What are you writing about now?

[david_wendelken]

Dropped my musical instruments off at a music store yesterday. Hope to have an estimate to get them in good working order tomorrow.

 

[david_wendelken]

Finally got back to watching the MasterClass.com lecture series. I finished the lessons from Neil Gaiman on the art of storytelling. It was excellent!

I'm maybe a third of the way thru a series by Aaron Sorkin, who is a screenplay writer. It's also excellent. Sorkin recommends "Aristotle's Poetics" for learning about to drama. It's available for free as a pdf, found it with google.

After that, I'm going to watch N.K. Jemisin's series on fantasy and sci-fi writing.

I made an offer to do a zoom call so folks could meet one another and check out some of the lectures. If you're interested, let me know and we'll work out a time.

 

[david_wendelken]

Two things from Sorkin's lectures so far. One is that drama requires both intention and obstacle. Now, he's a screenwriter, not a novelist, so he's going to have to focus on moving the story along more than a novelist would. But it's still a good lens to view stories through.

The other point was that a probable impossibility is preferable to an improbable possibility. Huh?
The example of a probable impossibility was E.T. following the Reeses Pieces. As far as we know, there aren't any E.T.s out there, but once we accept that one is here, following the trail of Reeses makes sense. We can buy that story.
He brought this point up as they were reviewing one of his student's draft screenplays. In it, a law enforcement officer is simultaneously having to talk someone through (over the phone) disabling a bomb on an airplane while solo-tracking a different bad guy thru the city streets. Is such an event possible? Yes. Is it probable? Nope. Audiences won't buy it.

Then he said how to fix the problem if you can't just rewrite it out of the story. Own it. Admit it's ludicrous. Have the cop say how ridiculous what they're asking him to do is, isn't there anyone else? No, there isn't, Joe is out sick, Mary's on vacation and can't be reached... I thought it was good advice.

 

[WatcherWraith]

Another way to fix that scenario could also be to show the stress such work is making on the officer. Have him make mistakes, big ones, maybe. Plot-changing mistakes. It raises the stakes and the tension as well.

 

[david_wendelken]

Another way to fix that scenario could also be to show the stress such work is making on the officer. Have him make mistakes, big ones, maybe. Plot-changing mistakes. It raises the stakes and the tension as well.

Good advice!

 

[Maedhros_Nelyafinwë]

I met with my author friend again today, and we went over her remaining notes on the prologue of my fantasy novel. I also showed her the few revisions I made since our last meeting, and she really liked them. She also loved my drawing of the main character the prologue focuses on, for those of you who have seen it in the Classroom Doodles thread. So now, I need to finish editing with her suggestions (whichever ones I decide to use, anyway) and then she'll review it again when I'm done with that. She has a really sharp eye for digging in deeper to the tiny little details I put in. For example, she observed my villain should be deeply angered and even frightened by the young woman's words, which is something I hadn't even thought about, but completely agree with. She asked me to describe my villain's looks more (which I'm only too happy to do). She also correctly identified him as an incredibly good looking, charming, narcissistic, person of power, which impressed me because my prologue is somewhat vague, yet she understood the idea of my characters very well. Another thing she pointed out is that of course the villain will be able to find my protagonist eventually, but the fact that he can't do it right now should drive him insane.

Interestingly, she also identified me as a writer who prefers dialogue, just from this 4 page prologue. I thought I had compensated for my inclinations to just write dialogue and nothing else by providing plenty of sensory and environmental descriptions. But she could still tell somehow that dialogue is what I gravitate towards first.

She was asking me if I have plans to write a sequel to my story, and I told her no, I don't see anything interesting happening after the events of this book, but I do have plans for a prequel. She immediately asked, "Is it about him?" (The villain.) Which indeed, it is. I've plotted out some of my prequel and it's all about my villain's rise to power.

One of her takeaway points to me was that I need to dig in even deeper with my villain and understand him even better. Which, again, I'm all too happy to do! He's my favorite character of the whole story.

Keep in mind, this lady doesn't know me that well. These two meetings are kind of my first time spending actual 1-on-1 time with her, and I hadn't even interacted with her much at all before that. This isn't like @Fingon_Findekáno , who has been my best friend for 13 years, or my other friends who know me well and who have read my book. They can easily understand what I'm trying to get at because they know me really well. But the fact that this lady has been able to practically read my mind regarding my intentions for my characters is really quite amazing.

 

[david_wendelken]

@Maedhros_Nelyafinwë , that's wonderful news!

 

[Server Room Gremlin]

But the fact that this lady has been able to practically read my mind regarding my intentions for my characters is really quite amazing.

I find you make your characters quite easy to understand through your writing, even when you don't provide a lot of detail or state things outright. This is just my observation from the comparatively brief time I've been reading fanfiction or RP posts of yours.

The way you imply things, through dialogue especially, but also through descriptions of the character's thoughts and actions helps the reader work out what sort of person they're looking at.
I can only speak for myself of course, but I would venture to guess your reviewer sees your work in a similar way, especially as she is an author herself and is very familiar with what goes into writing a story.

 

[Maedhros_Nelyafinwë]

I find you make your characters quite easy to understand through your writing, even when you don't provide a lot of detail or state things outright. This is just my observation from the comparatively brief time I've been reading fanfiction or RP posts of yours.

The way you imply things, through dialogue especially, but also through descriptions of the character's thoughts and actions helps the reader work out what sort of person they're looking at.
I can only speak for myself of course, but I would venture to guess your reviewer sees your work in a similar way, especially as she is an author herself and is very familiar with what goes into writing a story.

Thank you! That's my goal. I love characters first and foremost, more so than plot or setting or any other story elements. My goal is always for readers to feel like they know my characters personally, as though they were real people.

 

[Server Room Gremlin]

I love characters first and foremost, more so than plot or setting or any other story elements.

For me, these are all rather inseparable from each other, all closely woven together in the overall picture of the story. But I do find my characters have a lot of character, nonetheless. 😁 My primary reason for extensive worldbuilding is 'for them', because they're important to me and they need a place to live that makes sense.

 

[Maedhros_Nelyafinwë]

But I do find my characters have a lot of character, nonetheless. 😁

They sure do! From what I've seen of your Curvo and Tanca, anyway!

My primary reason for extensive worldbuilding is 'for them', because they're important to me and they need a place to live that makes sense.

Yeah, I agree with that. You're right, characters and plot and worldbuilding are all inseparable. But in my opinion, (and maybe this isn't true for all writers but it is certainly true for me and how I work), characters should come first. Characters can create plot naturally through getting into conflict with each other, and they need a place to live, as you said. Whereas if you develop a plot first and you're strict with it, you may end up shoehorning characters into doing out-of-character things for the sake of the plot.

 

[Server Room Gremlin]

You're right, characters and plot and worldbuilding are all inseparable. But in my opinion, (and maybe this isn't true for all writers but it is certainly true for me and how I work), characters should come first. Characters can create plot naturally through getting into conflict with each other, and they need a place to live, as you said. Whereas if you develop a plot first and you're strict with it, you may end up shoehorning characters into doing out-of-character things for the sake of the plot.

I do somehow develop these things all at once. I come up with plot things to throw at my characters and see how they react. The conflict is often more between the characters and the circumstances, and conflicts between characters arise as a result of the change in circumstances. When all is calm, the characters are more likely to have 'interactions'. While the interactions may or may not be pleasant (due to how their personalities 'bounce off' each other), I wouldn't usually describe them as true conflict or struggle.

 

[david_wendelken]

I do somehow develop these things all at once. I come up with plot things to throw at my characters and see how they react. The conflict is often more between the characters and the circumstances, and conflicts between characters arise as a result of the change in circumstances. When all is calm, the characters are more likely to have 'interactions'. While the interactions may or may not be pleasant (due to how their personalities 'bounce off' each other), I wouldn't usually describe them as true conflict or struggle.

I agree. If you know your characters well, they'll know what to do when they end up in a situation! And quite often, they surprise me!

 

[Fingon_Findekáno]

I met with my author friend again today, and we went over her remaining notes on the prologue of my fantasy novel. I also showed her the few revisions I made since our last meeting, and she really liked them. She also loved my drawing of the main character the prologue focuses on, for those of you who have seen it in the Classroom Doodles thread. So now, I need to finish editing with her suggestions (whichever ones I decide to use, anyway) and then she'll review it again when I'm done with that. She has a really sharp eye for digging in deeper to the tiny little details I put in. For example, she observed my villain should be deeply angered and even frightened by the young woman's words, which is something I hadn't even thought about, but completely agree with. She asked me to describe my villain's looks more (which I'm only too happy to do). She also correctly identified him as an incredibly good looking, charming, narcissistic, person of power, which impressed me because my prologue is somewhat vague, yet she understood the idea of my characters very well. Another thing she pointed out is that of course the villain will be able to find my protagonist eventually, but the fact that he can't do it right now should drive him insane.

Interestingly, she also identified me as a writer who prefers dialogue, just from this 4 page prologue. I thought I had compensated for my inclinations to just write dialogue and nothing else by providing plenty of sensory and environmental descriptions. But she could still tell somehow that dialogue is what I gravitate towards first.

She was asking me if I have plans to write a sequel to my story, and I told her no, I don't see anything interesting happening after the events of this book, but I do have plans for a prequel. She immediately asked, "Is it about him?" (The villain.) Which indeed, it is. I've plotted out some of my prequel and it's all about my villain's rise to power.

One of her takeaway points to me was that I need to dig in even deeper with my villain and understand him even better. Which, again, I'm all too happy to do! He's my favorite character of the whole story.

Keep in mind, this lady doesn't know me that well. These two meetings are kind of my first time spending actual 1-on-1 time with her, and I hadn't even interacted with her much at all before that. This isn't like @Fingon_Findekáno , who has been my best friend for 13 years, or my other friends who know me well and who have read my book. They can easily understand what I'm trying to get at because they know me really well. But the fact that this lady has been able to practically read my mind regarding my intentions for my characters is really quite amazing.

WOW!!! I am absolutely ecstatic with you over the lady’s comments and observations about your story. She is such a blessing to you and your writing, coming into your life now at this specific point and providing all this encouragement to you. Just hearing what she has to say and how it stirs you all the more in your creativity as an author, I become all the more excited to read your book again someday, to see its growth from the first beta draft.

Your writing, whether it’s for RPs and fanfics or for your book, is always such an inspiration, drawing me as the reader in in such ways to where I enjoy rereading to dig between the lines and study the characters. Your characters feel so real, their interactions and emotions so natural. Every scene has depth. Truly, I’ve enjoyed getting to be a part of your world and read all these stories as you “discover” them! 😁

 

[WatcherWraith]

I met with my author friend again today, and we went over her remaining notes on the prologue of my fantasy novel. I also showed her the few revisions I made since our last meeting, and she really liked them. She also loved my drawing of the main character the prologue focuses on, for those of you who have seen it in the Classroom Doodles thread. So now, I need to finish editing with her suggestions (whichever ones I decide to use, anyway) and then she'll review it again when I'm done with that. She has a really sharp eye for digging in deeper to the tiny little details I put in. For example, she observed my villain should be deeply angered and even frightened by the young woman's words, which is something I hadn't even thought about, but completely agree with. She asked me to describe my villain's looks more (which I'm only too happy to do). She also correctly identified him as an incredibly good looking, charming, narcissistic, person of power, which impressed me because my prologue is somewhat vague, yet she understood the idea of my characters very well. Another thing she pointed out is that of course the villain will be able to find my protagonist eventually, but the fact that he can't do it right now should drive him insane.

Interestingly, she also identified me as a writer who prefers dialogue, just from this 4 page prologue. I thought I had compensated for my inclinations to just write dialogue and nothing else by providing plenty of sensory and environmental descriptions. But she could still tell somehow that dialogue is what I gravitate towards first.

She was asking me if I have plans to write a sequel to my story, and I told her no, I don't see anything interesting happening after the events of this book, but I do have plans for a prequel. She immediately asked, "Is it about him?" (The villain.) Which indeed, it is. I've plotted out some of my prequel and it's all about my villain's rise to power.

One of her takeaway points to me was that I need to dig in even deeper with my villain and understand him even better. Which, again, I'm all too happy to do! He's my favorite character of the whole story.

Keep in mind, this lady doesn't know me that well. These two meetings are kind of my first time spending actual 1-on-1 time with her, and I hadn't even interacted with her much at all before that. This isn't like @Fingon_Findekáno , who has been my best friend for 13 years, or my other friends who know me well and who have read my book. They can easily understand what I'm trying to get at because they know me really well. But the fact that this lady has been able to practically read my mind regarding my intentions for my characters is really quite amazing.

This sounds like amazing news! I'm glad you got such an insightful person to look over your work, that sounds valuable. :] Advice like that is precious and hard to come by.

 

[david_wendelken]

My local writer's group has some really talented and thoughtful people in it. If there's one in your area, check it out. You might be really pleased with it.

 

[david_wendelken]

I made really good progress on a chapter today. It's a story I'll probably put in the appendices under Miscellaneous Tales. It's where I put things that might be interesting but aren't in the main line of the "plot". I wanted to include a discussion on magic and the making of magical items and I think that part's going to work out well.

I also worked in a mortal's first experience with using a magical item. It is a sword, Dúrcrist, the Gloom Cleaver, which in part gets the discussion going.

It is forged of an alloy of star-steel and mithril, with a hilt of grey leather, a pommel shaped as a mallorn seed, and quillons of mallorn leaves still unfurled. It glimmers with an inner light when drawn, sufficient for elvish eyes to see in darkness, and its soft light seems to illuminate with Varda’s starlight that which is hidden. It feels light to the hand that bears it and rings clearly as if wishing to sing when it is drawn. It does not warn of evil folk nearby, as so many of the fell swords of the Eldar do, for the person bearing it would rarely be far from danger in her travels.

In D&D 5E terms:

Fell Blade: +4 to hit, 1d8 slashing damage + 4 + DEX or STR bonus.

Bane of Morgoth’s Creatures: Raging: Proficiency Bonus extra damage, even on a miss.

Bane of Morgoth’s Creatures: Foe-Slaying: Critical range increases by ½ proficiency bonus.

With Varda’s Light: The light reflected from the blade reveals much that would be hidden. Advantage on Perception. In addition, with Inspiration and a hit die, True Seeing for one hour.

It is a deadly blade, for it cleaves deeply upon those who cleave to The Morgoth and his ilk.

But I think its most important quality is aiding the perception of its bearer to truly see what is before them.

Like all artefacts of power, its powers are dependent upon the abilities of its wielder.

It's the latter aspect of the blade that the mortal encounters, they suddenly find themselves seeing the person before them whole and true, with much more awareness of all the nuances of that person's bearing than they had ever been aware of before. And then that ability is lost to them when they return the blade.

While I was going thru the mortal's experience, I realized they would notice something that might bring the tale out of the appendices and put it in as a foreshadowing of later events. I guess I'll find out when I finish writing the chapter that follows it in the timeline.

Regardless, I'm having fun with it.

 

[WatcherWraith]

Good heavens, this blade is fantastic! Truly worthy of the term "artifact"! Star-steel...I may have heard of this before. Is that metal from a crashed meteoroid? I remember some tales of such things in Middle-earth, but it was not very common. How did this mortal come across such a rare weapon? There's got to be one epic tale behind their acquiring of it.

 

[david_wendelken]

Good heavens, this blade is fantastic! Truly worthy of the term "artifact"!

Thanks!

Star-steel...I may have heard of this before. Is that metal from a crashed meteoroid? I remember some tales of such things in Middle-earth, but it was not very common.

Could be from a meteoroid. Or perhaps it truly is star-steel, ore expelled from one of Varda's stars before as it died long ago and far away, only to find itself in the hands of the right smith commanded by the right noble Lady to have a fitting sword made for the right servant. Who in Middle-earth is to say? But the latter explanation would certainly be in accord with its ability to illumine with Varda's starlight that which is hidden.

Eöl the Smith, the dark elf, worked with star-steel to make armour and swords out of an alloy called gallon. But he had a dark and possessive soul, and this sword, made by a different smith for a different purpose, had no such taint as Eöl's did.

How did this mortal come across such a rare weapon? There's got to be one epic tale behind their acquiring of it.

Just the opposite! The sword doesn't belong to the mortal in question. I'm not at the first draft stage for the full chapter yet. I'm still working through the part that includes the discussion on magic. If you're really interested, I'll send it to you when it's ready.

 

[david_wendelken]

I took a few minutes at our local writer's group meeting to discuss the first two rhetorical techniques discussed in The Elements of Eloquence by Mark Forsyth.

The first is alliteration, which is using multiple words with the same initial sound in close proximity to one another. It's one of the easier techniques to learn to use. Whole Hog is such a phrase, whole pig is not. It's curiosity that killed the cat, not inquisitiveness. One wields a war hammer and swings a sword (or slays with, or stabs with, or slaughters with).

The second is polyptoton, which pretty much no one has ever heard of, but everyone has heard. It's using the same word multiple times, but with different meanings or in different grammatical forms. An example of the first would be "Please, please me." Two uses of the word please, each with a different meaning. An example of the latter case would be "Nothing you can do that can't be done. Nothing you can sing that can't be sung." Or, to use Shakespeare instead of Lennon/McCartney, "Love is not love which alters when it alteration finds, or bends with the remover to remove."

The third is antithesis. First you mention one thing, then you mention its opposite. "To everything there is a season, and a time to every purpose under heaven: A time to be born, and a time to die; a time to plant, and a time to pluck up that which is planted," and so on. That last agricultural example is a bit wordy (though great on the alliteration!). There's a more complicated approach where you say something obvious and follow with an unexpected inversion. Oscar Wilde was a master of this. "Journalism is unreadable, and literature is not read."

I hope you find this interesting. Let me know if you want more examples.