Watching Paint Dry

Last month, I shared some thoughts about how each fictional conversation needs to advance our narrative. The overall plot should do the same, or the story will be about as interesting as watching paint dry.

John Gardner calls the plot's forward movement profluence, and in The Art of Fiction he describes several kinds of profluence. Basically, a profluent narrative is one in which people and circumstances change. Without change, the story doesn't move forward; in fact, without change we have no story, just a series of word pictures. Carole Bugge ("C.E. Lawrence") puts it this way:

If paintings are lakes, stories are rivers--they are going somewhere. They pull the reader along, and take us on a journey. Stories must move forward...

A great premise is only part of the game--and not that big a part...What we need as writers is to be able to play the long game--to keep the ball in the air as long as possible, which means to keep readers turning the page.--Carole Bugge, "Keep It Moving," The Writer (August 2012), 34.

All right, then, let's play a little volleyball. I invite you to plot a novella with me about...watching paint dry! I'll give you the premise and a one-sentence summary of a chapter. Let's see how many GREAT chapters we can add to the plot, in no particular order, based on the story premise.

The only rule is profluence: Each chapter must show a significant, stakes-raising change in the protagonist and/or his situation. Here we go:

Premise / Watching Paint Dry

Alfonso is a hard-scrabble house painter living in Rome, 1938. On his way to work one morning, he's strong-armed off the street by a couple of burly soldiers who take him to the mansion of dictator Benito Mussolini. Il Duce plans to paint a mural on the east wall of his dining room (he fancies himself another Michelangelo), so they've "commissioned" Alfonso to prepare the wall with a fresh coat of white paint.

Mussolini

Mussolini will arrive late afternoon to inspect his work. The paint must be perfectly dry and flawless, or the hapless house painter will be shot at sundown. (Mussolini's thugs point to 4 mounds of dirt in the back yard--graves of his unsuccessful predecessors--to emphasize this point.) Then they lock the door and leave Alfonso with a bucket of paint, a brush, and a chamber pot. He finishes painting the wall by mid-morning. {End of Chapter One.}

Chapter Summaries

• An enormous horsefly lights on the wall and crawls toward the ceiling, leaving an obvious track behind him.
• {Your turn...}

Joe Allison and his wife, Judy, live in Anderson IN where Joe serves as Coordinator of Publishing for Church of God Ministries, Inc. Joe has several nonfiction books in print, including Swords and Whetstones: A Guide to Christian Bible Study Resources. He's currently writing a trilogy of Christian historical novels set in the Great Depression.

Visit Joe's blog at http://hoosierwriter.wordpress.com

Brainstorming; Part Two

One of my most productive brainstorming activities is working my way through George Polti’s thirty six dramatic situations. I usually find numerous ways each situation can be used in my work in progress, even though I may toss it out later.

For example; Using the first dramatic situation; Supplication, I explore every character in my story and consider if there is a fugitive who needs the help of some greater power to help him or her against the enemy.

Next, I consider each character and ask myself if this character needs assistance for some duty which she is not allowed to do—and so on and so forth. You get the idea.

Here are the first seven. I think these are great.

1. SUPPLICATION
(The dynamic elements technically necessary are: a Persecutor; a
Suppliant; and a Power in authority, whose decision is doubtful)
● A.
● (1) Fugitives imploring the powerful for help against their
enemies.
● (2) Assistance implored for the performance of a pious duty
which has been forbidden.
● (3) Appeals for a refuge in which to die.
● B.
● (1) Hospitality besought by the shipwrecked.
● (2) Charity entreated by those cast off by their own people,
whom they have disgraced.
● (3) Expiation: The seeking of pardon, healing or
deliverance.
● (4) The surrender of a corpse, or of a relic, solicited.
● C.
● (1) Supplication of the powerful for those dear to the
suppliant.
● (2) Supplication to a relative in behalf of another relative.
● (3) Supplication to a mother's lover, in her behalf.

2. DELIVERANCE
(Elements: an Unfortunate, a Threatener, a Rescuer)
● A.
● (1) Appearance of a rescuer to the condemned.
● B.
● (1) A parent replaced upon a throne by his children.
● (2) Rescue by friends, or by strangers grateful for benefits
or hospitality.

3. CRIME PURSUED BY VENGEANCE
(Elements: an Avenger and a Criminal)
● A.
● (1) The avenging of a slain parent or ancestor.
● (2) The avenging of a slain child or descendant.
● (3) Vengeance for a child dishonored.
● (4) The avenging of a slain wife or husband.
● (5) Vengeance for the dishonor, or attempted dishonoring,
of a wife.
● (6) Vengeance for a mistress slain.
● (7) Vengeance for a slain or injured friend.
● (8) Vengeance for a sister seduced.
● B.
● (1) Vengeance for intentional injury or spoliation.
● (2) Vengeance for having been despoiled during absence.
● (3) Revenge for an attempted slaying.
● (4) Revenge for a false accusation.
● (5) Vengeance for violation.
● (6) Vengeance for having been robbed of one's own.
● (7) Revenge upon a whole sex for a deception by one.
● C.
● (1) Professional pursuit of criminals.

4. VENGEANCE TAKEN FOR KINDRED UPON KINDRED
(Elements: Avenging Kinsman; Guilty Kinsman; Remembrance of the
Victim, a Relative of Both)
● A.
● (1) A father's death avenged upon a mother.
● (2) A mother's death avenged upon a father.
● B.
● (1) A brother's death avenged upon a son.
● C.
● (1) A father's death avenged upon a husband.
● D.
● (1) A husband's death avenged upon a father.
5. PURSUIT
(Elements: Punishment and Fugitive)
● A.
● (1) Fugitives from justice pursued for brigandage, political
offenses, etc.
● B.
● (1) Pursued for a fault of love.
● C.
● (1) A hero struggling against a power.
● D.
● (1) A pseudo-madman struggling against an Iago-like
alienist.

6. DISASTER
(Elements: a Vanquished Power; a Victorious Enemy or a Messenger)
● A.
● (1) Defeat suffered.
● (2) A fatherland destroyed.
● (3) The fall of humanity.
● (4) A natural catastrophe.
● B.
● (1) A monarch overthrown.
● C.
● (1) Ingratitude suffered.
● (2) The suffering of unjust punishment or enmity.
● (3) An outrage suffered.
● D.
● (1) Abandonment by a lover or a husband.
● (2) Children lost by their parents.

7. FALLING PREY TO CRUELTY OR MISFORTUNE
(Elements: an Unfortunate; a Master or a Misfortune)
● A.
● (1) The innocent made the victim of ambitious intrigue.
● B.
● (1) The innocent despoiled by those who should protect.
● C.
● (1) The powerful dispossessed and wretched.
● (2) A favorite or an intimate finds himself forgotten.
● D.
● (1) The unfortunate robbed of their only hope.

If you don’t want to buy the book, The 36 Dramatic Situations can be found at this link;
http://www.unknownscreenwriter.com/pdf/36DramaticSituationsGeorgesPoltiExpanded.pdf A DVD is also available on this subject using the movie Training Day http://www.writersstore.com/brainstorming-with-the-36-dramatic-situation-jeff-kitchen

Brainstorming; Part One

All writers must discover their own process for developing the stories, and naturally the process varies from writer to writer. The idea of having a process seems to add credibility to the idea that an author can do it again; otherwise, the writer may flounder hopelessly in a sea of trail and error—thus, the need for the term one-book wonders?

I’m a big fan of the bubble map (vein map) in the early stages of brainstorming, and I’m guessing most writers use the Donald Maass Breakout Novel Questions. Knowing each writer has to find the process that works for him or her, I offer two of my brainstorming tools in hope others will find a tidbit they can tailor to fit their personal style. I’m guessing the idea of following a process may even cause some pantsers to hyperventilate, but here goes.

One step in my brainstorming process is the “The Playmaker Strategies” which I gleaned from “The Elements of Influence” by Alan Kelly. This book was written primarily for managers, business leaders and campaigners, but it has given me some great strategies for my characters to use and move the plot along. The book is out of print, but you can still get an inexpensive used copy from www.amazon.com. Below is a brief summary of a few of the playmaker strategies.

The Pause Strategy
The playmaker (character) remains silent and allows the competition (other character) to talk until they talk themselves into a corner (or reveal too much information).
The author cites the example of an important meeting when Winston Churchill and his political counterpart were both called to a meeting with the current prime minister. During the meeting Churchill remained silent and let the competition (who was more qualified) talk himself out of the job. I’ve used this strategy to have my female character to talk endlessly and thus reveal more information than she intended while the brooding male listens quietly.

The Ping Strategy
The playmaker (character) drops a hint or dribbles out important information to evaluate the response from the opposing team. It’s a low-impact way to check on the competition’s pulse on a given situation. This is often used at poker tables where the players lightly rib their opponents to watch for their reactions. Story characters can use this strategy to test the response of bad news or some secret a character fears will get out.

The Filter Strategy
The player (character) allows some information to get out and holds back other info in order to control which facts might be used to his or her advantage. For example, a soldier is killed during battle, and the army paints him as a hero as it draws on the patriotism of family and friends, not revealing the full truth—his death was the result of friendly fire. A story character might make a serious mistake and knowing he or she is about to get caught, but uses the situation as if it was planned, while at the same time hiding bits of the truth.

The Deflect Strategy
An attempt to divert a rival’s attack, either to avoid or minimize its impact. Also known as dodging, and passing the buck. Example; A famous baseball player on trial was asked about his use of steroids, and his response was; “I cannot answer these questions without jeopardizing my friends, my family, and myself.” Instead of answering the question, he cleverly diverted it.

The Pass Strategy
Typically used by a player as a means of bailing out of a marketplace to preserve resources or focus elsewhere. The book uses the example of IBM selling its PC business to China’s Lenovo group—in order to focus profits elsewhere. Likewise, a story character might withdraw from his previous agenda under the cover of “the good of others” while in reality he has to focus his energy on a more pressing or more important issue.

The Lantern Strategy
The deliberate preemptive disclosure by a player of its own flaw, mistake or some source of potential embarrassment or controversy. Thus, the character volunteers to confess his mistake before someone else can do so. IE—report the bad news on your own terms before someone else can report it on their terms. The book uses the example of the 1952 Richard Nixon Checker’s Speech when he had to fend off accusations that he had accepted illegal campaign contributions. Nixon surprised his detractors by doing the unexpected. Instead of dodging the charges, he confronted them directly, point by point—even to the extent of the gift of their dog Checkers.

Peacock
The unsolicited parading by a player of a novelty to generate attention in a marketplace. Peacocks usually hinge on a novelty or unusual action—to spur market talk. Good peacocks have staying power and are remembered for years. Example; Oprah and the 7-million dollar car giveaway. It shows who has the power. How many times do we see a story where a wealthy character gives so generously, even to the point that it diminishes the sacrifices the main character makes, causing us to dislike the big giver?

The book explores twenty-five of these playmaker strategies, which it breaks down into precise moves and countermoves by which the competitive advantage is won and lost. I go through each strategy and try to come up with a way in which each one might add something to my story. Sometimes it works, sometimes it doesn’t. But it has worked enough to be worth the effort.

Perhaps you have a brainstorming strategy of your own. Care to share? Next month I’ll give an overview of George Polti’s thirty-six dramatic situations.

Writing Warm-ups

Once upon a time, a crazy-lady writer told me right to my face she didn't have time for FaceBook. She needed to use her time and writing energy for real writing, or at least for writing warm-ups.

That crazy-lady writer lives in my mirror. And since that comment, to her surprise she's discovered FB is a GREAT writing warm-up. In fact, it's one of the best she's ever used.

In case you're wondering -- writing warm-ups are as necessary for a writer as warm-ups are for a runner or bicycler or skier or even a motor. Semester after semester, I taught writing warm-ups to college students, and enjoyed the students' relief that "wow, they really do work."

What does it mean that warm-ups work? It means no writer's block! So in addition to reading and commenting on FB for a few minutes, here are several other suggestions to jump-start your writing motor and zoom past the writer's b---- word.

I suppose FB's smaller Internet sibling, Twitter, might be a warm-up. But I don't have time for Twitter. However, FB's long-winded, older cousin E-mail works well for me, although too many e-mails really are an energy drain. So beware. Use moderation.

Read or watch news is another suggestion, especially if the news makes you mad or concerned or excited. When you feel strongly, you write quickly and with power.

Now I know many writers disagree with this next suggestion, but many also agree with it. Edit or reread your previous day's writing. Not once have I had writer's block after using editing as a warm-up. In fact, since I started using warm-ups long, long ago, I've forgotten what writer's block feels like.

To conclude, here's a warm-up that will rev up your spirit along with your writing. And what Christian writer doesn't need that?! Read a devotional. This year, my daily online devotionals of choice are from the Crystal Cathedral. Even if I don't read all the words, the accompanying photo image is enough to make my writing motor hum.

Now please take a minute to share your favorite writing warm-up for the benefit of the rest of us. And just think, doing so will be your warm-up for today. I promise!

Writing blessings,
Millie Samuelson :-)
http://www.milliesbooks.org/