none of my stories get titles until i'm mostly done with them - i learned that with the multiple rewrites my high fantasy has gone through
- Current Mood: creative
“The Great Gatsby’ – that concept is: “what if you believed you had to become rich to find love, because the love of your life is a gold digger?”
That’s not a premise, because there is no Gatsby or Daisy yet. No plot yet. Just a notion, and a universally compelling one. It’s not a theme, either, because it doesn’t yet say anything. It’s a dramatic proposition.
Thematic, yes… great concepts usually are. The difference is noun vs. adjective. Just as it is between concept and conceptual.
Think about it… The Great Gatsby is built entirely upon – not around – that concept. Only with that conceptual proposition, that compelling energy, driving the premise does Gatsby work.
Which is where Superman comes back into this little lecture.
Because Superman, the entire notion of that character, IS the concept.
The premise of that story is: bad guy chases a young planetary peer to earth to fetch the codex upon which he intends to rebuild his demolished world.
That’s essentially the plot, with a hero, a villain and something at stake.
The concept upon which it depends – the thing that is CONCEPTUAL here, stated as a “what if?” proposition, is: “what if an infant from a dying planet is sent to earth, discovered and raised by humans, and ends up with vast strength and superpowers?"
Not a story yet. But very much a compelling notion. Something conceptual.
Notice the two things, the premise and the concept, aren’t the same.
Where’s the ending?
Don’t Forget the Voice
Whose POV Is This In?
Keep It Simple
(special thanks, of course, to jongibbs or putting this on his weekly roundup!)
- idea does not equal concept
- theme does not equal concept
- concept "describes more than what the story is about, it opens the door to a dramatic question"
- "what is the concept for your story?"
- "what is my hero’s core story goal… what opposes it… why… and what is at stake?"
- "What dramatic question does it pose?"
- "What hero’s quest emerges from it?"
- "What opposes the hero on that path?"
- "What are the stakes?"
- i will finish my first book about the wolves (there are at least two more stories in this universe =D)
- i will lose at least 10 lbs (hopefully more like 20-25, will start with counting calories since it worked so well for me before)
- i will become gainfully employed somewhere that will allow me to be with my family as well (no more nights and weekends!)
- i will start the process of getting back to school and target fall 2013
also, our family will be doing this as well:
Posted via m.livejournal.com.
please stop trying to "fix" what isn't broken - you are not facebook - those of us that are here stick around because you are so UNLIKE facebook - please stop making the differences disappear
all my love,
(livejournal user since 2004)
- Current Mood: annoyed
Help Readers Suspend Disbelief (and Avoid Plot Holes) by Elizabeth S. Craig
- basically, i get that if you have to have something happen because your plot kinda depends on it to and you're just kinda hoping the reader won't ask questions, address it on your own - even if it's a flimsy reason, at least then it's a REASON and not a plot hole
My favorite revision tool: Storyboarding by Jo Knowles (jbknowles)
- i dunno if i'd be able to do this until maybe AFTER i'd decided to go with chapters or sections or whatever - but it looks like it COULD be handy to do - might even be handy if i decided i wanted to START with chapter breaks - though this kinda goes against what i'd originally been taught to do with my writing - i always am one to keep an open mind though, so maybe it'd be worth giving it a go
- check word placement and usage - "Sirens screamed, bouncing off the buildings and deafening me. " - Wait a minute. Were the sirens bouncing off the building or the sound? "Sirens screamed, the noise bouncing off the buildings and deafening me."
- is someone having "problems with his health"? or just "health problems"? (isn't the second simpler and better?)
- simple sentences get more life if a specific detail can be added - "She filled the sink with water and slipped the egg-crusted plates into the suds."
- also be careful with those pesky adverbs - of course you whisper quietly or shout loudly, some adverbs can be useful (conspiritorially, sensually), but there may also be other ways to show this instead of just telling about it
- and from the comments, it seems that it is ALWAYS a good idea to just read it aloud - the whole thing, not just the dialogue
also, if you're facing down the prospect of a professional editor, THIS ARTICLE goes over the terminology of the editing stages
the light on the wall is not a permanent fixture - it's just there to help illuminate the back half of the wall that the flash was trying to leave out
- connect the backstory to the plot - give everything a why before you sit down to write and things will stay consistent - reread the example in the article when you need a bit of help - (also explore how WHY could also be "how does that make him/her feel?")
and then there's THIS article which does a good rundown of what to keep an eye out for in the editing process
- true this is mostly just a refresher, but it does do a good job of listing just about everything to keep an eye out for, so it's a nice sort of checklist to run down once you think you've done all the revising/editing you think you need - and as some article or another has mentioned somewhere, your work should really be as polished as you can personally make it before letting your betas have a go at it - and then you should polish some more after they're done before letting editors see you manuscript
- Current Mood: quixotic
so i figure as i go to rewrite my first draft for my wolves, i will wrap up a writing session by double-spacing everything and printing it up - before sitting down the next day, i'll mark up all of what i'd written the day before - as noted in the comments on Terri-Lynne's post, it will help to keep EVERYTHING (voice, momentum, etc.) consistent - but i have to ensure i don't get bogged down with it
also, regarding my wolves, it is important to note that i need to ensure that Lynn is reacting properly to the events laid before her - not crafting her reactions based on what i need for the scene
i'm trying to get back to my wolves - i've had a lot of ideas that have made it into text on my phone, but i need to transcribe them here for you guys because i am SO excited for the direction this story is taking
(super secret preview: Frederick (who WAS my "big bad") will only have a bit part if any at all to play in the newest revision!)
i also have to:
do some touch ups on a part of my halloween costume
- sew a cover for my pup's bed (something washable)
- create my awesome denim pirate-inspired trenchcoat
finish getting everything unpacked find a couch (that doesn't stink) for the living room
- get a new mattress set and bedframe
- get my car registered here (and my license and insurance transferred)
anyone know of any good/cheap ways to hang swords on a wall? i'm thinking maybe just nails (maybe the roofing sort with the big heads), but i'm not sure
- Current Mood: productive
Plotting Made Easy - The Complications Worksheet by Martina Boone
this is a really awesome resource and i intend to use it for Naiya's story for sure and likely to go back and double-check things for the wolf story (i can even see my high fantasy benefitting from this)
hope everything is going very very well for all of you - and i hope the muse is being kind to you writer-types on my list =D