Thursday, 27 July 2017

Fiction Workshop 11 Getting the story right



As an editor who both selects texts and works on them with writers to improve them I find a frequent problem is that there is no story. The writing can be technically perfect and perhaps also aesthetically pleasing but what actually happens?
The trick is to be able to tell anyone who needs to know what your story is about. This video explains it all beautifully.See it here.
You should be able to tell your story in two lines or a couple of sentences. Even if you're a "panster", someone who never plans their work in detail, it can be quite useful to know how your story ends.
If you're a planner, the brief outline may be useful:
Inciting incident
·         Complexity 1
·         Complexity 2
·         Complexity 3
Crisis point (the point of no return)
           Climax (Filling the gap between the crisis and the resolution
Resolution
However, this will not be useful at all if you are not absolutely clear on what your story is about.  Not only is this important when you are shaping your story it is also crucial when you come to pitch your perfectly formed story later. As well as being able to write a story that is convincing you must be able to persuade others that it has merit.
Editors can fix poor writing. They can't always help you to fix your story.
More on story shape next time.  
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Tuesday, 11 July 2017

Fiction Workshop 10 Tagging Dialogue



         Use said, whispered, shouted and asked only and then mainly “said”.
         You don’t need to tag much if only two people are speaking.
         You do need to tag if more than two are speaking, if it goes on for more than half a page, and for reluctant readers.
         Try tagging with actions where possible.      

Study the following examples

1.      Byrony Pearce: Angel’s Fury

“Well.” The Doctor stroked the edge of the table[G1] .  “It seems we’ve found your talent.”
I shook my head[G2] . “No.”
She nodded towards the gun, needing to add nothing more.
“Part of you has, and you’re beginning to access that knowledge[G3] .”
I thought of Zillah and a sob hiccupped from my closed lips[G4] .
“What’s the matter?”
“Seth gets to sculpt, Kyle’s a musician, Panda draws and what’s my special talent?  The words exploded like water from a dam. “Putting together murder weapons[G5] .”
The doctor fondled the rifle[G6] . “I imagine there’s more to it than that. Your talent will extend a long way beyond just assembling a gun, so I’d better have a range built on the grounds.
My hands tingled and I rubbed them on my thighs[G7] . “You want me to shoot?” (161)

2.      Judy Waite: Game Girls

Fern seems to manage to relax[G8] . “You didn’t finish telling me about the bloke with the shoes.”  
“Oh – right. We went up to the Love Nest – still with all those Shoe Express bags – and he wanted me to get out of my skirt and top.  So I did that – and then he opened the first box and produced some red patent stilettos. He asked me to put them on. It was all very polite, though. He was a real gentleman.”
“He wanted you to do it wearing shoes?”
“No, that’s just it. He didn’t want to “do it”.”
“He paid for you to sit there wearing his shoes?”
“It was a bit more than that. I had to walk about in them, while he watched. And then he opened another box – and another – and another[G9] 

Exercise:

All of the tags have been removed from this piece of dialogue from Sara Grant's Dark Parties. Below is the actual version from the book. This is not the only "correct answer" of course.
 “Ok.”  
“Open with care.”
“Grand reopening.”
“Open and closed.”
 “Don’t we need to make sure people understand we’re talking about the Protectosphere?”  
“Yeah, right. I think it’s about done.”      
“But we don’t know what we’re going to write!”  
“We better figure it out. Once this stuff sets, we can’t use it.”
“No Protect Us Fear.”

Here is Sara's version. Why do you think she's tagged it the way she has?
I almost believe it’s possible. “Ok,” I say. Think slogan.
“Open with care.”
“Grand reopening.”
“Open and closed.”
I’m not sure that makes sense. “Don’t we need to make sure people understand we’re talking about the Protectosphere?” I ask.
“Yeah, right.” She mashes and bangs a little more. She dips her finger in the bucket. Her hand is red and looks like it’s dripping congealed blood. Congealed blood with bits in it. She rubs the red between her fingers. “I think it’s about done.”      
“But we don’t know what we’re going to write!” I smooth a curl behind my ear and think of my grandma.
“We better figure it out. Once this stuff sets, we can’t use it.” She drops the bat in the tub. A spray splatters the yellowing tiles. She grunts as she hefts the bucket out of the tub. She closes the shower curtain and turns on the water.
“No Protect Us Fear,” I say as the slogan pops up in our head. 

 Try tagging your own dialogue using these methods.  

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 [G1]An action is used as a tag.
 [G2]An action is used as a tag here.
 [G3]No tag is needed here as only two people are speaking.
 [G4]A little bit of interior monologue breaks up the text a little.  
 [G5]These two exchanges aren't tagged as it's clear who is speaking.
 [G6]An action is used as a tag.
 [G7]An action is used as a tag.
 [G8]An action is used as a tag.
 [G9]No tags are used in the rest as only two people are talking.