Writing From Scratch #5

Writing from Scratch #6

The Character Plot

The problem of a Character plot involves a character’s worldview – their beliefs, values, desires, and fears. Many but not all stories include a Character plot, often called a character arc, in which a character’s worldview shifts. A Character plot is entirely concerned with the internal state of the character in question and as such is rarely seen on its own. When it is on its own, as it is in “Miss Brill” by Katherine Mansfield, you can end up with an extraordinary story.

Because a Character plot is entirely internal, the try-fail cycles don’t work out exactly the same as they do when dealing with an external/physical problem and solution; they are also up for interpretation by the reader when done subtly and beautifully as in “Miss Brill.” Character plot try-fails are often not even done intentionally as typically the character does not realize a change in the worldview needs to occur. So, read “Miss Brill” (it’s short, less than 2,000 words) and try for yourself to determine the problem – it’s not stated directly – and identify the try-fails. After, you can read over my interpretation, please let me know in the comments how our thoughts compare!

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Writing from Scratch #6

The Character Plot

The problem of a Character plot involves a character’s worldview – their beliefs, values, desires, and fears. Many but not all stories include a Character plot, often called a character arc, in which a character’s worldview shifts. A Character plot is entirely concerned with the internal state of the character in question and as such is rarely seen on its own. When it is on its own, as it is in “Miss Brill” by Katherine Mansfield, you can end up with an extraordinary story.

Because a Character plot is entirely internal, the try-fail cycles don’t work out exactly the same as they do when dealing with an external/physical problem and solution; they are also up for interpretation by the reader when done subtly and beautifully as in “Miss Brill.” Character plot try-fails are often not even done intentionally as typically the character does not realize a change in the worldview needs to occur. So, read “Miss Brill” (it’s short, less than 2,000 words) and try for yourself to determine the problem – it’s not stated directly – and identify the try-fails. After, you can read over my interpretation, please let me know in the comments how our thoughts compare!

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Auditions and Plays and Queries, Oh My!

Life-changing audition, a friend's play, and writing those queries. #actorslife #writerslife

Been gearing up for a big, potentially life-changing, audition.  It just doesn’t seem real yet.  I feel like I’m drifting along in a dream state, and this is some far off thing when it really isn’t.  I mean, I’m prepared.  I just feel like until I’m actually in the room, I’m not going to accept that this could be happening to me.  And maybe I’m just protecting myself from the very real…

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Writing from Scratch #4

The Milieu Plot

The problem of the milieu plot involves a problem of location or setting. The character is often either in a place they need/want to escape from or not in the specific place they need/want to be in. The try-fail cycles will involve traveling away from or to the location. Gulliver’s Travels, The Great Escape, and The Hobbit contain milieu plots.

The Lord of the Rings contains one very large milieu – the problem of getting the One Ring from the Shire where its been hidden for a number of years to Mordor where it can finally be destroyed. We can further break this down into smaller milieu plots. Let’s look at one: the problem of crossing the Misty Mountains. (And we’ll use the events as they occur in the movie, since more people have watched that than read the book)

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Structuring a Series: Part IV

Structuring a Series Part IV: Follow-Up

Welcome back to Structuring a Series! This is mostly a follow-up to the rest of the blog series.  If you haven’t yet read Parts I, II, or III, or familiarized yourselves with Dan Well’s 7 Point Plot Structure, now’s a good time to do it! This installment is for structuring a series that is not a trilogy.  Using this structure is best for series with a serialized structure (or mythology arc)…

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Wait, so diversity is not a problem in Hollywood anymore? Nope, we solved it. Wow!

Writing from Scratch #4: The Milieu Plot

The Milieu Plot

The problem of the milieu plot involves a problem of location or setting. The character is often either in a place they need/want to escape from or not in the specific place they need/want to be in. The try-fail cycles will involve traveling away from or to the location. Gulliver’s Travels, The Great Escape, and The Hobbit contain milieu plots.

The Lord of the Rings contains one very large milieu – the problem of getting the One Ring from the Shire where its been hidden for a number of years to Mordor where it can finally be destroyed. We can further break this down into smaller milieu plots. Let’s look at one: the problem of crossing the Misty Mountains. (And we’ll use the events as they occur in the movie, since more people have watched that than read the book)

A few solutions they could try are not considered because they already know they are too dangerous, such as the northern route, which is swarming with orcs and goblins, and the Gap of Rohan, which gets too close to Isengard for comfort.

First try: take the Pass of Caradhras. Fail: No, they can’t cross this way, and Saruman is actively attacking them.

Second try: enter the Mines of Moria. Fail: Yes, they are able to enter, but the Dwarven reception committee they were expecting to lead them through is not there.

Third try: search Moria for the Dwarves and a guide through. Fail: No, there are no Dwarves to guide them, and goblins have now been alerted to their presence and are attacking.

Fourth try: run like hell away from the goblins. Fail: Yes, they are able to run across a chasm to escape the goblins, but a Balrog takes out Gandalf.

Final try: follow Gandalf’s instructions to flee (or “fly”). Solution: they get out of the Mines of Moria, and are on the other side of the Misty Mountains, ready to continue with another micro-milieu.

Prompt: write a flash fiction with a Milieu in which your character’s plot-problem is that they need to go to their grandmother’s house for Sunday dinner. The character, setting, genre, and stakes, as well as what is preventing them from simply going to Grandma’s is up to you. This simple plot can create a story that is anything from family drama to international spy thriller.

If you want to read more of my 80+ posts, you can check them out on my website theferalcollection.com

Writing from Scratch #4

The Milieu Plot

The problem of the milieu plot involves a problem of location or setting. The character is often either in a place they need/want to escape from or not in the specific place they need/want to be in. The try-fail cycles will involve traveling away from or to the location. Gulliver’s Travels, The Great Escape, and The Hobbit contain milieu plots.

The Lord of the Rings contains one very large milieu – the problem of getting the One Ring from the Shire where its been hidden for a number of years to Mordor where it can finally be destroyed. We can further break this down into smaller milieu plots. Let’s look at one: the problem of crossing the Misty Mountains. (And we’ll use the events as they occur in the movie, since more people have watched that than read the book)

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To Nap or Not to Nap

To Nap or Not to Nap

I’m literally writing this just trying to keep myself from napping. I love naps.  Like I really love naps. I used to be good at napping.  In the sense that I could power nap.  In college, I was constantly running around, so every time I could, I would grab 10 minutes and some couch space in the formal lounge of my dorm and nap.  And then off I’d go.  Sometimes, those few naps, occasionally taken…

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Writing from Scratch #3

Flash Fiction: A Simple Plot

The first writing prompts we’re going to tackle will be flash fiction pieces. Flash fiction is a complete story written in under 1,500 words. We’ll be aiming for 250-500 words at first – that is one or two pages double spaced written in Times New Roman 12 pt. font.

The type of flash fiction I’ll encourage you to write will be Eighteen Sentence Stories*, and each of these sentences will have a very specific job.

The first Three sentences will provide the main character, the setting, and the genre (which clues the audience in on what kind of story they are about to read).

The main character should be introduced via an action that reveals their attitude at the start and with one defining job or trait that relates them to the plot. For example, a character may be both a father of three and a pilot. If the problem of the plot will deal with the kidnapping of one of his daughters, then “father” or “father of three” will be the defining job; if the problem of the plot will deal with the starship he’s piloting falling under attack, then “pilot” will be the defining job.

The setting should be introduced via a grounding sensory detail. The lingering scent of cookies left to burn when the parents received the ransom note. Or the pressure of being pinned back into the pilot’s seat under g forces.

The genre should be introduced via something specific and unique to the story. A ransom note is not specific or unique; a ransom note scrawled on the back of a picture that went missing off the fridge the week before is. A space ship is not specific or unique; a living space ship with a giant brain in its core that the pilot must psychically link to via the tentacles that suction onto his temples is.

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