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  • Writing Advice: The Good and the Bad (Week Ending July 21)

    We don’t think it’s an exaggeration to say that every writer has — at one time or another — received advice about the craft. Some advice is solicited, other advice comes from unexpected sources. And not all writing advice is good. In fact, some is downright bad. But even bad advice can be helpful in the long run.

    Our writers are always giving advice here at the Cafe, so we decided to ask them to take a break from creating their own advice. Instead, they’re going to share the best — and worst — writing advice they’ve received over the years. We hope you enjoy this week’s post and learn something.

    And remember, you can follow us on Twitter @ConfabCafe and on visit our Facebook page.

    Until next week,

    The Cafe Management

  • What actors would you cast for the characters in one of your novels/stories?

    Full disclosure: I’d say almost all writers dream of the day that one of their novels gets optioned as a movie. Sometimes writers even imagine certain actors or actresses in certain roles as they write their story. It’s fun to think about words on a page coming to life, especially if you’re the one who wrote those words. So, for all of you Hollywood producers out there, take note: these are the actors we here at the Cafe would love to see on the big screen acting out our great works.

    Jason Arnett

    Oh, boy, that’s a tough one. Lessee – I don’t really know. I’m not trying to cop out here, just thinking as I’m typing. I see Karen Gillan, probably because she’s made the biggest impression on me lately, but Lynn Collins would be fantastic, too, as the lead in a movie of my current work. For supporting actors Joseph Fiennes (maybe), Diane Lane would be great… There are some juicy roles for women in this book, I think. It’s tough because I don’t cast my characters that way. I think it gets in the way of my writing. However, if there was any interest in making my book into a movie, I’d probably mention those names.

    Kevin Wohler

    In the short story I’m currently writing, I’ve been pretty void of description of the main character. He’s dead and alone in the afterlife. So there’s not much to see of him, from his point of view. For me, it’s about the voice in the narration, since this is his story. If it were made into a movie — or an episode of some  anthology television series — I’d cast Matt Bomer from the TV show White Collar.

    Christie Holland

    Ideally, David Tennant, Matt Smith, Arthur Darvill, Benedict Cumberbatch, Martin Freeman, Andrew Scott, or Tom Hiddleston would be cast for a role in any of my stories, but I have no idea which actor would be good for which role.  I’m still focused on getting something published first.  Making a movie out of one of them is too much to think about.  It’s also really obvious what kind of television programs/movies I watch, isn’t it?

    Jack Campbell, Jr.

    I think of this every time I write a screenplay, but don’t ever think of it when I am writing fiction. It makes it difficult because I when I write a screenplay, I think of a specific actor, but when I write fiction, I think of a specific character. Fiction character become their own people. It’s hard to imagine replacing them with a real person. If I had to find someone to play my main character from Heaven’s Edge, which is my latest full-length project, I might pick Tom Sizemore.

    Ashley M. Poland

    If ever I try to tell you that I don’t literally dream of what it would be like to have someone like my novels enough to think they’d made a good movie — I am effin’ lying to you, flat out. I tend to make more name associations than anything else: I had a character named Elijah, and I forever imagine Elijah Wood because teen crushes never die. (Bonus points: my beta actually did this once, and I have never been so tickled pink.)

  • Sometimes Complexity is Not Your Friend

    In technical writing you want to avoid writing complexity. Narratives should be as clean and straightforward as possible, without leaving out any important information. Clean and straightforward is particularly important when addressing complicated topics.

    Think how a reader approaches a manual or a report. A very few will read it from front to back. The rest will scan it, trying to pick out needed information without necessarily committing to an in-depth study. This presents particular challenges to document design.

    Because I cannot count on my readers going straight from A to B to C, I find it works well to divide information into chunks. Ideally there will be no more than one fact per sentence, one full idea per paragraph, and once concept per page, or two-page layout, if it needs more room. Supplementary information such as definitions, explanations, and examples can be placed in call-out boxes or sidebars, visually separating them from the rest of the page.

    By chunking information into page-sized pieces, the user can review exactly what they need to know without flipping back and forth (or in the case of screens, scrolling). This also forces me to concentrate on the meat of my presentation, leaving out the clutter of extraneous detail (think of the call-out box as the plastic storage bin of information design).

    I also have to consider document navigation. There should be descriptive headings and subheadings, of course. The table of contents should be comprehensive and reflect the structure of the document. An index must, above all things, be useful. I’ve seen computer-generated indexes that cross-reference every noun in the document, without any indication as to which are the important ones. If necessary, add a glossary of definitions, and if your document is acronym-heavy, a separate list of acronyms and their definitions.

    If your document describes a sequence of actions, such as how to set up a laser-cannon emplacement (first, check area for Ewoks) or how to run a political campaign (first, check constituents for Ewoks), “breadcrumbs” are handy. Breadcrumbs are a visual cue that lets the reader know where they are in the sequence. When the reader is trying to look something up later, they may remember that the information was in the green-tabbed section, or somewhere after Step 2 but before the chafing dishes are removed from the buffet.

    It can be useful to add cross-references when necessary. Don’t feel at all shy about mentioning that the discussion of optimizing pixel size is on page 3-11, and the complete technical specifications of the Wonkaville Golden Ticket are included in Attachment F.

    And lastly, beta readers. One difficulty with technical writing is that the writer has to be come temporarily an expert in the topic, and it’s easy to get lost in the weeds. A fresh beginner’s eye is the only way to identify critical gaps in logic or presentation. I usually tell my beta readers, “Tell me where it sucks, tell me where it’s confusing, tell me what you don’t understand.”

  • When Subplots Go Bad

    Your mileage is going to vary when it comes to subplots. I feel like authors who can handle large casts of characters, or who write long-running series, or both, have a greater license with subplot. They can weave them through several stories, and slide them in more carefully.

    For me as a writer, subplot is a balancing act. I have to be careful not to let side details overwhelm the story.

    First, let me be clear: I love subplots. There is not a single thing that I don’t love about the stories within the story — mostly because life is a series of subplots, of character back stories and minor quests.

    As a reader, I love to know what else the main character has going on. Yes, sure, this romance is nice and all — but tell me more about what’s going on about her father’s assassination. Author, you’ve been dropping hints for chapters now, and damn it, I need to know!

    Also, I love the catharsis at the end of the huge story reveal. When the main plot and most of the subplots get wrapped up in a nice little bow. When done right, there’s this exhale, and it’s all clear. The whole story has focus: the threads are wrapped and the stragglers aren’t a big deal, and it’s amazing.

    (In a really good book, there’s also the element of, “I totally didn’t see that coming!”)

    But subplots don’t always work. Sometimes they feel tacked in for “depth,” like the hypotenuse of the love triangle that was never really a question. Other times they distract from the plot, either because they ended up more interesting than the plot (at which point: whoops, that draft needs more time to stew) or because the author preferred the subplot.

    I’m guilty of both, but I’m really guilty of the latter. I have the bad habit of falling in love with characters and wanting to share all those interesting things about them, even when they’re not relevant.

    (more…)

  • Counting Down from Dee to Aay

    Each team member gets their turn at Magneto. How they get there is a subplot. Art by John Byrne. Image Attribution.

    When I was growing up Chris Claremont and John Byrne (with Terry Austin, Glynis Wein and my favorite letterer EVER Tom Orzechowski) were taking comic books to new levels that are taken for granted now. Their run on Uncanny X-Men from 1977 – 1981 shaped how comics are made forever. What did they do? They built up anticipation with subplots that would run over the course of several issues as a ‘D’ or ‘C’ story of a couple of panels or one page or so and then graduate it to a ‘B’ story for a couple of issues before it became the ‘A’ story. The one featured on the cover.

    It was classic soap opera storytelling but it was NEW. Well, not absolutely new, but they did it in a way that was so fresh it appeared new. I suspect they learned it from what Paul Levitz was doing as he was writing his classic Legion of Superheroes runs and he did the same thing. Anyway, that’s enough about comics for the nonce. (I always wanted to use ‘nonce’ in a blog post. Check that one off my list.)

    This is what influenced me in storytelling, these amazing comics that took me places I’d never been before, told me stories in ways I hadn’t seen before. That particular run, Uncanny 108 to 143, made me want to make comics. I wanted to draw like Byrne (with Austin) and write with the style of Claremont but I didn’t know how. I didn’t know what to do. It took me years to realize there was a secret I hadn’t picked up on and even then I wasn’t sure how to go about discovering it. (more…)

  • Subplots: Dogs on a Hike

    Moose in BreckenridgeThis morning my wife and I woke up at 6AM, ate a hearty breakfast, and then took our four dogs on a three mile hike along Blue Lakes in Breckenridge, Colorado. Three miles isn’t a particularly long hike, until you add in the vertical climb (around 1500 feet), the dangerous terrain – slippery scree fields, narrow single track through alpine scrub, and boggy marshland near the headwaters – and the altitude of more than 11,000 feet. Combine all those factors, and three miles feels more like six. Or nine.

    It’s one of my favorite hikes though, for all of those reasons. It’s challenging. It varies greatly from one stretch to another. It’s beautiful. And it’s not particularly well known, which means we usually have the entire trail to ourselves.

    What does this have to do with this week’s topic: subplots? Nothing, yet. The hike I described is much like a good story: it varies, it has high points and low points, it has a great climax, it feels rewarding after you’re finished. And, like most of my manuscripts, it manages to do all these things in relatively short distance!

    (more…)

  • Spicing with Subplots

    Plots are quite pleasant for novel readers and even more pleasant for novelists, providing a structure for the writing and all that jazz.  But subplots are the sugar and spice.  As a writer, I don’t enjoy the main plot so much–once I’ve constructed the gist of the book, it’s difficult to change, and that element of the creative work is done.  For me, subplots allow play and fluid creativity on the sideline of a novel.

    Subplots bear especial importance in science fiction writing.  My novels are set in the near future; their plots involve characters who live and breathe and grow through that future.  They don’t necessarily think about how their own time came to be.  But for me (and I expect for many other readers) there must be a link between our present and that future-present, and I tuck those links into subplots: an older person who watched those changes unfold, perhaps, or a holdover community that progressed in a different direction, or other minor characters whose wanderings explore a different part of the world.

    In my reading and writing both, I notice that subplots serve a very important commercial-literary purpose:  sequels!   If a book does not wrap up its main plot, I am annoyed and less likely to feel the book was a satisfactory literary experience.  But subplots can be left floating, a stem into a future full plot with its own sundry subplots and schema. My NaNoWriMo novel of 2010 ended up having a character work on the border crossing between Kansas and Missouri; her relationships there were minor details in context but contributed a lot to the sequel in the end of Novel2011.  And someday one of the subplots from the border-crossing will spout into its very own main plot, making the annual a perennial.

  • Subplots Make the Skeleton Dance

    Give him a little backup so he go places.

    If you’re writing a short story, there’s probably no time for much of a subplot. You only have so many words to get your hero inside from the dark and stormy night, into the castle, past the creepy caretaker, rescue the damsel in distress from the horrible monster, and get them both home safely.

    It’s a straight shot. Beginning, middle, end.

    Novella’s are longer, and they give you more room to work, but usually the subplots are minimal. It’s kind of a halfway point between short story and novel. I’ve read some good ones lately, but the form itself is not my favorite. There’s usually not enough meat in the middle. Just enough complexity to leave me feeling let down when it’s over too soon. Most novellas feel unfinished to me. Not all, but most do.

    Now, a full-length novel? If you have nothing but one single plot running in a straight line from beginning to end, well, you’re going to lose me.

    (more…)

  • A story isn’t just vanquishing foes and saving the world

    Subplots are crucial to any story. Everyone loves a good “ordinary Joe discovers only he can save the world so he fights against the Evil and then lives happily ever after” tale (or maybe not necessarily happily ever after, but you know what I mean).

    The trouble is, if that’s all that was happening in the story, you’d be bored, right? All Joe would ever talk about is saving the world and vanquishing the Evil. Every scene. Every conversation. And the story would be over in a few chapters.

    The thing is, Joe had a life before he had to save the world, and his life didn’t suddenly cease the moment his quest was laid upon him. His Mom is still dying from a rare disease that only the hermit in the mountains knows how to cure, and his best friend since childhood has just recently revealed she has feelings for him. (more…)

  • What if My Life Is Somebody Else’s Subplot?

    Mickey Mouse and Kermit the Frog as Bob Cratchit
    If Bob Cratchit’s story is merely a subplot, why would two of the greatest actors of all time agree to play him?

    They say we’re all the lead characters in our own stories. But what about other people’s stories? I have this horrible feeling — now and then — that I’m not a main character at all. I’m just a minor character (comic relief, perhaps), and my life is a subplot in the story of someone I know.

    I bring this up because I want to point out how important subplots are. They shouldn’t be relegated to the role of “rounding out a character” or “adding some drama to a narrative.” The subplots — and the characters who make them — are heroes in their own stories.

    Think about Charles Dickens’ classic tale A Christmas Carol. The story is about the redemption of Ebenezer Scrooge, a miserly and cold character who must learn the true spirit of Christmas. But Dickens also weaves in a marvelous subplot about Scrooge’s employee, Bob Cratchit. The story of Bob and his poor family is every bit as important as Scrooge’s story. In fact, it’s so important to Scrooge that it becomes a part of his salvation. A Christmas Carol wouldn’t be the same without Bob and little Tiny Tim.

    For me, a good subplot is almost a strong narrative on its own. It must support the main plot, certainly. But a subplot must also be self-sustaining. Otherwise my characters come off feeling like cardboard.

    Years ago there was a very popular movie titled The Gods Must Be Crazy. The film follows three distinct stories that all seem unconnected except for their location in Africa. Eventually, the three stories dovetail in an unexpected way, bringing all the unrelated characters together for the conclusion.

    I like my stories to take this equitable approach to storytelling. I don’t think of my story in terms of plot and subplots. I think about what’s driving the character forward and what needs to happen next. I have never once thought that I needed to insert a minor character or subplot. When a character appears in my story, I consider it a major character until events prove otherwise.

    When I feel that something isn’t working in my stories, I often discover that it’s because I’ve written too much about a character or storyline. That’s okay, though. It’s a lot easier to cut an overabundance of a big story than try to pad a thin one.

    Each character and plot is important. Some may be de-emphasized, but none should exist only to serve another.

    Simply put, there are no subplots — only great stories waiting to be told.