In this entry, I apply advice from screenwriter John Truby to the first draft struggles I’ve been dealing with. Additionally, I run into a helpful plot structure from Blake Snyder’s Save the Cat and create my own character profile template!
Horror and magical realism are my favorite genres to blend. My first published attempt at doing this is my horror short “Autonomy Bleeds Black” where pain and power manifested into elemental forces. One of my favorite magical realism works is Pan’s Labyrinth directed by Guillermo Del Toro. I’m a huge fan of Del Toro’s and am grateful that Pan’s Labyrinth was my introduction to him. In interviews, he’s described this film to be very personal as someone who lived under strict and religious conditions, but used fantasy works and other genres to escape. Often our escapes become reflections of our inner world and help us interpret what’s going on within us subconsciously and consciously.
…These genres are mirrors, but for their effectiveness to withstand any resistance to our personal revelations, we writers have to hook the audience in with familiarity and give them the illusion of control.
…Is writing the second draft supposed to almost feel like you’re writing another story? Well, it doesn’t feel that extreme to me, but there’s a lot that needs to be added, changed, and polished. I don’t know why this seems strange. During this writing session there are times I feel like my first draft is a botched mess and the fact that I’m having to fill in details that were obviously necessary must mean my writing needs a massive amount of improvement, but harsh inner critic aside, I’m fully aware that writing will always be a practice. The best I can do is remain teachable, open, and devoted to the craft.
Just like music makes the mood for a social gathering, atmosphere and archetypes are key elements to the mood of any work of fiction. In art, mood and tone with colors range from cold to warms; I know in writing we have to explore all sorts of sensory details, so what I learned today, and also what I consider today’s triumph, is conveying a character’s demeanor with common attributes we associate with a Jungian archetype.
Close your eyes.Fall. Let her catch you; if she doesn’t, know that there’s no intention to break your trust, but unconsciously keep a better promise through a deep dive into your psyche.
Close your eyes. Listen. Even when your eyes are open, you can feel her screaming in your most vulnerable places; your gut and your heart. Relentlessly, she struggles against your consciousness that is almost convinced to ignore her and instead let outside forces have the final say.
One author I was thinking about after my writing session today was F. Scott Fitzgerald. I think I may have blogged or written about his vivid writing style before. One night I decided to listen to The Beautiful and Damned on audiobook hoping it would help me go to sleep. It was impossible. The diction and rhythm of his writing kept me awake and invested in Anthony’s life, family, grandfather, and the girl in the tub. The narration is omnipotent third-person. There isn’t a lot of dialogue, but every scene has ambience, the internal conflicts and emotions of the protagonist are interdependent on the atmosphere of every scene. Of course why wouldn’t it? The American 1920s was a very lively time where your status and progress in life determined whether you were all the rage or not. Although there’s a looseness or almost carefree façade to the high class life of that time, there’s also a stress and competitiveness digging inside their guts. Fitzgerald wasn’t just narrating (and parodying, I think) about a time and characters he meticulously understood, but…
Switching From Confidently Editing and Writing Anxiously
I have to be honest, I didn’t miss the anxiety that comes with wanting to make sure every word you write is significant. The ideas bursting inside of me while I was editing was really exhilarating. Now I’m back to layering the story down, brick by brick, word by word.
The first draft was easy for me. I heard something the other day while I was listening to writer podcast “The Writer’s Routine”, hosted by Dan Simpson, that writing the first draft, aka writing the vomit draft, can be easier than the second draft. The writer being interviewed said he always ends up being very perfectionistic about every word, not to mention he said he’s a lyrical writer so he definitely wants flow and artistry to be prominent in his storytelling (probably most writers want that, but some of us REALLY care about it…obsessively). Hearing that from American-noir writer (who happens to be British), Chris Whitaker, author of We Begin at The End, was really comforting. I was thinking, “Yes, I totally understand that,” but then there’s the other voice inside of me, the voice striving to live a fulfilling life and often challenges my guilty pleasure with, “I know perfectionism tends to cripple me rather than heal me.” Very true. For the first draft, I let my perfectionism go, but now that I’m writing the second draft… I’m wondering if I need to bring back the ol’ harsh inner critic.
You don’t know this about me, you flirting, busy bee, but I’m hurt by the ghost you’ve become. Haunted for years by shallowness, not that you are, but I’m so distressed by the ephemeral fading you’ve done in my life as a picture, out as a memory. Back in again, posing so charmingly, far from … Continue reading Ghost – [Poetry]
In hours and increments I realize your distance is no longer sentenced to a timezone away. For hours I search, recalling your flirts fading in the spurt of my grief and dismay. Wherever you are, Angel, I’ll wait again, for hours upon hours upon hours still. In these hours upon hours, I’m longing. Sour at … Continue reading Hours – [Poetry]
For a good page turner, you have to do more than a cliffhanger. Cliffhangers are our scapegoat for suspense. Avid readers catch on to that real quick. To paraphrase one of my favorite authors on suspense, Donna Tartt, “Suspense is when two people are having a conversation and there’s a bomb counting down to explode under their table.” Oh the many factors to consider… Do the characters talk about the bomb? Are they oblivious? Is one character beating around the bush about the bomb? Does the other character understand the other’s subtext? Is the bomb noticeable? Is the bomb ticking loudly or silently? Is the timer for the bomb a good amount of time or minutes away from going off? Who planted the bomb? Considering the factors needed for a suspenseful page turner is all about context. If it isn’t rich enough, the audience will assume the predictable: the bomb will go off, the characters will die and that means the characters weren’t important in the first place. In other words, lack of context makes the audience apathetic and cliches make them cynical. All interest dies. So, while I was thinking about the resolution for the first part of my novel hoping to make sure I don’t emotionally shutdown my audience, I did my best to keep it like a chess game and maintain the captivation through a series of power plays.
Do You Read To Death or Read For Sex? On Narration Style
A friend told me that there are mainly two types of readers out there: the ones who read to death and the ones who read for sex. The ones who read to death surrenders to the author’s siren call to turn the next page. They’ll gobble up a book of over 200,000 words in a matter of days, certainly less than half a week. The one who reads for sex, like myself, makes the experience last. They aren’t necessarily slow readers, but gluttons for the suspenseful moments. They might read a few chapters, then set the book down to make their own predictions about the story or daydream of what the characters would do or say if they met in person. These people may also read like professors who are wondering more about what they can learn from the author, what each character’s archetype is, how and why the story structure was presented as is rather than in a more traditional or more contemporary way. I do read and write for sex. No it’s never been a procrastination technique, but a very pleasurable learning technique that keeps me enthusiastic about my career. I don’t want to bore the ones who read to death with extraneous details and I do hope as I grow as a writer, every sentence will have such an addictive quality that it will be hard to put the book down and even harder not to break it down critically.