writing - Steven R. Southard (Poseidon's Scribe)

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Writing the Tough Scenes

Sometimes, you need a certain scene for your story, but you just can’t write it. Has that happened to you? Something about the scene gives you the Blank Screen Blues. Words won’t flow. The idea of writing the scene repels you. You invent excuses not to write.

Most likely the problem is one of the following kinds:

1. There’s a ‘story problem’ where the plot isn’t fitting together, or you need a character to do something that character wouldn’t do, or the scene’s setting is wrong.

2. The scene involves a subject or action you find disgusting or abhorrent.

Story Problem

This blog post provides a good five step process for overcoming ‘story problems’ that keep you from writing a scene. Here are the steps in brief, though you should read author Rocky Cole’s more detailed descriptions:

1. Determine why you need the scene.

2. Decide what characters are in the scene and what they want.

3. Decide on a location and time for scene.

4. Figure out how the scene starts and ends.

5. Write the dialogue first, then fill in the rest.

Distasteful Topic

There are certain topics that are difficult to write about. These vary from writer to writer, of course, but can include abuse, alcoholism, death, rape, sex, suicide, violence of other kinds, etc. Some writers find it easier to write about violence to a human than to certain animals.

Sometimes the act depicted in the scene is necessary to the overall story, so you know it’s coming up as you write along. You figure you’ll be okay when you get there, but then comes the day to write that scene and it’s just not happening. You can’t bear to put the words down.

You might be tempted to take the scene offstage. That is, don’t write it, but continue with the following scenes, where the characters recover from or react to an event that happened during an interval between the last scene and this one. You figure that, with enough context, the reader will fill in the gap.

According to the advice offered on this site, that’s a bad idea. The whole idea of fiction, the thing that keeps it interesting to readers, is the notion of characters in conflict. If you take the conflict offstage, you’re keeping your reader from seeing how your protagonist reacts to real difficulties.

I agree with this. Say you can’t seem to write the fight scene where your hero faces the villain. In a way, your own bravery is in question, more so than that of your hero. You need to face your villain, the unwritten scene itself.

Commenters on a Nashville Writers Meetup forum agree too, and recommend just buckling down and using the emotions you’re feeling to write the scene. One quotes novelist Sarah Schulman as saying “If it doesn’t hurt, you aren’t doing it right.”

Along with other blog posts on the subject, this one by author Kelly Heckart emphasizes the need for you to force yourself to do what’s right for the story.

In this forum site, one contributor suggests you might be focusing on your own emotions, your own reaction to a disagreeable act. Instead, concentrate on the reactions and emotions of your characters; that might give enough detachment to allow you to write the scene.

Speaking of detachment, author Linda Govik recommends that you set the whole story aside for awhile, even a year. You might find it easier after that time to write that troublesome scene.

Yet another way to achieve the necessary detachment is offered by the author of this post who recommends thorough research of the disagreeable topic as a way to gain more comfort with the notion of writing about it.

You know what they say: “when the writing gets tough, the tough get writing.” Well, maybe they don’t say it, but I’ve heard it said by—

Poseidon’s Scribe

June 1, 2014Poseidon's ScribePermalink

Life is But a Theme

Long-time readers of this blog have noted that I’ve explored four of the five components of fiction—character, plot, setting, and style. There’s been quite a clamoring for me to complete the set, and today I’ll do so by discussing theme.

You can think of the theme of a story as the central topic, the universal idea or message, the overall lesson or moral. I’ve said before that all stories are about the human condition and that’s because we choose human themes. Until we deal with other sentient entities, that’s all we really have.

Here’s another way to think about theme. It’s easy to identify the characters, plot, and setting of a story. Think of those as the ‘real life’ parts of the story, the parts you can visualize with ease. Now imagine key parts of that ‘real life’ getting mapped to a different plane, a place of Platonic ideals. Imagine lines connecting specifics in the story to generalizations in the other plane, concrete items linked to a realm of abstract concepts.

For example, an old woman in a story is linked to the idea of Age itself. A young man going through his first experience of adulthood is linked to the idea of Coming of Age. The growing love between two characters maps to the idea of Falling in Love. You get the idea.

There needn’t be only one theme in a story, and often you can identify more than one. Also, it isn’t necessary for the writer to spell out what the story’s themes are; in fact it’s much better to allow readers to infer them.

Let’s identify some themes in famous literature. Take 1984 by George Orwell. It includes themes such as ever-increasing government control, the loss of individual freedom, and the dangers of advanced technology.

Consider Love Story by Erich Segal. Some of its themes include the idea of opposites being attracted to each other, the sacrifices made for love, the rebellion of a child against his parents, and the notion of love conquering all adversities.

One of my favorites, 20,000 Leagues Under the Sea by Jules Verne, also contains themes. These include the dangers of advanced technology, aiding the oppressed against oppressors, and the notion that revenge can drive you insane.

Is it possible to write a story without a theme? I’m not sure. Even if the writer has no particular theme in mind, readers and critics can likely discover themes the author didn’t intend, but are nevertheless present.

For a beginning writer who’s overwhelmed by the amount of writing stuff to remember, I suggest concentrating on character, plot, and setting (in that order of importance) without focusing on theme or style as much. Chances are a well-written story will have one or more themes, even if the writer doesn’t consciously strive toward one.

As always, post a comment if you agree, disagree, remain confused, or are just thankful that all five components of fiction have finally been addressed by—

Poseidon’s Scribe

May 25, 2014Poseidon's ScribePermalink

Do You Know the Ropes?

For any job, there’s a body of knowledge and a skillset you must acquire before you can do it well. Having that knowledge is called “knowing the ropes,” ever since the time when sailors aboard tall ships had to know which line trimmed which sail.

You want to be a writer? You’ll have to know the ropes of that profession, at least to some extent. Just as a sailing ship’s ropes seem confusing at first and more understandable after time spent studying, so the ‘ropes’ of writing can be learned. Specifically, I want to address those tricky English language rules you learned long ago in grade school and have since forgotten.

Why is it important for you to re-learn those rules? If you send your story to a publishing house, and the editor sees you haven’t mastered the basics of English, it won’t matter how compelling your story is. It’s just not worth the editor’s time, so your story gets rejected. If you self-publish, your lack of knowledge will be out there for readers to see. Your story might be captivating, but readers get tripped up when you demonstrate an ignorance of English. You’ll get bad reviews.

Here are a few of those rules your Language Arts teacher tried to instill:

Affect and Effect. Usually, ‘affect’ is a verb meaning influence, while ‘effect’ is a noun meaning result, as in: Adding salt affected the taste, which produced a satisfying effect on her palate.
Farther vs. Further. ‘Farther’ refers to linear distance only. ‘Further’ refers to types of extent other than distance, as in: As he watched her run farther in the marathon, his excitement increased further.
Its vs. It’s. “It’s” is an exception to the rule about apostrophe-s indicating possession. In this one case, “It’s” is a contraction for ‘it is.’ Use ‘its’ for possession, as in: The dog gnawed its bone.
Lie and Lay. This one’s complicated, but in present tense, use ‘lie’ when there’s no direct object, and use ‘lay’ when there is (when you lay an object down). I’ll lay this pillow here, and then you can lie down on it.
Punctuation inside or outside quotes. Commas and periods go inside quotation marks; semicolons and colons go outside; exclamation and question marks go inside if part of the quotation, and outside if not.
That and Which. ‘That’ introduces restrictive clauses and ‘which’ introduces nonrestrictive clauses as in: The blogpost that elicited the most comments was the one about English rules, which can be confusing. The clause after ‘that’ restricts the sentence’s meaning; the clause after ‘which’ doesn’t.
Very Unique. ‘Unique’ means one of a kind. Therefore nothing can very unique, or quite unique.
Was vs. Were. Use ‘was’ for verbs in the indicative mood, where you’re stating something that is or could be true, as in: If I was to go to your place this afternoon, we could watch the game. Use ‘were’ for verbs in the subjunctive mood, where you’re stating opinions, wishes, etc., as in: If you were a player on the team, you’d get me free tickets to every game.

These are just some of the tricky English rules you need to know. I know it seems confusing, and you might be tempted to give up writing. But if the story’s in you and wants to get out, you won’t give up.

You can learn the ropes by any or all of these methods:

Join a critique group, and benefit from the knowledge of other amateur writers
Take an adult English class at a local community college
Use a word processor that highlights grammatical mistakes and poor word choices
As you write, if you’re unsure of the proper usage or phrasing, mark the sentence for later review, and look up the answer on a trusted website.

You don’t have to know all the ropes, but enough so your editor doesn’t gag while reading your manuscript. As for me, I’m no English teacher, I’m just—

Poseidon’s Scribe

May 18, 2014Poseidon's ScribePermalink

Cover Teaser

Here’s the amazing cover designed by artist Charlotte Holley for the next book to come out in the What Man Hath Wrought series. The book contains two stories: “To Be First” and “Wheels of Heaven” and will be published by Gypsy Shadow Publishing.

The image captures the essence of both stories and is aesthetically engaging. As for the stories themselves, I’ll post more info about them as we get closer to the book’s launch date, currently planned for July 1st.

Sorry to leave you in suspense about the stories, but I’m actually thinking of your welfare. Too much excitement and anticipation too early could be harmful to your psyche, so I’ll release information in stages to avoid such damage. No need to thank me; it’s all part of the services provided by—

Poseidon’s Scribe

April 28, 2014Poseidon's ScribePermalink

Eating the Elephant

Is it better to write a short story all at once or over a period of several days? Since each method has its advocates, the question is worth examining.

Everyone knows the adage about the proper way to eat an elephant—one bite at a time, meaning you should break down any major endeavor into manageable tasks and patiently accomplish the tasks. How does that apply to short stories? Let’s hear from both sides in this furious debate.

Mr. One-Sitting Writer:

Forget about elephants. A short story isn’t an elephant. The reasons you must write the first draft of your short story all at once are as follows:

1. You have to capture the mood of the inspiring moment. Enthusiasm is a fleeting thing. When you’re in the mood to write, when you’re consumed by the power of the idea, that’s the time to get it all down. That’s when you’re most likely to get in the zone when the words flow best. Tomorrow you won’t feel the same way. You’ll lose the moment forever.

2. Your readers expect consistency throughout your story. They want a constant tone or mood. The best way to achieve that is to write the first draft all at once. Readers will sense when you haven’t done that and it will lessen their enjoyment of the story and lessen your chance of future sales.

3. There’s a certain romance in staying up late at night and into the morning to type at the computer or scribble on paper. Didn’t all great writers do this? Aren’t all the best stories fueled by nocturnal spirits conjured from the wisps of steaming coffee cups? In that final surge of energy when you type “The End,” compose your e-mail, and hit Send with thirteen seconds to go before the deadline, you know you’re completely spent, and you are channeling the spirits of the best authors of all time.

Ms. Bite-at-a-Time Writer:

I notice Mr. One-Sitting Writer didn’t talk much about how he performed at his day job the next morning. Maybe writing is his day-job and he can afford to sleep late and rest up for his next bout of binge-writing.

Those of us in the real world have lives. We have responsibilities other than writing. We have jobs and families, appointments and duties. We love writing as much as he does, but we have to fit it into the nooks, squeeze it into the crannies of time we can spare.

He made three numbered points; I’ll do the same:

1. I agree it’s best to write a story when you’re wrapped up in the enthusiasm of the idea. If the story is short enough, and if your schedule allows enough time, by all means write the first draft in one sitting to preserve the tone and feel throughout the story.

2. If you can’t do that, then here are a couple of tricks to try:

a. Stop for the night in the middle of a sentence, a sentence for which you know how it should end. You’ll remember that tomorrow and be able to pick right up from there.

b. At the start of your allotted writing time for the day, review the last few pages you wrote. That will help you recapture the mood so you can continue in the same vein.

3. The romance of staying up late to write? Please. I did that a few times in college to finish assignments on time, but it was never my best work. Plus, I’m not as young as I was then.

As for me, Poseidon’s Scribe, I work like Ms. Bite-at-a-Time Writer, but wish I had the time to work like Mr. One-Sitting Writer. You’ll have to take your pick based on your circumstances and what works for you. That’s today’s discussion on elephant-eating by—

Poseidon’s Scribe

April 27, 2014Poseidon's ScribePermalink

Just Your (Writing) Style

Style is one of the five fundamental elements of fiction, along with character, plot, setting, and theme. It’s also the most difficult of the five to explain or understand.

I like to start my blog posts by defining terms, but this time I’ll let the definition of style emerge as we go. For now, I’ll say that every author writes differently, with certain identifying characteristics. In theory, if we took a sufficient random sample of any single author’s writing, we could identify the author by the style.

According to Wikipedia, the components of style include: Fiction-writing modes, Narrator, Point of View, Allegory, Symbolism, Tone, Imagery, Punctuation, Word choice, Grammar, Imagination, Cohesion, Suspension of disbelief, and Voice.

Each item on that long list does contribute to style, but some are more important than others, and some are more characteristic of a particular story than of the author’s general manner of writing.

To me, the major characteristics of style are Tone, Word choice, and Grammar:

Tone is the attitude displayed by the writer toward the subject matter of the story.
Word choice, or diction, relates to the author’s vocabulary. Does the author stay with simple, understandable words or employ arcane words? Does the author embellish with adjectives and adverbs, or let the nouns and verbs do the work?
Grammar is all about the structure and logic of sentences. What sentence patterns and lengths does the author prefer?

Although your style may change as you mature in your writing, readers like it better when authors maintain a consistent style. Style can set you apart from all other writers; it can be the factor that keeps readers buying more of your books.

If you’re wondering how to go about creating your own style, I recommend you read the list created by author David Hood in this blog post. His eleven-item list can seem intimidating, so just focus on items 1, 2, 3, 5, and 7. I think if you learn the rules of writing, expand your vocabulary, read a great deal, experiment with different styles, and learn about literary techniques, your own style will emerge naturally.

What’s more, you shouldn’t have to work too hard to continue using your newly discovered style. It should flow from you in a natural way. Unlike your stories, which are overt acts of creative effort, your style is something that should emerge. In a sense, you’re unleashing it, not creating it. Even if it does require a little effort at first, in time it will get easier.

Perhaps you’ve gotten a better understanding of style now, that signature or fingerprint that identifies you and separates you from other writers. With any luck, readers will love your style. For now, I’ll sign off in the usual style of—

Poseidon’s Scribe

April 13, 2014Poseidon's ScribePermalink

Dreaming of Success

Do you fantasize about being a best-selling author? If so, what form does your daydreaming take? Are you being interviewed by a famous talk-show host? Receiving a call from someone in Hollywood who wants to turn your story into a movie? Throwing a huge book launch party? Swimming through money in your mansion’s vault?

Today’s ramblings are about whether your Walter Mitty-type flights of fancy are helpful or harmful.

First of all, I think such dreaming is normal. It’s typical when a person embarks on any new endeavor. It’s natural to wonder, “What if I turn out to be really, really good at this?” My guess is that everyone considers this question whether they’re throwing a football, playing a piano, or writing a story. After all, someone has to be the world’s greatest, and maybe it could be you.

Further, some experts see the practice of visualizing future success as useful, even necessary. Sports trainers often urge players to imagine succeeding on the field or court. However, I believe the focus of such training is on actual moves or plays while engaged in the sport; the players are not encouraged to dream about lofting trophies high in the air while confetti rains down.

If you’re a beginning writer who envisions instantly skyrocketing to the New York Times bestseller list, it’s important to understand that such stratospheric success is a low-probability thing. The overwhelming majority of authors get nowhere near that.

However, I’ll be the first to admit that such literary victories, however rare, are possible. In my view, though, if you do become a famous writer, it won’t be because you daydreamed about it first.

Here’s my list of ways you can know if your dreams of success have become harmful to you as a writer:

The fantasies take time away from writing.
You begin to see your visions as the measure of your success.
Fame or fortune becomes your sole goal, rather than becoming the best writer you can, or creating the best stories you can.
You become disappointed or frustrated when you can’t achieve the exact scene foretold in your dreams.
The dreams become a fixation, a dominant part of your life.

On the positive side, here’s my list of ways you’ll know that such dreaming is okay, or even helpful:

Your flights of fancy are occasional.
You see your daydreams as motivational and inspiring.
After your visualizations, you feel like writing.
You understand that your visions represent unlikely events, and you regard them as fanciful, innocent fun.

When the glittering fame and fortune of your imagination collides with the dreary reality of long, solitary hours spent writing followed by numerous initial rejections, it’s important that you learn certain things:

1. You can enjoy writing for its own sake. The goal is a well-crafted story, not any accolades that might ensue.

2. Two of the prime factors determining whether you’ll be a well-known author are skill and luck. You can work to improve your skill. You can’t control luck.

So dream your dreams, novice writer, but keep a bit of perspective about the whole endeavor. Now, if you’ll excuse me, I have to try on my tux and practice my acceptance speech for the big award dinner. Or perhaps that’s all in the mind of—

Poseidon’s Scribe

April 6, 2014Poseidon's ScribePermalink

Interview with the Adjective Expert

Recently I had the honor of interviewing Amber Wise Savage, President of the English Language Adjective Council (ELAC).* Following is the entire text of that interview:

Poseidon’s Scribe: First of all, Amber, welcome to the world of Poseidon’s Scribe and thank you for consenting to this exclusive interview.

Amber Wise Savage: You’re most welcome, and many thanks for the superb opportunity.

PS: Let’s start with the basics. Please tell us about adjectives.

AWS: I’d be happy to. Adjectives are describing words. They modify or qualify nouns and noun phrases. They make up about a solid quarter of all English words. That’s only half the number of those over-plentiful nouns, so we have some catching up to do.

PS: Catching up? Do you think the language needs more adjectives?

AWS: Of course. The current number is meager, scanty, and insufficient.

PS: But don’t you think fiction writers should be sparing in their use of adjectives? Not every noun needs an adjective, after all.

AWS: I disagree. I’ve never seen a noun that couldn’t benefit from two or three choice adjectives.

PS: That used to be true, certainly, when authors used long and flowery descriptions, but don’t today’s readers prefer prose with unadorned nouns and powerful verbs? Don’t adjectives slow down the pace?

AWS: What a dreadful thought, and quite false. Fiction would be bland, barren, and dull without adjectives.

PS: But you’d agree that most adjectives tend to tell, not show, and writers are always being told to show, not tell.

AWS: Again, indisputably false. Writers whose fiction tells too much should not blame innocent adjectives. In like manner, in fiction that shows, you’ll always find well-placed adjectives there, shouldering their share of the burden.

PS: I can see why you’re President of the ELAC. You must acknowledge, though, that some adjectives are used in a redundant way, pleonasms such as closed fist, exact same, and new invention. Also, there are some worthless adjectives that do nothing to modify a noun, weak and ineffectual words like comely, foolish, lovely, pleasant, pretty, stupid, and wonderful.

AWS: For every poor use of adjectives you could cite, I could give you a myriad examples of excellent adjectives that give crisp, focused meaning to their nouns.

PS: I’m sure that’s true. On that note of agreement, I’d like to thank you, Amber Wise Savage, for joining me today. You’re an effective advocate for adjectives everywhere.

AWS: You’re welcome. It’s been…interesting.

Well, that was something. You readers of my blog will have to form your own opinion. Other good blog posts about the use of adjectives in fiction are here, here, here, and here. Amber and I disagree about the extent to which fiction writers should use adjectives. But you’ll have to decide who you’re going to believe, a paid proponent of adjectives, or—

Poseidon’s Scribe

* Not a real person. Not a real council. No interview took place. Some of the facts are true, however.

March 23, 2014Poseidon's ScribePermalink

Cliché Okay, or So Passé?

Every writer tells you to purge clichés from your prose (and I will too), but then those same writers go ahead and use clichés in their own books. Sadly, I have too. That’s not due to intentional hypocrisy; it’s just that the nasty critters are so darn hard to eradicate.

What’s a cliché? It’s an overused expression or phrase. Before becoming a cliché, the short collection of words started out being clever. The original author discovered a compact, understandable, shorthand way of stating an idea. The trouble began when others liked the phrase and repeated it. Over and over. Eventually readers got sick of it. The expression lost its freshness and became annoying.

Apologies up front—I have used some clichés in this very blog post. Again, it’s just because the infernal vermin can be difficult to spot and exterminate.

You can understand why it’s unwise to use too many clichés in your writing. They mark the work of an unimaginative and lazy amateur. Such writers just go for the easy, readily-available, (and perfectly apt) phrase instead of thinking deeper about fresh, new ways to express the same thought. The prose comes across as tired, hackneyed, trite, and stale.

Your first draft may contain clichés by the bushel-full. That’s because you were writing at full speed to get the basic thoughts down, knowing you would come back later. At that fast pace, you’re more likely to grab the convenient phrase that comes to mind, the combination of words you’ve heard a hundred times—the cliché. Make a point of hunting for them as you edit and proofread your later drafts.

The best place for spotting clichés is in descriptive passages, where you tried making a comparison between some object or situation in your story to a more real-world example familiar to the reader. Many, many clichés are of that type, handy for relating one ‘thing’ to another in a few, image-enhancing words.

How do you know if you’ve written a cliché? There are lists of clichés online, but by definition clichés are always being created and a few get forgotten through lack of use, so the real list is dynamic.

If you find one in your prose, what do you do? Probably the easiest thing is to delete it and substitute some non-cliché that conveys the same meaning. A more creative alternative is to give the cliché a clever twist, especially one that delivers your message even more exactly than the cliché would have. Consider the twist imparted to the cliché ‘passing the buck’ by President Truman when he posted a sign on his desk reading, ‘The buck stops here.’ Of course, that saying became famous enough and repeated enough to become a cliché itself.

When is it okay to use a cliché? I’d say it’s more acceptable in dialogue, since that’s the way people speak. You can also use them in book or chapter titles, but make sure they fit and are appropriate to the book or chapter text.

At the end of the day (cliché), when all is said and done (cliché), you’ve got the gist (cliché) of clichés and been put in the know (cliché) by—

Poseidon’s Scribe

March 16, 2014Poseidon's ScribePermalink

Technical Difficulties

I know I said my latest book, the two-story compendium of “Rallying Cry” and “Last Vessel of Atlantis,” would be released today, March 1st. I’ve just been informed that due to circumstances beyond anyone’s control, the book launch will be delayed a few days, perhaps as much as a week.

My many fans around the world, and on other planets, and those in alternate universes (I know you’re out there and that you read my stuff) must be disappointed. I assure you, no one is more distressed about this than I am.

Why the delay? The fact is, publishing an e-book is a complicated business, so I’ve been told. There’s the virtual ink to pour in, the imaginary rollers to align, the invisible type to set. There are gears that turn, levers that snap, boots that kick buckets over, marbles that roll down inclines into chutes, balls that fall into bathtubs, cages that catch mice. It’s very involved.

With all that bewildering complexity, it’s amazing that e-books get published at all, let alone on any kind of schedule.

Meanwhile, you were surfing to the various bookseller websites all day since midnight, searching for my book, ready to put it in your shopping cart and to hit ‘place order.’ And now you have to wait. I know what a frustration this must be.

But think how much worse things are for me. I’ve had to postpone the lavish book launch party, reschedule the reservations on the yacht, tell all the celebrity guests to come back in six days, delay the skywriter service and the fireworks team.

Still, I feel pretty bad about the whole thing. As a service to you, I’ll make some suggestions for fun things to do while you wait, things to take your mind off the anticipation.

1. You could buy and read any of my earlier books.

2. Read them all already? You could read one or more again. They are all good for re-reading since you can pick up subtle and enjoyable nuances you missed on first reading them.

3. You could peruse my earlier blog entries. You’ll find some real gems there.

It’s sad this has happened, but we’ll get through this challenge together, you and me. Think of it as just another of life’s little trials. Are you going to mope around, wallowing in misery? Or are you going to pick yourself up, shake off those blues, rise above your gloom and despair, and manage to make it through the day? Be brave, be resolute, and be patient.

I’ll tell you just as soon as the book is available, believe me. Soon enough your persistence and suffering will be rewarded and you’ll be the happy owner of the latest book by—

Poseidon’s Scribe

March 1, 2014Poseidon's ScribePermalink