She said laughingly

Hi,

Just finished a six-week course on developmental editing taught by Barbara Sjoholm. It was a great class and I recommend it to anyone considering developmental editing — or who just wants to get better at editing their own work. 

After all the information on pacing, dialog, plot, structure, and character development, Barbara's parting words of advice were: 

"If you can help rid the world of sentences like "'That's funny,' she

said laughingly," you will have done literature a service."

It's good advice, but it got me thinking about the Dark and Stormy Night series. It was an annual contest (the Bulwer-Lytton Fiction Contest to be exact) to see who could come up with the worst opening  line to a novel. Does anyone remember this? 

For example, here's an entry:

On the fifth morning of Juby's new but still unconsummated marriage, the scrambled eggs, looking like cow paddies dropped from a disgruntled bovine with peptic ulcers in three of her four stomachs, lay on his plate like a ominous forecast of the day yet to be weathered."  

Edward L. Recod, Sacramento, Calif.

Well, I'm in the mood, after weeks of editing manuscripts, to write some really bad prose . . on purpose. If anyone wants to offer up a terrible opening line, please do. I'd love to share it. 

OK, I'm off to work on mine.

Diane

Bad Movies Can Improve Your Writing Skills

I saw Night at the Museum: Battle of the Smithsonian and left disgusted with the lazy writing.  

I liked the first one. The light comedy had a few holes here and there, but I felt for the Ben Stiller and Rob Williams characters, the plot and subplot (albeit simple) held together and it was a creative take on the the fantasy -- what it all the museum characters could come to life? 

Making Lemonade from Lemons

The sequel was retched. But just because it's horrible doesn't mean it has to be a complete waste. You can still use it to hone your storytelling skills. Figure out how you would have fixed this mess? (By the way, the answer "Throwing it away" is a cheat.)

Here are couple things I came up with:

• Where are the characters were care about?  In the first one, Ben Stiller was trying to be respected by his son, keep a job, and get the attention of a certain woman. In this movie he's incredibly rich, but doesn't know why he's not really happy. That's hard for a audience (or me anyway) to relate too. 

The lesson I took away: Find issues for him that the audience can relate to, like it girlfriend (from movie #1) that broke up with him because he not the same guy. He doesn't know why people (like his son) are relating to him differently. Everything should be going fine because he has money. 

• Create a believable world. In the first movie there were a few holes -- like why no one in NY noticed a mastodon walking down the street, and how everything the characters broke during the night was repaired by morning.  In the second movie, those holes seem like minor blemishes.

For example, aren't there any no people in D.C. awake after dark, who might notice a 100' Lincoln statue walking around and TALKING? Or aren't there any alarms or security camera at the Smithsonian? Can anyone break through the window of the  aerospace museum, steal planes, etc. Why do many of the characters sound like teenagers, using terms like "bla, bla, bla"? 

The lesson I took away: Your fantasy world must have well-defined rules and a believable setting. Maybe if the story had been was kept in the basement (where I'm sure they have cameras and alarms, but a least I could buy they could be disconnected. And there also wouldn't be other guards, or witnesses, etc. etc.) 

OK, I could go on all day. But at least I don't feel like my ticket was completely wasted. There is some value to a horrible move.

di

Top 5 Reasons Why We Should Replace "Write What You Know" with "Write What You're Interested In"

Hi,

I know it's Memorial Day weekend, so I'll make it quick.

Here are my top 5 reasons why I believe the advice "Write What You Know" should be replaced with "Write What You're Interested In." 

Top 5 Reasons

1. By default the things we  know are probably the things we're interested in.

2. Many of my favorite sci-fi and fantasy stories would never exist.

3. I write to explore.

4. What I know about wouldn't interest a dozen readers.

5. If I read another story where the protagonist is a struggling writer, I'm liable to lose control and . . . smack someone (hard) with my library card. 

Your thoughts?

Have a wonderful weekend.

Don't let the Backdrop Steal Your Story

Hi,

When writing a story — especially if it's historical fiction or a based on a true story — it's hard not to not get wrapped up in all the facts. Suddenly your story is more about the forensic evidence or the architectural accuracy than it is about the characters and their story. 

I call the dilemma Character vs. Backdrop.  I think readers might call it Novel vs. Text Book or Movie vs.  Documentary.

Examine stories

It's a good habit to examine books and movies and dissect the story from the backdrop. Look at how the writer keeps you involved in the character's story, but uses the historical facts and details to add depth and a solid sense of place. (Or if they failed, examining what went wrong.)

Right now I'm reading The Little Book by Selden Edwards. It's set in Vienna in 1897 and is a multi-generational, time-traveling story that layers interesting historical events and characters throughout the story. But the story isn't about Vienna (backdrop) — it's about our hero creating and unravelling his family's history with every step. If it does become about Vienna I'm likely to put the book down and choose another.

Examine Your Own Life

Some new writers find it hard at times to see the difference between backdrop and story. "It's all intertwined," writers will say.  Yes, but there's still a big difference. 

When trying to get a handle on that difference, imagine someone telling your story. Your story is based in a world filled with interesting facts — an enormous recession, the first black president, climate change, a war in Iraq, as well as Star Trek, Hanna Montana, and American Idol. These facts may or may not crop up in your story, but they are not your story. They just the background of your unique journey. 

Have fun writing today!  

Di

Loglines - Getting a Producer's Attention

The NWSG's pitch session in Seattle this Saturday left many writers bewildered and reworking their loglines. They can see the flaws and want to improve them for the next pitch.  

So what is a logline?

Basically, a logline is a one-sentence summary of your script.  Think of a movie poster. It succinctly describes your story in an enticing manner -- so enticing you want to buy a ticket and see it.  

If you're pitching to producers, the logline should be so enticing that they not only picture people buying tickets, but see themselves devoting time and serious money to the story.

Creating a Logline

It seems like it should be easy to write one or two lines, but it's hard work to condense your story down to its most basic and exciting elements. The logline must convey:

• the genre

• what the story's about (the major conflict or what's at stake), and 

• possibly the main character.

You can find good tips on creating loglines at  Scriptologist.com.

Practice Your Logline

The next step is to practice your logline. Try it out on your mom, friends, waitress and bus driver. Watch their reactions. If they're bored, hone it. But once you've got people excited and they're ready to lay down their $7.00 for a ticket; you're ready to pitch the logline to a producer.

Good luck!!

di

Pitch Sessions in Seattle

Hi,

If you're a screenwriter here in the Northwest and you live within driving distance of Seattle, you should consider joining the Northwest Screenwriter's Guild. Or at least attend one meeting and see what you think.

Why do I think you'll like it? Every month you get a chance to pitch your scripts to LA producers looking for material!

Learn about the Producers

It works like this.  The group meets once a month on Friday evenings. At each meeting NWSG brings up a producer from L.A. to speak. Last night they had both Producer, Sean Sorensen of Motion Theory and Literary Manager/Producer Robyn Meisinger from Madhouse Entertainment.

For a couple hours get to know these producers as they discuss screenwriting, their in-house processes, and future projects they're interested in. You even get to ask them any burning questions.

Pitch Your Stuff

That's not the best part though. The following Saturday you can pitch your scripts to these individuals!! And with the knowledge from the night before, you aren't walking in cold. You know what they're interested in, so you can better hone your pitch. 

Of course, there are a couple hoops to jump through before pitching. You have to be a member of the NWSG. You need to be approved to pitch by the NWSG (they basically have to see that you can write a script -- they don't just want any shmoe pitching) and you have to sign up to pitch at the meeting in person. But if you're serious about screenwriting, those are pretty hoops.

See you at next month's meeting on June 5.

Di

Writers Need Thick Skins

Hi,

I just finished a critique of a writer's work. I get paid to do it, so I take it seriously — reading through the manuscript thoroughly, taking notes, point out what's working, and lastly pointing out areas that could be improved.  

Once I'm finished writing the critique and it's ready to go out, it's extremely difficult to push the "send" button.  I've gotten enough critiques of my own work to know that any critique, even ones you've paid for, are hard to receive.  But if we're going to write for a mass audience, receive them we must. 

Here's my humble advice for anyone getting tough feedback:

• Remember it's only one person's opinion.  You don't have to agree with it.

• If the critique makes you mad, let yourself get mad. But then get down to business and see if any of it is worth considering.

• If it's overwhelming, put it aside for a while. Over the next few days, those points that resonated will probably surface.

• If something was confusing, feel free to ask the person critiquing to explain the point more fully.

• If all the critique is negative, ask the person to tell you what's working. 

Critique is tough. We've all been there. As professional writers though we're going to hear critiques in one form or another for the rest of our careers. (Ask Stephen King.) We might as well get used to it now.  

Di

 

Sneaking up on Your Characters

Hi,

I've read about all kinds of reasons writer's have writer's block. For me, it's because I don't know my main characters well enough. The better I know the characters the easier the story flows.  

When I need mind meld with a character, I'm not one of those who likes to fill out those character charts. I'd rather get to know them a little more personally.  Here are a few techniques I've used. 

Sneak Into Their House

• I write a scene where I sneak into their house, open a drawer in their kitchen, bedroom or bathroom, and describe what I find.  

The Interview/Interrogation 

•  I write a scene where I'm interviewing them for a story, and ask them a variety of questions. If they aren't forthcoming, the interview turns into a interrogation.

Ask Friends and Relatives

• I'll ask the character's friends and relatives to tell me something no one else would know about my main character.

These are a few exercises that work for me because I not only learn more about the character in question, but become more involved in the story as well. 

If you have other techniques or tips, let me know. You can never have too many ways to eliminate writer's block.

di

Character Should Go to 11

Hi,

I've read every book out there on screenwriting (or it feels like that).  It seems like every book emphasizes how important it is that your character MUST need or want something, and your story MUST focus on your character's intense journey to reach his or her goal. 

I'd read the advice so often, I just assumed I understood it. But this year, being in the WGA, I got to read the scripts considered for Oscars. Besides being well written, these scripts all had one thing in common -- characters were almost defined by their need or want, like The Wrester and Slum Dog Millionaire. 

My scripts always had characters that "wanted" something, but looking back, they didn't want it enough. On a scale of 1 to 1o, their "want" fell into the  6 or 7 range, when they should have pegged out at 10. 

I'm shooting for 10 now.  Heck, why stop there. In the words of Nigel from Spinal Tap, they are going to 11. 

Di

Horrible Website

Hi,

As I was working on text for a client's website today, it got me thinking about range of writers' websites out there. I fully intended to find a few examples of the good and bad for you to view  . . . in case you're considering one for yourself. 

In searching I happened upon the Worst Website Ever.  It is truly horrible -- in that "horrified yet transfixed" kind of way. It's so horrible, I had to share. 

Anyway, it turns out that finding extremely cool author websites was harder than I thought. I'm going to keep looking, but if you have some you'd like to share, please feel free to share.  In the meantime, here are the Writer's Digest Best Websites of 2008.

Diane

Show Don't Tell

I always used to get confused by the writing advice "show don't tell".  How can you show a reader without telling her about it?  When I'd ask the question, my teachers (and a few colleagues) would look at me that "You're kidding me, right?" expression.

Recently, I've heard the advice described differently — scene (show) versus summary (tell). That I understand. Ideally a writer should enter a scene and allow it unfold for the reader. Although there are times when summarizing what's happened works in a story, many new writers tend to lean on "summary" versus "scene".  

It may have taken me a couple decades to get clear on this, but now that I'm, I'm ready to write some fabulous scenes.  

di