have the same punch.

Mythology, Urban Mythology and Archetypes

Carl Jung was one of the first to notice the archetypal nature of myth, folktales and what, today, we call urban legends. Take, for instance, one of my favorite folktales: Baba-Yaga and Vasilisa the Fair. Here’s how one version of that tale begins:

“A long time ago there lived a merchant and his wife; they had one child, a girl called Vasilisa. One day the mother placed a little doll in the child's hands, she said, ‘My child, I am dying. Take this doll as my blessing. Always keep it with you and never show it to anybody. If anything bad happens to you, give the doll food and ask her for guidance.’ Shortly afterwards the mother died.”

This opening got my attention. Yes, a question has been raised here (If the child feeds the doll will it give her guidance?) but I feel that the archetypal nature of the story is announced by the mother’s death. 

The death of those who raised us, who nurtured us when we were children, is (unfortunately) something that connects us all. It is something that, even though Vasilisa’s character is never really fleshed out, connects us to her and makes us care what happens to her.

Death As An Archetype

What I’m about to say doesn’t have anything to do with openings but since we’re discussing archetypes I think it’s relevant. Often at the middle or two-thirds point of a story a major character dies, or comes very near death (occasionally a character seems to die but is resuscitated).

One of the archetypes that runs through the fabric of human existence is our shared realization of life’s inevitable end. When a character dies we cannot help but be gripped by it. When a character almost dies and somehow finds a way back, we cannot help but be moved by the experience. 

Summary 

By weaving these archetypal experiences and events into our stories we increase the reader’s involvement in that story. (And, yes, of course, this involvement would be helped along by creating rounded characters.) (See: Crafting Interesting Characters; Creating Vivid Characters for NaNoWriMo; Preparing to write a story: characters.)

And that’s it for archetypal openings! Granted, much more can be said about this, but not much more can be said in under 1,000 words! If you’d like to read more about archetypes in the human experience (and you haven’t already) pick up a copy of Carl Jung’s “Man And His Symbols.” Although you may not agree with everything Jung says it is an interesting read.

This is the last, the final, post in my Six Ways To Begin A Story series (click on the link to go to the first one which contains a handy-dandy index), I hope you enjoyed it.

If you have any questions, or any suggestions for future posts, please leave a comment or contact me.

Photo credit: "Love is in the Air..." by Thomas Leuthard under Creative Commons Attribution 2.0.