writing


20
Feb 10

Story Shorthand

I used to write slowly. As a novelist, I would meander, let myself go, simmer, get stopped up, go around in circles, find my way again and again. I still do that, I just do it very fast now.

If you’re on a deadline, but want to write a rich story fast, here’s a shorthand:

Every character gets an arc that hits at least three beats:

  • We meet them when they’re low — or don’t know yet they’re about to take a big fall.
  • They struggle with a new challenge.
  • They change as a result.

Show each of these beats in a scene or scenes consisting of:

  • a visual image
  • an emotion
  • a question in the mind of the audience — what comes next?

Weave these scenes together like a building conversation: each scene interviews the next, asking a more insistent question that’s only partially answered by the next, which answers a question with its own question in turn. Building in speed and intensity.

Every moment in your story is a great moment — if it’s not, lose it.

If you’re on a tight deadline, you can use this shorthand to develop a pretty tight story. Once you’ve got the story down, you can get profound.

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16
Feb 10

Fucking Is A Feeling

Fucking is a feeling.

You don’t think “I should fuck that person.”

You have a feeling. An urge. You want to fuck.

This feeling carries us through a story. We buy emotionally. On page one, in the first few minutes of the movie — we buy in. We get turned on. We want to fuck.

Doesn’t matter what kind of story. It’s the feeling. That sense of drawing forward. Because we’ve seen something in there that’s mysterious, or vulnerable, or heroic — something small starting down the road to getting big. We get turned on. We want to fuck.

Give us something we want to fuck. We’ll go.

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5
Feb 10

How I Write: Motifs

I love motifs. If there’s some law where the number of motifs in your story threatens to reverse the chemical ratio of metaphor to action, I’m the person to test it.

A motif is a detail that repeats through a story to draw attention to an idea or theme. The motif can be a word, phrase, color, character, monster, sign, place, image, way of describing something, way of talking, alliteration, simile, character trait, situation, anything. The point is that it repeats. Once it repeats it becomes a trail of breadcrumbs we leave to help the reader or viewer find depth and meaning in our stories. When motifs cross and combine, they reflect and magnify each other, drawing a map that points the audience down paths of allusions, partly inherent in the story and partly supplied by the audience’s experience. This is the theme.

I’ll use my Iraq pilot as an example to show how I use motifs. I decided to introduce a new motif in each act, like a recurring chord in a symphony, that, once introduced, would blend together in the end. Each act’s motif shapes the act, giving it a guiding metaphor to direct the action.

These are the ideas that take root in the imaginations of my characters in each act. They discuss them, they see evidence of them all around themselves, they see parallels to them in their environment, more importantly, they DON’T see parallels to them in their environment. These motifs show up in both subtle and un-subtle ways, as jokes, as images, as plot points, as looping topics of conversation.

Act 1:  Motif: Bloodshed.

Act 2: Motif: University of Texas Cheerleaders.

Act 3: Motif: Missing Humvee and Suicided Soldier.

Act 4: Motif: We Don’t Leave A Man Behind.

Act 5: Motif: Innards.

You don’t have to tell a serious story to use motifs — my sitcom pilot was standard network fare but also very motif-driven. You can bury them beneath the surface or not. What they give you is a deeper, more meaningful, more textural world.

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20
Jan 10

You Should Change Your Audience

When my Iraq pilot ends, I want the audience to be different.

They’ll be different because they shifted. Because the characters shift. The audience identifies with the characters, forms a bond with them that pulls them up and down through the piece, changes them as the character changes.

Stories help us feel what it would be like to be in someone else’s shoes. They give us the gift of empathy, the gift of identifying from a different direction. A woman walks away identifying as a man.

You help your characters shift by making the powers that oppose them overwhelming. The more acute the opposition, the more we’ll feel the urgency of the situation, and the more vital and primal the bond we’ll form. That person struggles. I struggle. I understand how that person feels. A man walks away identifying as a woman.

In my pilot, male soldiers discover they have to work with women during active combat, and they feel dragged down, challenged, threatened, unsafe. The female soldiers feel unprepared, untrained, unwelcome, unsupported.

Most of them experience a shift. If the piece works, the audience identifies with them at the start and shifts along with them.

By the end, the characters circle near the feeling -

We are all women. And we are all men.

If the story works, my audience will feel that too.

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4
Jan 10

You Don’t Have To Explain

The more you explain, the weaker your position.

I was watching this show that had a character with a damaged, gravelly voice. But they didn’t explain it at first, and I thought it was great. It was subtle, textured storytelling. Because it opened up this little mystery within the show that could have lead in many different directions — but the point is it was sticky. It was another little surface to grab our attention, to make us think and wonder and fill in our own explanations. It was a little hook that didn’t matter that much at all, but it did, because it added up to the whole. Immediately I was like “huh, this battle-hardened commander guy has a ruined voice. Is that typical? Was he gassed in Vietnam? Do years of being exposed to the toxins of war do that to your voice? Is that supposed to symbolize the character?” A tiny moment lead me down a long path.

Then later, one of the voice-guy’s soldiers: “What happened to your voice?” “Throat cancer.” “Were you a smoker?” “Nope. Just lucky I guess.”

Clunk. They solved the mystery for us, instead of leaving it for us to do. They explained too much. They acted as journalists, rather than storytellers.

Here are ten different ways they could have handled that information better (not to be used in combination):

1. Never explain the character’s voice. This is the boldest choice, and one that probably wouldn’t fly with the network. But it’s most interesting because it allows us to fill in the gaps. When no explanation is given, the possibilities we come up with are far more dramatic than reality.

2. The character drops frequent references to throat cancer in a conscious manner. When this guy says something like “those insurgents are gonna feel like they just had chemo rammed down their throats” we’ll get it.

3. The character makes reference to throat cancer in an unconscious manner. Voice-guy would be talking about the situation and say something like “they’re like parasites that invade the organism. You don’t even know they’re there. You’ve always got to be on patrol.” We catch a reaction shot on the men to see if this registers on any of them — see them glancing at his throat, and wondering what happened to him.

4. Voice-guy speaks in a manner that really strains his voice. Juxtapose with other characters wondering if you can get throat cancer from the toxic chemicals associated with war. Never explicitly link the two, because that’s dull.

5. Voice-guy’s wife seems very concerned about his health. We don’t know why, or don’t find out why until she reveals it bit by bit.

6. Voice-guy takes medicine compulsively — or someone has to remind him to.

7. Voice-guy seems hyper-aware of certain elements in the environment that non-cancer survivors wouldn’t be aware of. Like, ducking below clouds of toxic smoke.

8. Take the other tack as the one above — voice-guy seems to have a death wish. He’s a Marine and he resents any reminders of his mortality. He rushes head-on into the fray, cancer be damned. Little reminders of his illness crop up, however, like his damaged voice and other physical reminders — getting winded, being unable to stand long periods — that tell us SOMETHING IS WRONG without having to say “I have cancer.” We get it.

9. Voice-guy lectures his men about not smoking and looking after their health. He even mentions that he never smoked, but that’s not the only thing you have to worry about.

10. Voice-guy envies a guy his age/rank who is in perfect health. We see that there is no reason for him to have a damaged voice. We see him feel the loss of his perfect health. We see him lose the attention and respect of his troops as he feels unable to speak to them. We intuit that he has a disease.

These may be too oblique, depending on the piece. But there are many ways the information could have been delivered that would have held our attention and kept us guessing. Telling us outright helps us change the channel.

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2
Jan 10

Vulnerability Delivery Machine

You don’t want to know what I think. You want to know that I never stop worrying about my career, my future. I never feel safe.

You want to know that relationships leave me feeling unsettled, like I never know when the other shoe will drop. And that I keep editing this piece about relationships. That’s how uncertain I feel about my place in the world.

You want to know that I’m afraid I spend too much time alone. But that I feel like I can’t afford to spend any less time writing, if I have any hope of getting my career off the ground.

You want to hear about how I’ve been so focused, so determined, so intense this year, that I’m afraid a hardness is setting in. And how that doesn’t feel like who I am — how I’m soft and vulnerable by nature, or I used to be. Before my entire life became devoted to finding safety, securing my future. Finding writing jobs.

Maybe you want to know that I both love sex and fear it. I don’t want to feel that way. Maybe you don’t want to know.

Maybe you want to know that I feel adrift in the world. Distant and disconnected. I feel increasingly distant from my parents — both concerned about them and unable to help them. I’ve felt distant from my sister for many years.

Maybe you don’t want to know that this blog scares me — though it’s good for my inner life, my writing life, because here I force myself to get big and bold and confrontational and honest — it makes me feel naked in public, like I’m doing emotional porn — and it makes me feel connected to people in a way I don’t trust. When I share these carefully edited, raw glimpses inside me, it’s easy for people to think they like me. But I don’t show all the stuff you wouldn’t like. That’s the next step.

Story functions to deliver vulnerability: when it operates efficiently, we feel what you feel. Problems rise when you’re afraid to let us feel what you feel. Because of pride, shame, fear of exposure, ego, or because you don’t really know what you feel. You throw wrenches in the cogs or you drain the oil or you cover the whole machinery with a tarp because you don’t really want to get vulnerable. You resist the function of story, the very reason you set the machine to running.

Would you run up to a person and say “I have something really important to tell you — listen to this –” and then turn your back, cross your arms and scowl? Maybe you would, that tells a certain kind of story. But it doesn’t tell much. And that’s what you do when you tell a story that doesn’t deliver vulnerability. You shut off the audience, deny them access to you. You may still speak, but they can’t hear you.

Most protagonists are common folks, down on their luck, in the middle of crisis — we encounter them when they’ve lost a child, lost a job, hate their job, hate their spouse, can’t find love, hate their parents, don’t have parents, don’t have a country — and then something really bad happens to them, the action of the story. They’re low to start because they’re vulnerable, so we can access them. In stories, characters’ external circumstances reflect their internal circumstances. This is true of life as well. If you want to show that a character feels distant and disconnected, have her write a blog post like this one. Well, maybe not — the act of writing is difficult to dramatize. Perhaps have her attempt to teach these things to a mentoring student who has contempt and doesn’t listen and then have her emerge to find her car has been stolen. And she doesn’t know who to call.

If you did one thing today that felt like a risk, where you felt exposed, where you left yourself open to criticism in public, you left a placeholder in your heart that keeps that spot open when you sit down to tell stories. You drive wedges in there day after day to keep your heart open. Let your story machine function as it should: remove the wrenches and tarps, replace the oil. The story that pops out will run fast, function on max capacity.

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30
Dec 09

I Am Thwarted

Just now I was curled up on my side in the bathtub, crying and repeating “I am thwarted. I am thwarted. I am thwarted. I am thwarted.”

For maybe five minutes: “I am thwarted.”

I needed to relax after getting all worked up over this article about how you should be male if you want to publish literary fiction. Stuff I knew from personal experience, but this stirred up my fear and seemed to confirm my experience:

Playwright Julia Jordan pointed me toward a recent study about perceptions of male and female playwrights that showed that plays with female protagonists were the most devalued in blind readings. “The exact same play that had a female protagonist was rated far higher when the readers thought it had a male author,” Jordan said. “In fact, one of the questions on the blind survey was about the characters ‘likability,’and the exact same female character, same lines, same pagination, when written by a man was exceeding likable, when written by a woman was deemed extremely unlikable.”

I try to be careful about what I think about and talk about repetitively. My friend points out if you say something over and over, it becomes a mantra. I believe in the magic of daily life. I believe we create the world around us. I believe there’s power in our spells.

I fear the danger in giving in to this kind of grief: indulge in grief, and you create a world in which you are grieved.

Let yourself break down in the bathtub — let yourself say out loud those terrible, magic words — I am thwarted — and you feel relieved in the moment. It’s a catharsis, an emotional release, an acknowledgement that you exist and you matter and your reality deserves to be stated, or repeated over and over in a dramatic manner. But the fear is that if you indulge this way — or God forbid make a habit of it, let this become a way of life — the grief, the acknowledgement becomes your reality –

I am thwarted.

Did the words come first? Did I have “I am thwarted” inside me — did I believe in that mantra and then use my internal magic to create “I am thwarted” in my life? This is the question that keeps me up at night — the question that scares me. Because if I can’t tell, how can I keep it from happening again?

What’s worse — having these terrible words inside me and not giving voice to them, or having them inside me and giving voice to them and seeing them become reality? Is there a way to not have them inside me at all?

Perhaps they’re not even true. I know the truth is not only am I not thwarted, I am thriving. Many people are thwarted. I don’t want to diminish their suffering by taking it on as if it were my own.

What brought on the sobbing and the volley of “I am thwarted” was this — I posted about the article on Twitter. I don’t talk about this stuff very often in public because I’m afraid of how I’ll look — in the male dominated industry I work in, I am afraid of looking bitter or difficult or man-hating or whatever stigma might apply to outspoken feminists. But –how we live shows up in our writing, and how we write shows up in our lives. To protect my writing, I have to be honest, present, and emotional.

We live in the future, but women writers work in the past. It’s true that some women writers succeed, but shouldn’t the successful be more successful? Where are all the women showrunners, directors, working screenwriters? Pointing to fields where women get ahead like chick lit, rom-coms, and their TV equivalents as evidence of us succeeding reminds me of the women who were allowed to be film editors because it was a lot like sewing.

I don’t know the stats on women getting literary fiction published, but the male-exclusive lists and prizes certainly tell a story. And my experience tells a story: people loved my first novel. They should, because it’s good. And all the editors raved about how good it was — but said the main character was too unlikable. Or it was too original and Barnes & Noble wouldn’t know how to market it.

Many women writers don’t talk about this for fear — consciously or subconsciously — that talking about it will affect our ability to get work. I think women in Hollywood have Stockholm Syndrome. We know who we need to please to get ahead, so we pretend sexism isn’t as significant a force as it is — subconsciously, we identify with our captors. Our captors are not men, it’s thousands of years of bio/cultural forces that makes women and men feel like a woman cannot create A Great Work of Art. She can run a studio because that job seems like a glorified assistant — it’s less mythic. But there’s something so epic about making art that at a gut level most of us still feel like women can’t do it.

I have been afraid to speak about this publicly because I don’t want to drive away people who can hire me. The fact is — as a young woman trying to get writing jobs in Hollywood, I feel less afraid to write publicly about sucking the dick of some married Hollywood guy years ago than I do about my fears surrounding this industry’s sexism. I know I’m sticking my neck out here. But that’s my job. I stick my neck out, then I stick it out further.

When I get raw and emotional and vulnerable and honest, this is me practicing in public what I do when I face the script.

I am thwarted.

So when my friend on Twitter said that female authors sell much better than literary fiction authors do — and when I pointed out that I AM A FEMALE AUTHOR AND I WRITE LITERARY FICTION — he amended to say he meant pop versus literary fiction — and I responded — My point is that as a woman, I’m allowed to write pop books. I’m not allowed to write literature. I am an artist. I am thwarted.

Saying it in public is what sent me to the bathtub. It felt dangerous — like by saying it out loud, I was making it true. Conjuring the mantra. And waving a flag to the world — this is who I am. I am thwarted. But it felt good too. I felt recognized, I recognized myself. Because I matter, and my reality matters. I deserve to tell the world what my world looks like. And I think that’s why it came out over and over in a flood — it felt so good to say it publicly, I couldn’t stop saying it.

I am thwarted. I feel thwarted.

I hope I’m neither. But if that’s what I turn out to be, you’re gonna fucking hear about it.

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26
Dec 09

Find The Mystery

We watch for the mystery. All stories have a mystery. Sometimes we don’t notice because the mystery sucks.

  • Love stories — The mystery is who is going to love who in the end, and why? There should be genuine doubt about who is going to wind up together, and why, and how. If there isn’t, you’re writing porn. We should care about this mystery — this is the pleasure of love stories. See Jane Austen.
  • Dramas — The mystery here lies in who the characters really are versus who they say they are and who they think they are — see Mad Men — or in us making discoveries about the character’s world at the same time she does. The protagonist is in trouble — how is she going to get herself out of it?
  • Crime/Thrillers/Action/Sci Fi — These have mystery built in, or they should. How are we going to solve this big fucking problem? What’s really going on here? Good to have competing mysteries — say, the overarching mystery of the situation and the mysteries of characters’ identities and the mysteries of love stories. As for the overarching mystery, see my joke’s on them post — the joke is always on the main characters, and the mystery here is figuring out how to get them out from under the punchline.

Our mission as detectives is to solve the mystery — by finding out what happens next. If the story doesn’t compel us on this journey, doesn’t send us racing to the finish, we need to shave clutter and bulk up clues and foreshadow and raise the stakes so that nothing matters more than solving this big, interesting mess.

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21
Dec 09

Follow The Emotion, Cut The Rest

Here’s the difference between fiction and non-fiction: fiction evokes emotion. Non-fiction conveys information.

As storytellers, we side with fiction.

Even if you write articles or blog posts or biographies or State Department briefings, you convey information by transporting your reader emotionally. You sacrifice telling them everything in favor of telling them enough, in the right way, so they’ll be moved. Or engaged. Or entertained.

Here’s what got me thinking about this: I put aside the pilot for a few days because I wanted to do a quick pass on this novel before sending it to some people. I cut and resisted cutting and finally realized that in fiction — if it doesn’t follow the emotional throughline, it doesn’t belong there. No matter how interesting or informative or important-seeming or beautifully written — if the writing doesn’t build to the emotional whole, it must be cut.

All stories are fiction.

The purpose of story is not to inform. It’s to transport. We don’t engage the heart and senses when we fill someone in on everything they need to know. If it’s important, they’ll get it because it comes attached to something a character cares about. Descriptions of place don’t matter, but a character might be devastated then notice her vicinity in a way that echoes what she’s feeling. That’s the only way that descriptions of place matter: how they reflect our insides.

We’re not reading travel guides. We’re reading metaphor guides, travel guides inward. This is the function of story.

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19
Dec 09

How I Write: Dreams

Had a dream where my back was turned and someone stole my couch, coffee table and computer.

Wrote in my journal: “I couldn’t believe they were able to take such big stuff so quickly.”

This line resonated with me. I’ve been working on a pilot about Iraq that’s affecting me deeply. I felt this line spoke to my experience writing this pilot and what I imagine to be soldiers’ experiences over there.

I decided to develop a scene where my female combat soldiers are outside the wire for the first time with their Marine comrades. The Marines leave them to guard the Humvee while they rip apart a house to find an insurgent. Iraqis create a diversion on the street, distracting the females just long enough for the Iraqis to steal something big — haven’t figured out what yet. A weapon, something significant. Maybe even the translator they were guarding.

When the Marines return to find they’ve lost something their first day on the job, the females are humiliated (though they shouldn’t be considering they were never trained for missions outside the wire). The main character says some version of that line from my journal later to her girls — “I couldn’t believe they were able to take such big stuff so quickly.” In the end, this line might be too on the nose, and it’s certainly awkward as written in my journal, but for now it stands as an emotional placeholder — a way to go deep.

The scene rings early on in the script as a warning bell for what they’re going to lose on the inside.

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