Tag Archives: story

Addicted to Writing

What’s an author to do when her latest revision is out with beta readers? I’ve cleaned out a filing cabinet, swept a patio, written thank-you notes, read a novel, done a Sudoku puzzle (more than one, actually), but lordy, after a week, I need to be back at my desk. Am I crazy? Why can’t I stop writing? Why does one morning producing the most mundane of sentences give me a greater sense of satisfaction than anything I’ve done all week?

They really are mundane, these sentences. First a blank page, then dribble. Starting from scratch. Again.

Used to be that I found math especially rewarding. The orderliness of it… the patterns… the equations and solutions and diagrams and 2-D illustrations of 3-D objects and later calculus and its functions and measurements of x as y approaches infinity… but I started to wonder, why am I doing this?  Continue reading

Get a flow going

Last month I posted about endings, then tried my own suggestion: I wrote a possible final chapter. Once I had it, of course I had to write the scene that would come immediately before it. Then I wrote the scene before that one, and on back, scene by scene, until my ending scenes connected with the chapters I’d written from the beginning.

I had a complete first draft. Finally!

And it was fun to write the story backwards. It was freeing. It was crazy, loose writing—a lot of dialogue—and I admit that the manuscript is now a mess. But a first draft is done. The story now has a shape (an emotional arc) and the characters have come alive, and I can begin to dig deeper into scenes and add sensory details and check for continuity, etc.

The best part is that along the way, I had fun! I got a flow going. I gave myself permission to let go. To relax.  Continue reading

Know your Ending

Once when I was young and read a novel with a fabulous twist at the end (I’ve forgotten the book, but I recall its effect), it hit me that the writer had to have known the ending all along. He’d planted clues throughout, but as a reader, I hadn’t put two and two together until the end, and when I did, wow. The story blew me away. Remembering the title would be a bonus here, but my point is that on that day, although I was only in elementary school, my wow moment had to do with craft.

Shortly after recovering from that wonderful wow, I recall that I felt sorry for the author. Poor thing. When you know your ending up front, doesn’t it spoil the story? Doesn’t it ruin the enjoyment of reading it? Of writing it? And when I realized that all authors would have to know their endings while writing their beginnings, I felt sad for them. Why would anyone want to become a writer? Continue reading

Editing for Emotional Impact

This week’s Writing Show, “Editing for Emotional Impact,” presented by James River Writers, was like a cornucopia of craft tips, everything overflowing, spilling out, and the crowd eagerly eating it all up. I had a great time. Here are my favorite take-aways from the evening:

Sadeqa Johnson urged us to listen to our characters. Really listen. Be open to what they have to say. While writing a scene, she’ll pause to ask a character, “What’s up?” Time and again she finds herself surprised by her characters’ answers. She tries to figure out what makes each one feel vulnerable.

Anne Blankman stressed the value of understanding what the protagonist wants, then taking that thing away, or at the very least, threatening its safety. She told us to think of a novel like an amusement park ride; readers have bought tickets and will feel cheated if the ride doesn’t carry them up and down and make their hearts pound. Continue reading

Ruta Sepetys on Multiple Points of View

 

 

This month, I caught up with Ruta Sepetys, recently home from a two-month book tour for her latest historical YA, Salt to the Sea. It’s a gripping World War II story of a group of teenagers running for safety while the Russian army marches toward Germany and American bombers fly overhead. Set in 1945 in what is now Poland, the story leads up to the sinking of the Wilhelm Gustloff in the Baltic Sea, the greatest tragedy in maritime history.

 

 

In this video clip on Ruta’s website, we learn a bit about the family history that inspired Ruta to set her novel during WWII. Watching this clip is well worth four minutes of your time:

Ruta notes that “empathy is one of the greatest and most beautiful contributions that we can achieve through writing.” Empathy. Yes! So necessary when it comes to crafting a character, and especially when writing multiple characters and multiple points of view. I’m thrilled to have Ruta here to tell us how she did it.

A.B. Westrick: Welcome, Ruta. So glad you could share your thoughts about craft and process.

Ruta Sepetys: Thank you so much for having me!

ABW: Let’s start with that awful Alfred character—awful and oddly funny. The story is tense and Alfred provides a lot of comic relief in circumstances that are otherwise bleak. Was Alfred part of your early drafts, or did you weave him into the story later when you realized the need to lighten things up? How did you go about crafting him? To what extent is he based on someone you know? Continue reading

Ideas are Overrated

People often ask writers: where do you get the ideas for your stories? And I say: ideas. Blah. So overrated.

I’ve blogged about this before, but still find myself slipping into the idea-trap. Recently while reading slush-pile submissions for a literary magazine, I found that other writers slip, too. It’s a sure recipe for rejection.

On some level, stories will always be filled with ideas, of course, but when an idea is important, the reason it’s important—its value—is that beneath it, there is a deeply-held emotion. The idea matters on some fundamental emotional level, and it’s the emotion that readers connect with. The books we like most are the ones that speak not to our heads, but to our hearts. Continue reading

Salivation and Satisfaction

When I was a student in the MFA program at Vermont College of Fine Arts, I heard Jane Kurtz, the author of more than thirty books for young readers, give a fabulous lecture called “Salivation and Satisfaction.” The gist of her talk was that for a novel to work well, the reader must salivate (must care about the protagonist and hunger for more), and must feel satisfied at the end. The sense of satisfaction comes when there’s a match-up between what the writer sets up for the character and what the character gets. The protagonist won’t necessarily get what he or she wanted, but the questions the author has raised at the start need to be answered by the end.

This wisdom was on my mind one morning this past month, a morning when I woke feeling heavy. You know… it’s great when you feel rested first thing in the morning. It’s great to slip into your desk chair, take a sip from a steaming mug of coffee, and start writing, writing, writing. But I didn’t feel rested that morning. I had the whole dang plot of my novel sloshing through my head.

From years spent writing, I’ve learned that when I wake thinking about a particular scene, something is wrong. Continue reading

Structuring a Story

For months I’ve been trying to find the right opening for the novel I started in 2013, and I think I’ve got it. Finally. For my breakthrough, I owe a huge thank you to screenwriter Michael Arndt.

Last month good friend and author Kristin Swenson met Arndt at the Austin Film Festival & Conference, and afterward sent me the link to a Disney/Pixar animated short that Arndt wrote: “Beginnings: Setting a Story in Motion.” (According to this site, the short originally appeared as a bonus feature on Toy Story 3’s Blue-ray version.) Enthralled, I watched it multiple times. Not only did watching help me write an opening that works, it helped me understand why some stories are good and others blockbuster-great. Only 8 minutes long, this short packs a career’s worth of screenwriting wisdom.

Arndt on Beginning a Story

But there’s a catch. Novel-writing and screenwriting aren’t the same beast. Arndt tells us to begin by establishing the protagonist and his/her defining passion; inotherwords, start with the “ordinary world” beloved by Hollywood’s devotees of mythic structure. For film, this works. For novels, hmmm… not always.

Movie viewers settle into cushy chairs for a two-hour commitment, give or take 30 minutes. Readers commit to much more—hours, days, possibly a week’s worth of time engrossed in a fictional universe. A novelist who opens with the ordinary risks losing readers in backstory before they’ve made a commitment to the long haul, and might do better to begin with a scene that sets up the emotional arc of the story. An inciting incident. Later when the hero has reason to think about the world from which she’s come, writers can always provide backstory. By that time, if we’ve hooked our readers, they’ll be curious for more.

Michael Arndt

Michael Arndt

But despite film vs. fiction differences, storytelling is storytelling and novelists have a lot to learn from screenwriters. Arndt’s little gem purports to be about beginnings, but it’s also about structure and pacing and twists and turns and why some Disney/Pixar movies are insanely successful and… I could go on and on. I’m enormously grateful to Kristin for linking me to this clip. Now I can enjoy the upcoming Thanksgiving and holiday seasons with peace of mind, believing that at least for the moment, I’ve got my manuscript where it needs to be. Pfew.

And over the holidays, I might just settle into a cushy chair with a bowl of popcorn and a little Toy Story 3

So This is Voice

 

 

I’m big on beginning novels in media res (in the middle of things), meaning jumping into a scene before explaining who’s who or what’s what, no back-story.

But if you insist on starting with a character who talks to the reader, do it well. Make it fresh. Aspire to do it the way Lamar Giles does in Endangered. He’s mastered this sort of opening. Here are some of the lines in his first chapter:

 

 

      I’ve haunted my school for the last three years.
      I’m not a real ghost; this isn’t one of  those stories. At Portside High I’m a Hall Ghost. A person who’s there, but isn’t…
      Jocks don’t bump into me, and mean girls don’t tease me, and teachers don’t call on me because I don’t want them to. Hiding in plain sight is a skill, one I’ve honed. My best friend, Ocie, calls me a Jedi ninja, which is maybe a mixed metaphor and redundant. But it’s also kind of true…
      We’re all something we don’t know we are…
     

      My target is stationary, in a parked car, one hundred yards away. A quick lens adjustment turns her face from fuzzy to sharp despite the darkness. An easy shot. Which I take.
      Keachin Myer’s head snaps forward, whiplash quick.
      I shoot again.
      Her head snaps back this time, she’s laughing so hard. Odd, I was under the impression the soulless skank had no sense of humor…
      I rub my tired eyes, and switch my Nikon D800 to display mode… Keachin—rendered in stark monochrome thanks to the night-vision adaptor fitted between my lens and my camera’s body—belly-laughing at whatever joke the current guy trying to get in her pants is telling. Basically, Keachin being what everyone in Portside knows she is. Rich, spoiled, and popular. Nothing the world hasn’t already gleaned about this girl. Nothing real.
      I intend to fix that. If she ever gives me something good.
      Keachin Myer is as clueless about what she is as anyone else. And being unfortunately named is not the part she’s unaware of. If you let her tell it, her parents strapped her with such an ugly handle because, well, she couldn’t be perfect, right?

 

Maybe a mixed metaphor and redundant… An ugly handle. This is smart writing—tight, engaging, real. And I’m thrilled that the author is here to share his process in crafting such a compelling voice.

Lamar Giles burst onto the YA fiction scene last year with Fake ID, a finalist for the Edgar Award. He’s a founding member of the We Need Diverse Books campaign, and now has multiple contracts with HarperCollins and Scholastic for forthcoming books. The guy is so busy writing, he couldn’t do this interview when I first asked. I had to wait a few months.

A.B. Westrick: Lamar, welcome! And thank you for taking time away from fiction-writing to tell us a little about your process. I read Endangered in two days—it’s the classic can’t-put-it-down.

Lamar Giles: Thank you for having me! I’m glad you found ENDANGERED unputdownable.

ABW: So let’s start with that voice. Would you talk a little about where it came from? What was your inspiration for this character, who goes by Lauren… or Panda… or Gray, depending on circumstances? Continue reading

Don’t Shy Away from Conflict

If you read only one book this summer, make it Something Must Be Done about Prince Edward County. Part memoir, part journalistic exposé, this sensitive and compelling book explores the history of a Southern town where local history wasn’t taught even though a suit filed on behalf of black students in the county was one of the five consolidated into Brown vs. Board of Education. Author Kristen Green alternates between memories of growing up there, enjoying time with her family’s black housekeeper, extensive research and interviews, and dreams for her own children, who are multi-racial.

I couldn’t put it down.

It struck me that in terms of craft, journalists can teach novelists a lot. So I caught up with Kristen (she lives in Richmond, VA—lucky me!) to get her insights into writing about tough topics.

 

A.B. Westrick: Kristen, welcome! And thank you for doing this blog interview. Your book has so many layers—such complexity distilled down to about 300 pages—that we can’t do it justice here. But we sure can talk craft…

You tell us how University of Mary Washington professor Steve Watkins (who happens to be a novelist now, just sayin’) helped you hone your journalistic grit. After you got “worked over” by a “nice” administrator, “‘The hell with nice!’ Watkins snapped. ‘Nice doesn’t mean good!’” (pg. 90). In another anecdote, you tell us that your former history teacher shut down your interview with the message “loud and clear: She’s done talking about this, and she thinks [you] should stop, too” (pg. 198).

So let’s discuss the born-to-be-nice problem. How do you handle tough moments like that? When an interview gets uncomfortable, what do you do?

Kristen Green: I think it’s like writing. Don’t give up too quickly. It’s tempting, when things start getting interesting, to pack up and say you’ve got enough information. But that is the time to push a little bit harder. I’ve been a journalist for a long time and confrontation is just part of who I am. I do not shy away from conflict.

I tend to keep asking questions, to follow a natural succession, to want to go deeper with each question. People expect writers to ask the hard questions, so my advice is just go for it. Assume that whomever you’re interviewing wants to talk about the tough stuff or is at least expecting you to ask about it. If you do it respectfully, and if you’re patient, you can get really good information you never expected to get. But don’t be in a hurry. And keep going back to the person over and over to ask follow up questions. New information will be revealed. One really great trick is to just be quiet at various points in the interview. Leave some space for the person you’re interviewing to fill—sometimes the interviewee will be so uncomfortable that they just talk to avoid silence. Continue reading