by Karen Krossing | Apr 13, 2011 | On Writing
After my last post, a few people asked for more insights from the Screenwriters Summit Toronto. Here are some of the ideas I found most useful:
Theme
I really liked how Linda Seger approached theme. Theme is basically the expression of the big idea of the story, and Linda suggests writers use action or movement verbs to define the theme, such as “exposing” or “discovering.” This practice implies that theme has movement from one state to another. In fact, Linda sees theme as two states in contrast to one another. For example, my new novel, The Yo-Yo Prophet, has a theme of chaos versus control, as my protagonist seeks control over the chaos of his life.
Image Systems
Linda Seger suggests that one way to express theme is through images and image systems. Of course, images can work to visually express a theme. To use my new novel as an example again, when my protagonist seeks to perfect his yo-yo tricks in front of an audience, he’s actually seeking control over others. (So the yo-yo becomes an image for the theme, and the failure of a yo-yo trick takes on greater significance.) If the image travels through the story in various ways and forms (becoming an image system), it can take on additional meaning.
Story Structure
I’ve examined story structure from the point of view of Syd Field, Robert McKee, John Truby, and Michael Hauge, among others, and the conclusion I’ve come to is that one needs to take the best from each method and find one’s own way. Maybe that’s not much help, but let me try to explain.
Although these story structure experts share many beliefs in common, they also disagree with and contradict one another. For example, Truby states that there is no such thing as a three-act structure, while the others base their methods on it. Absorbing the methods of these story structure experts has led me to the conclusion that there are many ways to approach story structure, and I need to consider my particular story and writing style to determine my way through the maze.
These days, I ask myself a series of questions about a story idea. These questions are based on a conglomeration of their ideas and my own, and they’re continually evolving. I find that once I answer these questions, I have a strong grasp of what I’m about to write and why. I find that it’s an invaluable process.
Character Web
I’m becoming fond of Truby’s technique of creating a character web to develop my characters. Truby suggests writers consider how characters in a story are interconnected – how they define each other – by comparing the weaknesses, need, desire, value, status, and moral argument of each character. It’s particularly useful to consider each character in relation to the protagonist’s main moral dilemma.
I attended the workshop with fellow kidlit writers Erin Thomas, Lena Coakley, Cheryl Rainfield, Jennifer Gordon, and Urve Tamberg. To read more about the conference, check out these writers’ blog posts:
by Karen Krossing | Apr 11, 2011 | On Writing
This weekend, I continued my exploration of how the elements of screenwriting apply to writing a novel by attending the Screenwriters Summit Toronto.
I began this journey a few years ago by reading:
- Syd Field’s Screenplay: The Foundations of Screenwriting (A Step-by-Step Guide from Concept to Finished Script).
- Robert McKee’s Story: Substance, Structure, Style, and the Principles of Screenwriting. (I also attended his gruelling and insightful three-day Story seminar.)
- John Truby’s The Anatomy of Story: 22 Steps to Becoming a Master Storyteller.
One thing these three writers share – besides a fondness for long book titles – is a keen insight into how structure applies to writing a successful story. I applied many of their insights when writing and revising my latest young-adult novel, The Yo-Yo Prophet, to be published by Orca Books this Fall, and I believe it’s a better book as a result.
And yet the Screenwriters Summit Toronto took this learning even further. Here’s a very quick overview of the speakers and topics:
- Screenwriting consultant Linda Seger talked about deepening a story through theme and creating a more cinematic story through image systems.
- Screenwriting instructor John Truby detailed his seven steps to a great premise and the variations of deep structure.
- Screenwriting guru Syd Field discussed the setup of character and story.
- Screenwriting coach Michael Hauge explained how to turn plot structure from a complicated concept into a simple, powerful tool to apply to story.
Today, my brain seems to be firing all synapses in order to process the varied and sometimes conflicting techniques and opinions presented at the Summit. I’m sure it will take me a while to sort through which insights best speak to my personal writing technique and determine how to apply these insights to my next novel, but I’m certain the process will nudge me further down the path of becoming an expert storyteller. A lofty goal, I know, and not one that can be easily measured or even achieved. But at least I’m enjoying the journey.
Note: You can read my follow-up post about the Summit here.
by Karen Krossing | Apr 7, 2011 | On Writing
I believe writers need to “play” with words – to have fun with them. I use writing exercises to:
- access my intuitive side.
- explore new writing styles and techniques.
- discover new directions for a work-in-progress.
There are so many ways to play with words. You can:
- write from an object (for example, a cannonball in a museum or a colourful box of pastels).
- begin with a sentence (for example, “The noise grew louder when he opened the door”).
- write from an illustration or photo (for example, Steve McCurry’s portraits).
For more ideas about how to play with words, go to my WordPlay page.
by Karen Krossing | Feb 15, 2011 | On Writing
The Writers’ Union of Canada, under the leadership of Chair Alan Cumyn, has produced its first video. Written by Alan and featuring five writers, the video will be distributed widely to express TWUC’s concerns about Bill C-32, an Act to Amend the Copyright Act. Please help spread the word about this important issue.
httpv://www.youtube.com/watch?v=1qrcNksj5DE
by Karen Krossing | Jan 17, 2011 | On Writing
In my recent blog posts, I wrote about how to begin writing from personal experience and by observing people. Here’s how you can write by asking “what-if” questions.
When we ask ourselves “what-if” questions, we can imagine whole new worlds, new ways of living, and unique characters who are dealing with unusual circumstances.
When I wrote Pure, I began by asking:
- What if parents could genetically choose a child — ensure she grew up unusually smart, healthy, or attractive?
- How would a teenager react to the news that her parents had genetically enhanced her?
- What if that genetic enhancement came with unexpected physical and social consequences?
This technique is particularly useful for imagining fantasy and science fiction stories.
What if men could have babies too? How would it change our society?
What if we could alter our skin colour just by thinking about it?
What if Native Americans had not signed treaties with the settlers, and the settlers had adopted Native ways instead?
The possibilities are endless.
Children’s fantasy writer Jane Yolen writes, “Surely one of the great things about fantasy literature is that we can be transported to worlds we do not know. We can wear skins that are not ours. We can look at the landscape through someone else’s eyes.”
by Karen Krossing | Jan 4, 2011 | On Writing
In a previous blog post, I wrote about how to begin a story by writing from personal experience. Another way to begin writing is by observing people. Here’s how you can use this technique.
Wherever you go and whatever you do, you are a writer. You can gather material from every aspect of your life. Every moment is an opportunity to fill your creative well.
I have been in trying circumstances and said to myself, “Maybe I can write about this later.” It consoles me when things are tough, and inspires me to try out new experiences.
So I suggest you eavesdrop on people sitting at the next table in a restaurant, or at a bus stop, or at work or school. Observe how your body reacts when you feel angry, sad, happy, and so on. Make note of sensory experiences (sight, sound, taste, touch, smell) so you can use them in your writing.
Write down your observations. Borrow shamelessly from life around you. Let life inspire your writing.
In a later post, I’ll explore how to write by asking “what-if” questions.
