Further to my previous blog on ideas, I am interested in the concept that there are seven basic plots in literature and that all stories derive from them. Trouble is, no one seems to be able to agree on what they are! When I researched this, I came up with one theory that they are:
overcoming the monster;
rags to riches;
the quest;
voyage and return;
comedy;
tragedy;
rebirth.
Another site came up with a series of ideas based around Man versus - Man versus the environment, Man versus technology, Man versus - you get the idea.
As for me, my stories are variances of basic themes -
the power of revenge,
the power of families and their secrets,
the power of money,
the power of ambition,
the power of love,
the power of blind faith,
the power of failed society.
John Dean
Friday, 8 August 2014
Where do your ideas come from?
Writer Neil Gaiman once said: “You get ideas from daydreaming. You get ideas from being bored. You get ideas all the time. The only difference between writers and other people is we notice when we're doing it. You get ideas when you ask yourself simple questions. The most important of the questions is just, What if...? “
So the question is where do your ideas come from?
You can tell us about your inspiration on our Facebook page at https://www.facebook.com/inscribemedia
John Dean
So the question is where do your ideas come from?
You can tell us about your inspiration on our Facebook page at https://www.facebook.com/inscribemedia
John Dean
Thursday, 7 August 2014
Mood in fiction
Given that sense of place, a theme of some of my recent blogs, is crucial for creating mood in fiction, it is worth considering that there is a fine balance to consider; too much description slows a story, too little does not give the reader the chance to feel they are in the place with the characters. It is crucial that if you write about a place that the reader can see it.
You have choices to achieve that: do you write rich and vivid prose to paint a word picture or do you keep it minimalist - describe a tree in a park and we all see a different tree and a different park? Perhaps we only need to say it is a tree in a park? Some would argue that.
I always think, however, that you hone in on two or three main aspects of a place. An example, I live in a narrow street of three-storey town houses. It always feels like a canyon to me and when asked to describe it to people I always say it’s a canyon which is in shadow even when the sun shines. Not bothered about the number of houses, exactly what they look like, I reckon those two facts will be enough to give them a strong sense of what our street is like.
When selecting those things on which to hone in, consider
1 Physical characteristics - what does it look like, any quirks which bring it to life?
2 Use your reader’s senses - what does the place smell, taste, sound like?
3 What does it feel like to be there? I know the narrator needs to be separate but I do think the narrator can give a clue - The hall was old and musty. Musty is the narrator interpreting what the place feels like.
Oh, and remember weather - driving rain creates a different feel to an arid dry heat. If I read a story where the sun is shining and there is a delightful breeze I feel different to a story where the rain is driving against the windowpane and darkness has come early.
John Dean
You have choices to achieve that: do you write rich and vivid prose to paint a word picture or do you keep it minimalist - describe a tree in a park and we all see a different tree and a different park? Perhaps we only need to say it is a tree in a park? Some would argue that.
I always think, however, that you hone in on two or three main aspects of a place. An example, I live in a narrow street of three-storey town houses. It always feels like a canyon to me and when asked to describe it to people I always say it’s a canyon which is in shadow even when the sun shines. Not bothered about the number of houses, exactly what they look like, I reckon those two facts will be enough to give them a strong sense of what our street is like.
When selecting those things on which to hone in, consider
1 Physical characteristics - what does it look like, any quirks which bring it to life?
2 Use your reader’s senses - what does the place smell, taste, sound like?
3 What does it feel like to be there? I know the narrator needs to be separate but I do think the narrator can give a clue - The hall was old and musty. Musty is the narrator interpreting what the place feels like.
Oh, and remember weather - driving rain creates a different feel to an arid dry heat. If I read a story where the sun is shining and there is a delightful breeze I feel different to a story where the rain is driving against the windowpane and darkness has come early.
John Dean
Tuesday, 5 August 2014
How many words should I write?
All writing is about every word doing its job but that becomes an even more pronounced skill when you are writing something short, like a poem or a story.
We do receive entries into the Global Short Story Competition which are not 2,000 words long but 200 words instead - and that is an art form in itself.
The length means that the writers had to make every word do its job and discard every word, every thought, every element of the story that slowed it down. Those stories were stripped to their basics.
Did they lose anything for that? Not really. They may have left the reader to work out a lot, think through what they were being told and where it was happening, but many of them remained powerful pieces of writing for all that.
So when people send in requests asking how long their story should be, we always remind them that our top limit is 2,000 words (for ease of reading by our judge) but as to the bottom limit? Well, it is how many words you need to tell the story. That’s the true of storytelling and always will be.
John Dean
We do receive entries into the Global Short Story Competition which are not 2,000 words long but 200 words instead - and that is an art form in itself.
The length means that the writers had to make every word do its job and discard every word, every thought, every element of the story that slowed it down. Those stories were stripped to their basics.
Did they lose anything for that? Not really. They may have left the reader to work out a lot, think through what they were being told and where it was happening, but many of them remained powerful pieces of writing for all that.
So when people send in requests asking how long their story should be, we always remind them that our top limit is 2,000 words (for ease of reading by our judge) but as to the bottom limit? Well, it is how many words you need to tell the story. That’s the true of storytelling and always will be.
John Dean
A compelling voice
One of the best ways to start a story is to instantly introduce the reader to a character who addresses us directly in a voice that is distinctive and compelling. What do I mean? Try this: “If you really want to hear about it, the first thing you’ll probably want to know is where I was born, and what my lousy childhood was like, and how my parents were occupied and all before they had me, and all that David Copperfield kind of crap, but I don’t feel like going into it, if you want to know the truth.” — J. D. Salinger, The Catcher in the Rye
The voice is distinctive, you are challenged and want to learn more about this person. It was the same with the story over the weekend, creating a character that talked directly to the reader.
And if the character is talking to the reader, the writer has a great platform on which to work.
You can enter our latest competition at www.inscribemedia.co.uk
John Dean
The voice is distinctive, you are challenged and want to learn more about this person. It was the same with the story over the weekend, creating a character that talked directly to the reader.
And if the character is talking to the reader, the writer has a great platform on which to work.
You can enter our latest competition at www.inscribemedia.co.uk
John Dean
Mentoring and online writing courses
A reminder that, in addition to the various free things we do, one of the paid-for services we offer is one supporting writers.
Why should you hire a professional writing mentor, though? Isn’t it enough to attend a class/workshop or a writing group? Or ask a friend or relative to comment?
Well, it depends what you want and need and bespoke mentoring from Inscribe Media can help some writers, providing the experience and expertise to -
• understand your work
• nurture you and your writing
• let you retain control of your ideas and your writing
* provide expert, specific advice about what is working and what isn’t.
We focus on major issues, such as how your story hangs together, what your characters are doing or could be doing, what is hurting your story’s momentum, what story elements are not pulling their weight.
We identify the differences between good and great and point out your writing strengths, so you become confident about what not to change.
We also give suggestions and help you establish good processes and writing goals and suggest markets for your work.
If long-term mentoring does not appeal, we run short online writing courses as well.
You can find out more at http://www.inscribemedia.co.uk/writing-courses---bespoke-mentoring.html
You can also access our free downloadable writing guide at www.inscribemedia.co,uk and find loads of free tips on our blog here.
John Dean
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