Tag Archives: writing tip

Story Prompts to Get Unstuck

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I am not usually one who needs story prompts. I don’t mean for this to sound arrogant or bragging – it’s just that I’m usually so inundated by ideas that what I need is more time to write, not more ideas. But even us constantly-flooded-with-ideas folks get stuck now and then, or we want to take a break from current projects and try something new.

I’ve written a couple of posts in the past about generating ideas and breaking through writer’s block. I find that writing something else besides my current project can keep my mind in a writerly mode without it getting bogged down in whatever I’m stuck on.

I also started a Pinterest board with cool pictures and ideas for story prompts.

Another great source of inspiration for me is music. Sometimes ideas come to me while I’m listening to something, other times I purposefully play certain songs or tracks while I’m brainstorming. If you want to know what kinds of music get me going, here are some of my favorites.

I hope that some of these links can help you if you need prompts or brainstorming fodder. What are some of your favorite ways to get your creative juices flowing again?

The Nitty-Gritty of Writing: Tense

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It’s been a while since I’ve done a nitty-gritty of writing post. I often focus on general writing elements like spelling or grammar, but this time I want to gear this post towards fiction writers.

When writing a story, tense is very important. And I don’t mean “tense” as in dramatic tension (although that’s extremely important, too). By “tense” I mean “when is the story taking place.” Is the story told in the past tense, the present tense, or the future tense?

Past Tense

This is the most common way to write a story. It works well for either first or third person point of view.

“I smiled at Joe.”

“Dennis slammed the door behind him, trying to drown out the angry shouts.”

The first example is first person, with “I” telling the story; the second example is third person. But both are written in past tense, as if the action has already happened.

Present Tense

Again, this works for either first or third person narration.

“I smile at Joe.”

“Dennis slams the door behind him, trying to drown out the angry shouts.”

Present tense can have the benefit of putting the reader more directly into the story, because it gives the feel of the story happening right now. I’ve heard many arguments against present tense storytelling, though, saying that it’s less professional or less mature. I personally don’t have a problem reading it, but I think that present tense narration doesn’t automatically work for every story.

Future Tense

Obviously, this writing style would be told as if something were about to happen.

“I will smile at Joe.”

“Dennis will slam the door behind him, to try to drown out the angry shouts.”

Future tense is rather awkward, and I don’t think I’ve ever encountered a work of fiction told entirely in future tense. (If you’ve read – or written – one, please share!)

A Word of Caution

Most people know the difference between past and present tense and can choose the right forms of the words to use. However, the biggest issue I’ve seen in writing is a change of tense during the course of the story.

A lot of people will switch between present and past tense as they’re putting together their first draft. For a first draft, this is okay – the idea is to get the story out, not to worry about polishing it just yet. But I have read second and third drafts (and even finished, edited, and published pieces) where the writer keeps losing track of which tense the story is in.

Of course I’m not referring to a story that deliberately changes tense, as a way of making an artistic point or distinguishing between present scenes and flashbacks. Incorrectly switching tense would be something like this:

“Dennis slammed the door behind him. The angry shouts bother him, and he walks faster.”

I’m not trying to advocate whether past or present tense is better. I think that is a decision determined largely by the story itself, and the writer should be free to choose either one. But please, writers, do choose one and stick with it throughout the story.

Even if you try something far out like writing in future tense, consistency truly counts for a lot.

Stories about Stories

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I like stories, and so stories that are about stories seem doubly cool to me. I decided to analyze three of my favorite “stories within stories” and the different ways that this concept can be handled.

A Tale: “The Tale of the Three Brothers” in Harry Potter

I’ve read various cautionary articles about inserting a “tale” into fiction. Interrupting the flow of the plot for “storytime” can slow the action, take the reader out of the story, and is often a thinly veiled excuse for an unnecessary flashback. While all of these are true, I think there are still ways to use the “tale” inside a story without interrupting the main plot. Harry Potter and the Deathly Hallows does this very well with the “Tale of the Three Brothers.” One of the main things that makes it work is that this tale is vital to the rest of the main plot of the book. This tale isn’t an excuse for lame backstory or filler for a slow plot—without this little story-within-the-story, Harry wouldn’t learn everything he needs to know about the Deathly Hallows, which is vital to the rest of the story.

Plus, the tale was treated beautifully in the film. Honestly, it’s my favorite part of the movie:

 

Nested Stories and Flashback Tales: The Historian

If you’re not supposed to use tales within a story as an excuse for a flashback, then this book breaks that rule with every single chapter. This book is a bit unique, though, because the entire thing is a flashback within a flashback, and the different time periods of the story mesh perfectly to create the larger plot. I blogged about this book in a post I did about narrators, because all of the flashbacks are told in the first person, but by different people. This book isn’t really a good model for the average writer to follow, even though this author handled the writing style brilliantly. If you want to write a story within a story, it would probably be wiser to stick with a Harry Potter-esque “tale,” or a story about a story, as in the following example.

A Story about a Story: The Princess Bride

Since the book of The Princess Bride is very different from the movie—and probably more people have seen the movie—I’ll focus on the film for my example. The “main plot” of the story is the relationship of a little boy and his grandfather. Very little action happens, but there is character growth as the impatient boy realizes that his old-fashioned grandfather really isn’t as out of touch as he first thinks, and that they both share a love for a good story. The bulk of the movie, of course, is the fairy tale that the grandfather reads to the boy, The Princess Bride. The occasional hops out of the tale, like when the boy complains about the kissing scenes, are just frequent enough to remind the audience that this is a story within a story, but they don’t interfere with the flow of the plot.

Now over to you! Do you have a favorite “story within a story?”

Or a favorite Princess Bride quote? Just because.

How Do You Write?

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When I first started writing stories (back in elementary school, basically as soon as I learned how to read and spell), I of course wrote with pencil and paper. I kept up this method all the way through college, actually. I wrote my first drafts of stories and school papers on notebook paper with a pen (I graduated from a pencil sometime in high school, I think). Then when I typed it, I did some minor editing as I typed, and wound up with a second draft.

This method served me well for many years. Usually the changes and edits I made while typing were small, like a change in word choice, or cutting one line of dialogue. But still, it was a good exercise, and at the very least I wound up with a polished first draft, if not a full-blown second draft.

In my post-college years, I got away from that method – especially once I got a laptop with an up-to-date version of Word. First draft creation occurred with a keyboard, glowing screen, and red or green underlining if I made a spelling or grammatical mistake. After a while, I actually found it difficult to draft a new story with pen and paper.

A couple of years ago I started carrying a notebook everywhere, mostly for just jotting down ideas and notes as they came to me. I’ve written a few blog posts in that notebook, but that’s it when it comes to actual writing.

Then a few weeks ago I started working on a new short story, and I started writing it in my idea-and-blog notebook. I found myself scribbling away page after page, and re-experienced that simple joy of writing by hand. It’s slower than typing (for me, at least – I’m a pretty fast typist). I don’t have spell check or delete, so I have to scratch through things if I write the wrong word. I abbreviate a lot of words because it takes too long to write them out. It’s a little tedious.

But it’s freeing and fun. As I’ve been working on this current story, I’ve been tempted to type up what I’ve written so I can finish on the computer – but I’ve decided against it. I’m going to write this story the old-fashioned way, and then as I type it up I’ll already have a second draft in the works.

How do you write? Does anybody out there still use pen (or pencil) and paper for a first draft? Do you use Word, Scrivener, or some other program? Please share!

Music and Dance and Predictable Plots: Storytelling at its Finest

Posted in Music, Movies, and other Muses, Writings about Writing by

I love a good story. And whenever I find a good story, whether it’s a book, a movie, a comic, or something else, I often try to analyze it to figure out what it was about the story that made it so good. I’d like to think that this practice has helped me as a writer and storyteller – if I know what makes someone else’s story good, then I can incorporate those techniques into my own writing.

One of my favorite examples to study is the 90s sci-fi TV show Babylon 5, which I have blogged about repeatedly. That is one of the best examples of epic fantasy storytelling, which is my first and biggest love when it comes to stories (to both read/watch and to write). But lately I’ve been absorbing a very different kind of storytelling: the musical comedy movies of the 1930s. 

No epic fantasy tales to be found here in these musical slapstick adventures. In fact, most of these films follow the same basic plot structure and feature the same kinds of characters and story elements or tropes. Original they’re not. So what makes them such good stories? 

Side note: most of the movies I’ve been watching are the films of the Marx Brothers, and the films starring the dance team of Fred Astaire and Ginger Rogers. I know there were plenty of dramatic and non-musical movies made in the 30s, but let’s save a discussion of King Kong or Gone with the Wind for another post.

Romance. This is really nothing new, and certainly not exclusive to the comedies of the 30s. But whether romance was a subplot (like in most of the Marx Brothers movies, since none of them played the romantic leads) or the main plot (as in most of Fred and Ginger’s movies), it’s an ever-present idea. Everyone loves a good love story – it’s one of the oldest and most universal storytelling ideas and it stands the test of time.

Music and dancing. Because, you know, these were musicals. Telling a story through music is also an old and universal idea. Music, like stories, has the power to communicate things about life that ordinary methods can’t match. Also, during this time period most Americans were suffering the effects, great or small, of the Great Depression. A story of happy romance and singing and dancing was more than entertainment – it was a needed respite from a crushing reality.

Archetypal character roles. Complex character development was not really big in these old movies. In fact, you always know the role and basic personality of every main character the moment they show up on screen: the dashing bachelor (Fred Astaire), the career gal with no interest in romance (Ginger Rogers), the crotchety but brilliant con man (Groucho Marx), the inept girl-chasers who wind up saving the day (Chico and Harpo Marx), and so forth. Of course this is largely due to the fact that in these movies I’m discussing, the actors had a “screen persona” that they carried throughout their movies. These stories were never intended to be rich, character-driven explorations of the human condition. The lighter elements of the story were the focus, so little time was spent developing complex characters.

Comedic storyline with predictable plot. Frequently the plot in these movies involved some sort of mistaken identity, with predictable hilarity and unrealistic results. I’m not sure why this was such a common idea, but I can see how this sort of plot would provide the audience with a sense of power, because they knew something the characters didn’t. To the average citizen during the Depression who was at the mercy of uncontrollable circumstances, a brief moment of even fictional power could be very appealing.

Certainly not every good story has to have all (or any) of these elements. But it’s fun to see how these basic elements were used over and over to tell predictable stories that we still enjoy 80 years later.

And now, for your viewing pleasure, here is comedy, romance, and dancing all in one package: