March 25th, 2016
Alison Goodman is an Australian writer of Young Adult fiction, including YA historical supernatural fiction set in the Regency period.
Her seminar looked at four different diagnositic tools that can be used to analyse a scene to work out if it works, and what can be improved.
Useful tools to take your scenes to the next level.
Goal and need:
- External and known by protagonist
- A conscious desire
And / Or
- Hidden and not known
- The psychological growth necessary for your protagonist
- An unconscious desire
- Something that the protagonist must learn to become whole
For the strongest story, these should be in contradiction
How the go about goal – often based on false belief
March 25th, 2016
Chris Corbett has written over forty hours of television – including episodes of MISS FISHER’S MURDER MYSTERIES, STINGERS, THE DOCTOR BLAKE MYSTERIES, BLUE HEELERS, THE SECRET LIFE OF US, MCLEOD’S DAUGHTERS and ALL SAINTS. He also wrote and produced the short films FENCES and THE APPLICANT which have screened at various festivals around the world including Tropfest and the Aspen Shortsfest. He has taught screenwriting at RMIT’s Professional Screenwriting Course, AFTRS, Open Channel, Melbourne University Summer Film School and at the Victorian College of the Arts.
Chris shared with us his expertise for writing scripts (which translates well to writing stories), which he structured around asking a series of questions. So without any further ado, here are Chris Corbett’s Questions to ask of any story:
Question 1: What is the world of the story?
- Is it distinct and interesting?
- Could the story happen somewhere else or are there reasons it can only happen there?
- What are the things the audience needs to know about this world in order to understand the story? Eg Monsters Inc we need to know a lot of setup in the first few minutes
- In Romeo and Juliet we need to know that this is a world where you must have your parents’ approval for your choice of partner
- In Breaking Bad we need to know that this is set in America which does not have universal health care – so a cancer treatment can bankrupt you and leave your surviving family destitute. The same story wouldn’t happen in Canada, France or Australia
- Edge of Tomorrow and About Time are set in worlds that have specific rules that the story relies on
For the rest of the baker’s dozen questions, read on. Read the rest of this entry »
February 24th, 2016
Despite good intentions, I once again got behind with posts. This was due to a number of reasons, including:
- making cards for the crazy Christmas period
- making different cards for the New Year period
- going into hospital for major surgery on 23 December
- while I was recovering from surgery, my brother visited from the UK, bringing his lovely wife to Australia for the first time which meant I had hostess duties – plus I had to make some artwork for them too
The result of all that was that I haven’t had time to do much posting, but I will try to make good on that over the next few weeks.
To start with, here are some of the birthday cards I made in the second half of last year. No instructions this time, as they are all variations on cards I have done before.
November 1st, 2015
Plotting to create ‘narrative traction’, the page turning quality that drives readers through a book (and keeps them up until 3am)
- To learn new way of thinking about both writing and reading that raises your awareness of how page turning quality is created
- To learn techniques and strategies for writing narrative traction
What is plot?
- Plot is just one thing after another – plot is what happens
- Plot is the book’s middle, beginning, and end
- Traditional Three Act structure – plot has a shape
Inciting incident – client commissions for a job
Build up to climax
- Is the page-turning quality that drives readers through a book
- It is not generated by accident
- Use of specific techniques to create the desired result
Tension is NOT narrative traction
- It is the promise that what is about the happen is something that the reader wants
- It occurs when we believe that what is about to happen is even more interesting that what is happening now [my emphasis]
- Not the same thing as escalation
- Interest shifts to what happens next
November 1st, 2015
Graham Simsion is the author of The Rosie Project, background is in script writing
He is the only person who could have written The Rosie Project, but everyone has the ability to write their own story.
Male protagonist (Don) was easy to write, Rosie was the hardest – was originally called Clara but she was too much of a magical pixie dream girl so Simsion worked with his wife to create a believable realistic background
October 4th, 2015
CS Pacat is the author of the ‘Captive Prince’ trilogy. Captive Prince and Prince’s Gambit are currently available, and Kings Rising will be available in February 2016.
“In order to write romance we must allow ourselves to be seen, really seen, and that is an act of great courage.” – CS Pacat
August 27th, 2015
Kate Cuthbert (Escape digital imprint) and Sue Brockhoff (Harlequin Single Title)
Pitching is way to get attention, get to know editor or publishing house
Good way of getting manuscript in front of editor
Before you pitch:
Are you ready?
- Who are you pitching to?
- What are they looking for?
- What are they not looking for?
- What are their parameters? Eg genres and subgenres, word length etc (category is 50 – 60k, while single title is around 80k – 90k)
- Do your plans and theirs coincide?
August 26th, 2015
Describing emotion: balancing show and tell
Body language and action
In active storytelling, action is king
93% of all communication is non verbal
- Primal instinct is at work (constantly aware of our environment)
- We are all adept body language readers (and so are our story readers)
- Use body language to convey your character’s comfort zone & emotional range
August 22nd, 2015
Sharing characterisations & emotions without telling or info dumps
Do more with less
If you are describing appearance, also include emotional description
Learn to convey information with powerful word structure rather than writing it all out
What does ‘Show, don’t tell’ really mean?
- It is the drop in your stomach when you jump out of an aeroplane
- It is the crunch of your feet as you walk across leaves
- Sound of birds
- The chafe of cold iron against skin
Take your readers on a sensory adventure
August 22nd, 2015
And the flipside is using flaws / negative traits
Hobble your character with flaws
- A flaw is a negative quality that emerges in a character’s personality as a result of an emotionally hurtful experience
- Just as we have a survival response for physical dangers (fight or flight), we instinctively protect our emotions from harm as well
- Flaws act as unhealthy emotional armour to ensure the same emotional pain doesn’t happen again
Flaws have deep roots, it is hard to get rid of them.