Brainstorming new story ideas

I like Dan Harmon’s 8 step story circle for exactly this reason – it’s so pared down, so simple that there’s almost nothing there at all; at the same time it’s so basic that it contains everything.

Why is it important that there be almost nothing there at all? Because too many plot points, targets, specifics are a straightjacket to my imagination. Don’t tell me it’s time for some supernatural aid, or to meet the threshold guardian. Don’t tell me it’s time for a mentor to come to my hero’s aid. It’s too much control, and my imagination is crushed. I think this is how stories become the kind of ‘formulaic’ that people complain about. Trying too hard to hit those plot points, kills imagination. We resort to cliche.

Rather tell me this is the ‘search’ phase of the story, and let my imagination fly. Let my imagination tell me if this means a simple search for old cats or if the search should be more complex, take up more story time, and envelope more of the other plot points, as it does for Chihiro in Spirited Away (blogged here) who seems to spend the entire story searching for one thing or another.

I haven’t started plotting my new story yet, but I plan to use these 8 steps to rustle up some ideas. If I’m stuck at step 4 I’ll initiate a search for something, anything and see where that leads. If I’m stuck at step 5, something will be found – it may be as small as a thought or as big as a mountain. And so on. If this sounds hacky, that’s really ok too – that’s fine in a first draft. It’s in subsequent edits that we can layer up theme and meaning.

I think any brainstorming method has benefits. Save the cat, The Hero’s Journey… anything that gives you a new perspective on your own story will help in building layers. So I’ll start with the most basic, most open system and plan to review each draft using different systems.

I’m eager to begin, but until the kids go back to school I hardly dare to. I want to see this project through to the end.

Spirited Away; Sequence of Challenges

It’s just a visual representation of the plot.  If you find it useful, Bonza! If not, never ye mind.

From Chihiro’s PoV:

We are moving to a new neighbourhood. I’m scared. My parents want to stop and explore an abandoned theme park. I’m scared of that too.

<Challenge 1 “My parents are pigs!”> My greedy parents eat from the spirit buffet and turn into pigs. Haku tells me I must stay and get a job if I want to save them…

    <Challenge 2 “I must get a job”> I search for Kamachi, and demonstrate that I won’t give up by assisting the soot sprites. Kamachi is impressed. He sends me to Yubaba to get a job. Yubaba is scary, but I don’t give up. She gives me a job. <Cost>Yubaba takes my name</cost></challenge 2>

         <Challenge 3 “I must help Noface”> A mysterious figure waits outside in the rain. <mistake>I let him in</mistake>. It does not occur to me that he may cause problems—

               <Challenge 4 “I must bathe a stinky spirit”>I am scared, but I do not give up. The Noface helps me, but I’m not greedy – I take only what I need. Lin helps me and we learn that the Stink Spirit is really a powerful River Spirit. He gives me a <Boon>Medicine ball</boon></challenge 4>

Haku takes me to see my pig-parents. They look like all the other pigs. I am scared that I can’t help them. <Boon>Haku gives my real name back to me</boon>. His food gives me strength. He does not always seem friendly, but today his help gives me freedom and courage…

                   <Challenge 6 “I must save Haku”> Zaniba’s paper birds hurt Haku. I protect him and use half the medicine ball to cure Yubaba’s curse. I will return Zaniba’s magic seal to save Haku. Kamachi gives me a <boon>train ticket</boon>. But I can’t leave yet because~~~

         —Noface, is sick and menacing. I cure him with the rest of the medicine ball, though I wanted it for my parents. He follows me to Zaniba’s house.</challenge 3>

                   ~~~I return Zaniba’s seal, break the spell and remember Haku’s real name: He is free.</challenge 6>

…I have one more challenge to complete. Zaniba’s last test: None of the pigs she shows me are my parents. I am free. My parents are not pigs any more. We continue the journey to our new home, and I am not scared anymore.</Challenge 1>

THE END

Some of the challenges are quickly resolved (getting a job, bathing the river spirit), while others overlap and delay the resolution of more pressing challenges. The problem of the Noface develops relatively quietly; by the time it is resolved Chihiro has bathed a river spirit, visited her pig-parents (a convenient halfway reminder of that problem) and solved half of Haku’s problems too. Look, here’s a crappy hand-drawn diagram:

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So that’s what Spirited Away looks like. Kinda.

Story Circle Dichotomies: Plotting with Dan Harmon’s Story Circle

The hero’s journey is often described as a circle. Here, Dan Harmon shows us how he uses the circular form to plot a story for one of his TV shows. He uses dichotomies on two axes – opposing ideas that will be the engine of the story: The top and bottom represent the external physical journey, while the left and right represent the internal journey of personal change. Look:

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Overlay the two circles to see how the external and internal journeys affect each other:

  • Steps 1 to 3: Old moral outlook + world of comfort = Status quo.
  • Steps 3 to 5: Old moral outlook + world of discomfort = Old behaviours make new problems worse.
  • Steps 5 to 7: New moral outlook + World of discomfort = New behaviours make new problems solvable.
  • Steps 7 to 1: New moral outlook + World of comfort = New behaviours result in life upgrade

Return to Dan’s example; for the physical journey, he takes a ‘biological racoon’ into the world of ‘storybook racoons’, and back. For the internal journey, he chooses to oppose dishonest and honest behaviour.

Put that all together and you get a dishonest racoon who travels into a storybook world to learn valuable lessons about honesty. He returns to the biological world no longer keen to steal out of peoples’ garbage. Perhaps.

We’re calling these opposing forces Dichotomies. Stories are about human beings. Even if they are about Antz or Transformers, they are just stand-ins for people. We know no other way to explore stories but in terms of the rhythms of human life. Dan sets these rhythms under three headings:

  • Biology
  • Psychology
  • Society

In the racoons example we looked at biology: A biological, real-life racoon became a storybook, not real racoon – Dan could have picked living racoons vs dead racoons for a more gruesome zombie plot.

We also looked at psychology: a dishonest racoon becomes an honest one. We could have reversed those semicircles thus; an honest racoon becomes dishonest. What if a psychologically honest racoon died, and moved into the world of the zombie racoons, learned to survive using dishonest means, and succeeded in becoming the King of the Zombie Racoons, before returning to the land of the living to terrorise his old neighbourhood? Well what indeed!

Does ‘terrorising his neighbourhood’ smell like another dichotomy? Living in peace with his neighbours changes to terrorising them? It does, right? Perhpas it’s the rhythm of society, and if that’s a dichotomy that speaks to you more than the whole honest / dishonest business, go for it.

It doesn’t really matter which dichotomies you choose, this is just a brainstorming method. The point is to get your creative juices flowing. Any system that helps you develop ideas from crap to great (dichotomy!) from vague to specific (dichotomy!) is a good system. I particularly like this method as it encourages you to see the story from start to finish. You are not obligated to stick to that start or to that finish; once you get writing it can all change, but having at least a notion of the shape of your story sets you off well to push through to the end, during the dark days you might otherwise wallow hopelessly in the middle.

I will return to my analysis of animated Netflix series ‘Over the Garden Wall’. Meanwhile check out my earlier posts about this 8 step system.

Structural Analysis of Spirited Away

I have been studying story structure recently, primarily using the writings and YouTube interviews of John Truby and Christopher Vogler as guides. Having fine tuned my story structure awareness I sat down to watch one of our family favourites; Spirited Away. My kids love Spirited Away, an animation from Studio Ghibli. If you haven’t watched it yet, you may prefer to fix that before you read on as there will be spoilers.

Here is my very rough breakdown of the story through the Hero’s Journey structure:

The Normal World:

They are travelling to a new home, new city, new school. Chihiro is scared – nobody mentions fear specifically until the end of the movie, but we see at the end it’s all been about Chihiro’s fear. She is cranky in the back seat of the car. They pass some shrines etc. Hints that there is another world (of spirits) beyond their reach. Dad drives recklessly fast, scaring everyone! They stop abruptly at the point of transition into the magical world. A squat stone statue guards the threshold.

Chihiro refuses the call:

Several times she says NO, she won’t go in there. She doesn’t want her parents to go either. She’s scared. The parent’s go anyway and she is forced to follow – being alone is even more frightening than following them. 

The Magical World:

There is a wonderfully creepy transition, into the spirit world. Everything seems normal, but a strange wind seems to draw them in from the normal world and push them out the other side. There is a long grassy climb until they reach the derelict theme park buildings. 

The REAL transition between worlds happens when the parents eat the spirits’ food. They’ve eaten the food and become part of the magic; they turn into pigs sooon – but first Chihiro, who has refused their invitation to eat, prefers to explore while they eat. It’s a benign place until she meets Haku (Mentor, ally?), who delivers a frightening warning; she has to leave NOW before sun sets…. which instantly happens and the movie takes on a more creepy tone. The sky darkens, lights and sounds emerge from the derelict buildings. Returnign to her parents, Chihiro sees the half visible shades of spirits emerging for the night. Her parents have turned to pigs and she can’t get back because the spirit river has closed over the real-world’s grassy plain. She’s trapped. As the spirit world gains substance, she loses it. Her hands and arms become transparent – she is vanishing as she is not yet part of this world. Haku finds her and makes her eat a berry from the spirit world to help her regain solidity. He tells her she must work in the spirit world if she wants to stay and save her parents. He gives her instructions.

Testing Allies and Enemies, Exploring the world:

 Chihiro meets the spider guy, Kamachi, who seems scary, but she shows her pluck with the soot sprites. She doesn’t understand the spirit world system yet, but Kamachi is impressed by her attempts. He thinks she has the courage to make it in spirit world. So when Linn arrives Chihiro gets his recommendation. We the audience have witnessed her fear to get to him, witnessed her overcome her fear to help try working with the soot sprites and hear Kamachi’s recommendation to Linn. She’s set up to challenge more fears in this creepy spirit world, but her new ally Kamachi hands her over to Linn, who seems hostile.

Chihiro follows Linn up the lift. Linn covers for her (becoming an ally) and then takes the rest of the journey alone to meet Yubaba to ask for a job. 

Yubaba is REALLY scary, but Chihiro keeps her nerve, and gets a job. She signs away her name, and becomes Sen. 

Haku arrives and seems hostile to Sen. Has he become an enemy?

The challenges:

Here’s where Chihiro Sen begins 3 major challenges.

Challenge 1: A location specific challenge – working in the bathhouse. Sen gains Yubaba and everyone else’s respect when she bathes a difficult customer. Linn further reinforces her status as an ally, by helping.

– Sen earns respect AND the customer gives her a gift. A special boon! A magical tool that will become useful later – it’s a medicine ball. 

– She nibbles some of it later on – it’s gross. It isn’t specified, but perhaps the medicine helps to weaken Yubaba’s magical grip on her (as it will do later for Haku). Power upgrade!

At this point the parent-pig story is expanded. Haku in boy form takes her to see her parents and warns her not to forget what they look like if she wants to save them. She’s scared and shouty. Haku gives her some magic rice to help her feel better. She eats and cries out the last of her fears. Haku is an ally again. He gives her back her real-world clothes; she will need them to get out of the magical world. In her pocket she finds her name; Chihiro. She has regained the power of her identity, and has shed the last of her weepies. That’s a courage and power double-upgrade! 

Callenge 2: A challenge caused by her own error – Sen lets a Noface into the bathhouse, thinking he’s a customer. The Noface causes havoc. It absorbs the greed endemic to the bathhouse and becomes greedy. Only one person resists his gifts; Chihiro. Chihiro takes only what she needs, and declines the offer of more, so Noface can’t gain control over her through greed. He doesn’t know any other way to get people to notice him. He is lonely. Instinctively he only really wants Chihiro, the person who doesn’t make his greed worse. 

– Sen cannot solve this problem yet. It must develop, while she is distracted by Challenge 3:

Challenge 3: While the Noface problem grows, distracting the bathhouse staff, an attack is made on dragon-form Haku. He is savaged by magic paper ‘birds’. Chihiro rescues him, but he falls beyond her reach. Yubaba’s giant baby tries to stop her from going to his aid. One paper bird sticks to Chihiro’s back and, secretly, helps her find a way into Yubaba’s chamber though a high window. Is the paper bird an enemy or an ally?

There is a confrontation between Giant Baby, Yubaba’s twin sister, Zaniba (projected by the paper bird). She seems hostile. She transforms Yubaba’s baby into a mouse. Haku destroys the paper bird with his tail and falls into a ventilation shaft with Chihiro clinging to him. They land in the spider guy’s room.

Chihiro gives Haku half of the medicine, and he coughs up Zaniba’s magic seal, plus a little curse in the form of a slug, which Chihiro squishes, thus breaking Yubaba’s spell that controls Haku – Haku is free of one bond, but another remains; he still does not know his real name. She decides to return Zaniba’s seal, which means taking a long journey. Her parent-pigs will have to wait for her to return to be changed back into human form. Thanks to her courage upgrades, she can now handle walking away from her pig-parents. But she can’t leave yet; she still needs to deal with Challenge 3. Spider guy (Kamachi) gives her a train ticket (another boon!!)

Linn arrives to say that Yubaba needs Chihiro to fix the Noface problem. Chihiro courageously goes to face the results of her mistake (Challenge 2). 

Back to Challenge 2: Noface is huge, sick and insane. He wants Chihiro. He says he’s lonely. He tries to give her gold, but she doesn’t need it. She needs to go – he can’t control her and so he gets angry. He wants to eat her. Chihiro gives him the last of the medicine, which she had been saving for her parents: That’s very brave and selfless, given that the pig-parent situation has been her primary concern for much of the story. The Noface thinks Chihiro poisoned him and makes chase. Chihiro runs through the bathhouse. Noface barfs up black gunk and people until he regains his normal size. Chihiro leads him out of the bathhouse and meets Linn who is rowing a curricle. She takes Chihiro to the railway platform. The giant-baby-now-mouse accompanies Chihiro on her journey. The Noface follows her. He is safe again, outside the bathhouse and Chihiro lets him go on the train ride with her too. 

– There is a long journey through the mysterious magical world, on the spooky shadow train to get to Zaniba’s house in Swamp Bottom. Zaniba is expecting them, and seems nice; no longer hostile. She welcomes them in, feeds them and teaches them to spin. She becomes an ally / mentor, and advises Chihiro to try to remember when she met Haku in the past, as this will help him. Chihiro despairs – she can’t remember, so she won’t be able to save Haku or her parents.  

– Haku arrives. Zaniba gives Chihiro a gift (a protective magical hairband woven by her friends). Chihiro and Giant-Baby-Mouse fly home. On the way Chihiro remembers a similar feeling, when she fell into a river as a child. She realises that Haku is the spirit of that river. She gives him back his name and they fall to earth together. Haku knows who he is and remembers why he can’t go home – his river was filled in long ago. But now he is truly free. 

Return:

She has succeeded in every challenge except one: She must save her parents. 

Back at Yubaba’s bath house, a test awaits her. Chihiro must choose which of the pigs are her parents. She looks at them. She says that none of the pigs are her parents. She is correct! Yubaba’s contract crumbles magically to dust.

Haku tells her that when the spell broke her parents woke up on the real world side of the theme park. She must hurry. She must not look back until she’s through the tunnel. At the gatehouse she almosts looks back, but she presses on instead, and…

…finds her parents waiting for her. They chastise her for wandering off, and have no recollection of the adventure. 

They pass through the tunnel together and find that plants have grown up around their parked car. Parents think it’s a trick, but Chihiro knows better. She lingers, looking back towards the tunnel and her dad teases her “you’re not scared are you?” and her mum reassures her “Don’t worry, there’s nothing to be afraid of,” etc. Chihiro gets into the car. Dad says “Moving to a new home, a new school – it’s pretty scary when you think about it.” Chihiro says “I think I can handle it.”

The end. 

Over the Garden Wall: Episode 3 Analysis

Episode 3: “Schoolhouse Follies”

I’ve been analysing Over the Garden Wall using Dan Harmon‘s 8 step structure, based on the observations and theories of Joseph Campbell. Most simple the steps are:

(1)You, (2) Need, (3) Go, (4) Search, (5) Find, (6) Take (cost), (7) Return, (8) Change

Wirt’s arc:

  1. You, Wirt
  2. Need to prove that you aren’t spineless
  3. Go – the ongoing hike to Adelaide of the Pasture halts when Greg wanders off…
  4. Search for Greg
  5. Find – Wirt finds a school and an opportunity to take revenge on Bea for calling him spineless.
  6. Take orders from Miss Langtree, Greg, Mr Langtree – everyone except Bea
  7. Return to the status quo – Wirt is still inclined to do as he’s told, but…
  8. Change – has demonstrated that he is not spineless

Greg’s arc:

  1. You, Greg
  2. Need to “have fun, change the world and make it a better place”
  3. Go to a local school for animals, but stay outside playing “old cat”
  4. Search for fun, sweetness and old cats.
  5. Find – Greg finds a gorilla, molasses and music.
  6. Take – Greg takes molasses and shares it out and sings. He incurs the wrath of Mr Langtree (cost). Later he steals Mr Langtree’s musical instruments.
  7. Return to the status quo. Jimmy Brown is back and Greg is still all about fun.
  8. Change – Greg had a plan that worked – a benefit concert!

 

Thoughts: The physical objective of the episode is clear “Go to Adelaide”; Greg sings a jolly song about it at the opening, but this is derailed when Greg wanders off, having acquired a new, more pressing need: to make the world a better, more fun place. Meanwhile, Wirt needs to prove he isn’t “a pathetic push over who relies on others to make all his decisions”.

Once again Wirt allows Greg wander off, and seems unconcerned about his safety. This is a major theme in the series: Wirt blames Greg for all their problems, but he is responsible because he repeatedly fails in his duty of care for his younger sibling.

We see Greg’s primary personality traits too: Living for the moment, with positive intentions but no common sense. However, there is growth in this episode as Greg successfully organises and leads a benefit concert to save the school.

Greg had his own objectives this time, which Wirt took no part in. Wirt almost skipped step 4, search, altogether while Greg searched hard for fun, sweetness, music and old cats.

Note: When one character goes light on the steps, or skips them, we need another character to bolster the structure.

Wirt proves that he is strong willed but at no point does he shed his inclination to do as he’s told. He enjoys being directed by Miss Langtree, and states at one point that maybe he’ll never give it up. Greg orders him out of the bedroom window, and he cheerfully complies. The next day, at the benefit concert, it is Mr Langtree’s command to “do something” that causes Wirt to lunge at the gorilla and save the day.

The episode ends with Bea telling Wirt to tie his shoelace – and he follows that direction too.

 

Over the Garden Wall: Episode 2 Analysis

Episode 2: “Hard Times at the Huskin’ Bee”

(1)You, (2) Need, (3) Go, (4) Search, (5) Find, (6) Take (cost), (7) Return, (8) Change

  1. You, Wirt, are lost in the Unknown with your little brother, Greg, his pet frog and new ally, Bea the bluebird
  2. Need help to find a way home
  3. Go to Pottsfield (rejecting Bea’s suggestion: Adelaide of the Pasture)
  4. Search for people – the village is deserted
  5. Find a population of creepy pumpkin-heads, cost: their freedom! For a few hours of manual labour – until a more sinister purpose is suspected; are they digging their own graves?
  6. Take – their freedom; Bea picks the locks.
  7. Return to their main objective, find a way home
  8. Change – Wirt changes his mind about Adelaide of the Pasture; maybe she can help.

Thoughts: The cost has shifted from step 6 to step 5, and although the pumpkin people turn out not to have murderous intentions, the escape is still a key point in this story.

This episode is a miniature of the whole series. It says “they’re trapped in a strange place, but they will escape after putting in some hard work”.

Remember the Aristotolean Tryptich? Discussed here in terms of public presentations:

“Tell them what you are going to say, say it and tell them what you said.”

This episode shows us the entire story: The macro level, series sized problem is that they are stuck in the Unknown, so the micro level, episode 2 problem is that they are stuck in Pottsfield. In both cases the solution is work – specifically team work.

Know now that YOU really are Wirt, that’s how protagonists in movies, TV and literature work. You read Pride and Prejudice; YOU are Elizabeth. You watch Lethal Weapon; YOU are Riggs. You watch Over the Garden Wall; you ARE Wirt. So Episode 2 is speaking to the audience, and to Wirt as one and the same entity. It is the episode in which GOD (Patrick McHale, creator of the OtGW Universe) shows you, Wirt, that you will get out of Unknown, but you must be patient, you must work hard, and you must work together as a team. And yes, God McHale says, it will be a creepy, beautiful and mysterious experience. People who seem menacing, may not be… and we have to suppose that the opposite may also be true (more about that in later episodes).

Did Wirt get the message? Well… did you? On first viewing? I did not. Not on a conscious level – perhaps subconsciously the seeds were sewn. The message that the team should work together, stick together and never give up hope is key to the conclusion of the series.

Did Wirt learn that? You’ll find out in episode 10.

So to recap:

Episode 1 opened up the Macro level (series sized) story cycle – it takes a deep breath at step 4 “search” which will play out across episodes 2 to 9 . Episode 1 does conclude it’s own micro level (episode sized) story cycle, but the macro level cycle will not move past step 4 until the last episode, to close the series loop and leave the audience satisfied.

Episode 2 employs the first step of the Aristotolean Tryptich – Tell them what you’re going to tell them. It teaches us that we will get out in the end; our problems will be solved if we learn patience, work hard, value our team and trust the right people.

Next time I’ll look at Episode 3, in which we discuss the sweetness of potatoes and molasses. The finding of lost loves, and that doing as you’re told doesn’t have to be a problem as long as you choose who’s direction to follow, and you are courageous in how you follow those orders… or something like that.

Feel free to comment.

 

Over the Garden Wall: Story Structure in 8 Steps

I’m obsessed with story structure right now. Last week I stumbled upon Dan Harmon‘s Channel 101 website, where he describes a simple 8 step structure, based on the observations and theories of Joseph Campbell.

He pares it down to it’s most basic, thus:

  1. You            – A character is in a zone of comfort
  2. Need         – But they want something
  3. Go              – They enter an unfamiliar situation
  4. Search       – Adapt to it
  5. Find           – Find what they wanted
  6. Take           – Pay its price,
  7. Return       – And go back to where they started
  8. Change      – Changed and capable of changing the world

During the same week I watched Over the Garden Wall with my kids, and as it felt like a nicely structured series I wanted to apply these steps to each episode, to see if it rings true, and to better understand how I might apply the system to my own work. It was a useful exercise and I had a couple of revelations along the way.

Dan Harmon says a TV series uses this structure slightly differently to a movie, the latter of which has a solid end, the former, needing to string out it’s ending across several episodes. Go and read it.

Today let’s look at Episode 1

****SPOILERS FOLLOW****

Episode 1: “The Old Grist Mill”

(1)You, (2) Need, (3) Go, (4) Search, (5) Find, (6) Take (cost), (7) Return, (8) Change

  1. You, Wirt, are lost in the forest with your goofy little brother, Greg.
  2. Need to find a way out of the forest
  3. Go to the woodsman’s mill
  4. Search – The whole series is a search, the primary goal being “get out of the woods”. Episode specific searches: (a) Greg looks for his frog, (b) Wirt looks inwards to search his feelings of melancholy, laying himself out on a therapist-style couch, and perhaps and perhaps (c) they want to learn if the woodsman is friend or foe
  5. Find – (a) Greg finds his frog, and a ferocious hound, (b) Wirt blames his brother for his woes, (c) the woodsman is an ally; he tries to defend them against the hound
  6. Take – They fix the hound, but (cost) wreck the mill. The woodsman sends them away (cost). Wirt blames his brother, but takes advice: that he is responsible (psycological cost)
  7. Return: They continue to seek a way home.

Thoughts:

This episode needs to introduce a number of key characters and concepts and so priority was given to beats 1, 2 and 3.

We might also consider that this episode hangs open at beat 4, so that all the episodes that follow are the search phase: The series objective being the search for a way home. The next 8 episodes are a piece of beat 4, each is broken into a subset of the same 8 steps.

This open sequence will be closed by the last episode which is light on steps 1 – 4 but works hard at step 5 – 8 to wrap things up.

Thus Episodes 1 and 10 are the frame for the entire series, each placing emphasis on their appropriate halves of the 8 step cycle. We’ll look at that again when we get there.

Nevertheless, there is complete 8 step cycle, in this episode, with a search for a missing frog, the found frog and the found monster dog, the taken advice (Wirt is responsible for his and his brother’s behaviour) and the cost of the woodsman’s support. The woodsman knows it, and we will learn by and by that Wirt needs to take responsibility for his own actions. This is the first direct look at Wirt’s psychological problems.

Next time I’ll look at Episode 2, and we will start to see how each episode explores Wirt’s moral (external) or psychological (internal) problems, in quirky ways, that I frankly didn’t notice the first time watching, as we were just too busy enjoying the wackiness of the world and it’s characters.

I hope that made sense! Feel free to comment.

Write Beginnings; Beginning Right

When I first sit down to write a new story, the beginning is just for me – a way to hack into a new world, meet new characters and discover the story hidden therein. I return to my beginning every time I get stuck, to upgrade something lacking. I guess, until the story is finished there will continue to be something lacking, because a good beginning must set up a pattern for the entire story to follow, all the way to its conclusion:

If I don’t know how it ends, I can’t know what is missing from the beginning.

Lisa Cron discusses the brain’s preference for pattern over chaos. Our brains, she says, are obsessed with pattern. Neurologically it’s a survival strategy; we recognise and adopt patterns of behaviour that are more likely to raise our chances of survival.

We look for pattern in everything, not least our fiction – and when we find patterns, we get a sweet dopamine hit, that keeps us returning for more.

What if there’s no pattern? Or if there are pattern-like scraps of information that don’t actually add up to anything? Lisa Cron says your brain gets bored in the first instance, and positively distressed in the second.

Why distressed? Because our expectations are dashed. Ever offered a piece of candy to a little kid, then popped it into your own mouth? You don’t have to try it to know what the most likely result would be. Your brain is a bit like that kid: It wanted a pattern, a puzzle – which is essentially what a story is – but you didn’t deliver.

And so beginnings are there to set the pattern; to demonstrate what kind of problem your protagonist faces and perhaps even suggest what the ultimate solution will be. It does other cool things too – it introduces people, places and themes jigsaw piece by jigsaw piece, so that our pattern hungry brains can compile the puzzle as we read along, getting little dopamine hits with every new discovery, until the last page, the last scene, when the very last piece of the puzzle brings us full circle: Back to the beginning where we can finally put that first piece of the puzzle into position, and see the whole beautiful pattern…

…and the really wonderful thing is that for the most part, our readers are utterly unaware of this magic that we weave. It’s happening on a subconscious level. We writers need to be fully conscious of these neurological needs to give the best possible reading experience.

That’s it. The end. Now I’m going back to work on my beginning again because I haven’t decided how, where, or if to place a particular letter there, or not. Wish me luck!

 

 

 

 

The science of story

Wired for Story: The Writer’s Guide to Using Brain Science to Hook Readers from the Very First Sentence, by Lisa Cron.

I love reading these books. It’s true that once you’ve read three or four or five or six or ten or more you’re getting the same key information, rephrased according to each author’s style and objectives. I like that. It reinforces the key lessons, without getting dull. I can’t read them enough – each time I do my mind runs over my story analysing it for flaws or generating new ideas, and each different authorial perspective improves my understanding.

The same is true of this book; Show don’t tell, kill your darlings, keep it thematically relevant, and so on. It’s all there. So what’s the difference? Here’s the juicy blurb from the rear of the book:

“Imagine knowing what the brain craves from every tale it encounters, what fuels the success of any great story, and what keeps readers transfixed. Wired for Story reveals these cognitive secrets–and it’s a game-changer for anyone who has ever set pen to paper.
The vast majority of writing advice focuses on “writing well” as if it were the same as telling a great story. This is exactly where many aspiring writers fail–they strive for beautiful metaphors, authentic dialogue, and interesting characters, losing sight of the one thing that every engaging story must do: ignite the brain’s hardwired desire to learn what happens next. When writers tap into the evolutionary purpose of story and electrify our curiosity, it triggers a delicious dopamine rush that tells us to pay attention. Without it, even the most perfect prose won’t hold anyone’s interest.
Backed by recent breakthroughs in neuroscience as well as examples from novels, screenplays, and short stories, Wired for Story offers a revolutionary look at story as the brain experiences it. Each chapter zeroes in on an aspect of the brain, its corresponding revelation about story, and the way to apply it to your storytelling right now.”

I think this book delivers on its promise. If you’re curious, but not ready to invest you can see Lisa give a TEDx lecture that covers the basics nicely:

Wired for Story: Lisa Cron, TEDx lecture

Here another one I rate highly:

Story: Substance, Structure, Style and the Principles of Screenwriting

Author, Robert McKee, provides helpful examples and well reasoned logic to back up his advice. I have this as an audiobook and it’s still great after three listens.

It’s a shame that Lisa Cron’s book is not available through Audible yet, as I find this a useful medium to imbibe writerly advice: all those unproductive moments (in writing terms) while I’m cleaning house or commuting, become valuable opportunities to reinforce writing skills and to think over the work in progress.

What are your favourite writers reference books? Why?

 

 

 

Confession

Confession: I’m a terrible self critical writer. My inner editor sent me back to the beginning of my story and I went meekly. I’m told to press on, but I can’t. I think my inner editor has a great point: Flaws in early scenes disable the story later on. I have to fix the beginning to break through the 27000 word roadblock.

I blame my protagonist: she was spineless. Exciting things happened to her. Other, more motivated or decisive characters pushed her into the way of adventure, but she didn’t have the courage to make plot-shaking decisions of her own.

Her spinelessness is a natural consequence of my seat-of-the-pants writing style. I don’t know what’s coming next and rely on other characters and events to lead the way, to show me where the story is going.

That was great, and got me into the heart of the story world, exposed key themes and produced compelling characters. But now I have reached the point where my protagonist needs to take charge, to make risky decisions… or else just go home, return to the status quo having declined to choose a riskier, more adventurous path. Yawn…

Time for a protagonist make-over.

I’m giving her more willpower, more courage, and when I rewrite my way back to the 27000 word mark I expect this gumption-upgrade will carry my protagonist and her story past it’s 27000 word roadblock.