Rage writing is when something angers you so much, you grab the writing method closest to you and start creating a story based on the event that you’re pissed at.
It’s good fun, yes, but I find it most fulfilling when I reread what I’ve created and reflected upon the theme later. The reflection makes the ending and details in between very clear and solidifies the theme.
Rage writing is also a great way to make sure you write more frequently, have a healthy outlet for your emotion, and process that anger. I’m not saying you’ll turn out being a better person than you were before or that you should try to write a happy ending to your rage-written story; but I am saying, at least for myself, that this is a satisfactory method of expression and it’s going to feel damn good to publish it in time.
So after some work and some rest, I’ve been able to progress in character development and the lore of my world. I’m stuck on vampires again, but temporarily. One of my characters is my vampire and an exorcist. I’m basing her spirit work skills on exorcism techniques they used in ancient Japan.
For the record, working on a novel isn’t doing the same thing every day, at least for me. To keep the mind active and the inspiration flowing, I think it’s okay to take different approaches to your work. It’s a great confidence booster too when you create a different way of developing your story and it leads to progress, but even when you don’t make the breakthrough you hoped for, taking in that experience is a progress in itself.
My struggles with anxiety have surprisingly inspired me to fight for a confident attitude towards my work and myself. Shadow work during this time (shadow work is a self-reflection process many pagans/witches do through divination or other means, in case you don’t know) has helped so much. I did start a daily Instagram posting of one of my shadow work methods, but now I’m behind because of some mental health issues on my end. I’m still trucking on though and wanted to say that things are still moving forward.
To end, a little advice from a teabag tassel I got yesterday: The purpose of life is to know yourself, love yourself, trust yourself, and be yourself.
Today I spent a part of the day keeping clarity with the exposition in mind. The importance of clarity really slapped me across the face today while editing. I do like it when the beginning of the story gives a good punch, but audiences get sour about the punch if they don’t have enough information as to why they were hit so hard (by the way, I don’t know why I’m using violence as a metaphor…maybe I just like it when stories make me feel something).
It reminds me of a time I tried to show a friend of mine an anime series that I thought was cool and she couldn’t get into it even with all of its action and mysterious characters because she said there was no one to care about. I was bitter at first thinking she just couldn’t keep track, but after discussing with it further, her points were based around the pacing of the first episode. Granted, with anime it’s a little different (we otaku have the rule of at least giving a show 2-3 episodes before you completely drop it), but if the pilot of a weekly anime series is airing, the writers and producers should be considerate of what will catch their audiences and keep them itching for more. That’s an important attribute of the exposition; there should be a character, an event, or some detail that makes you wonder about the bigger picture and persuade you to stay for the whole story.
Every character should have purpose. I had to redesign a character today, who started off one way, but I had to make her the opposite of what she initially was to improve her presence in the story.
I hate side characters without purpose. I’ve seen main characters without purpose and they make me livid, but side characters are just as bad because you don’t want the atmosphere your main character is in to be bland or not memorable. A side character without purpose and depth to their design is a nuisance. Even if the character is the comedic relief or specifically needed as a plot device for a single moment, the character should have purpose.
Okay, I sound like a broken record, don’t I? A character with purpose is a character designed with significant attachments to the setting, themes, and plot of the story. This doesn’t mean the character has to “belong” in the world you put them in; it means that their attributes affect what is happening in your world or story for a goddamn reason. Like, imagine reading a romantic story where the protagonist and their love interest are destined to be, but a character who is literally a nobody, doesn’t even have a name, starts spewing out the protagonist’s darkest secrets for no reason just so the love interest negatively reacts and every time the protagonist somehow gets their love interest to accept them again, the nobody just appears again to spew their shit and vanish into the darkness until they’re needed again. And when you get to THE END of this romantic story, even though it ends with “happily ever after”, the nobody is never explained! No! I hate that! I’ve even read fanfictions like that! I’ll never accept this unless the story is avant garde af (but even avant garde has more purpose than an underdeveloped character and that’s saying something)!
I don’t know why I’m heated about this…it’s because I’m thinking about characters without purpose in other stories…maybe. I don’t know. I am sure as hell determined to give my character’s purpose though. If I ever create a pointless character, it will be done to prove my point in the most spiteful way possible.
Yep. It’s time to start tracking my writing progress again. So far, I’m really happy with it. The editing system I’ve created has helped me so much with rewriting. I’m able to keep track of my changes and the plot. For now, I’m living in a perfect world for a writer like me.
So another part of the system that I have is every 50 pages I edit, I stop and rewrite those 50 pages. Once I reach 100 pages edited and rewritten, I’ll start sharing that sample with beta readers to see what they think.
For the second draft, I’m taking greater consideration of how my audience will think, especially their imagination. One thing I stress out about a lot is the description of the setting. For fantasy and scifi, you do want the setting to be vivid, which is what I’m going for, but I also need to trust my audience’s imagination and the best way to encourage that is with sensory details. Not just what is seen, but what is heard, smelled, tasted, felt, etc. The setting of this story has such a hybrid culture with nature and technology and I desperately want my audience to experience it (hopefully with enamor). Rather than stressing, I have to think of this as improving diction. What stands out? What blends in? What improves the immersion? That kind of stuff.
Additionally, I think exposition is the least stressful part of any story. My flow is strongest at the beginning. It’s the ending…endings are hard. You can read my post about that here. I am determined not to “Game of Thrones” (tv show reference, not novel series reference) anyone. I promise you that. Let the flames fall where they may.
Jeremiad: “A prophecy that evildoing will bring on destruction; a lament. The term is an allusion to the Old Testament prophet Jeremiah, who wrote both kinds of works,” – The NTC’s Dictionary of Literary Terms
My Take on a Jeremiad
So angst + prophetic vision + telling the vision to everyone while being angsty = a jeremiad. Lol okay maybe it’s more than that. A jeremiad in literature is a work of prose that is sorrowful and prophetic. It has also been used as a plot device.
The power of prophecy is significant in storytelling, especially stories of adventure, mythology, legends, etc. Fantasy and even some horror stories use jeremiads the most, it seems. It can be exposition or be part of some rising or falling action. In yesterday’s post, I discussed Dan Harmon’s Story Circle and I think a jeremiad could work as an element of order or chaos. What if the protagonist’s desire is to prevent the jeremiad from becoming true? What if they are a crucial part of the prophecy? Are they the cause of the impending doom or are they the stopper of doom? A jeremiad has been used to the point of being a bit cliché, but I’m still planning to use it in my novel. I have a prophecy in mind and it gives my protagonist the “chosen one” ambience, but prophecy is often as influential and as powerful as those who truly believe in it and that’s what I want to test with my characters. However, there are also things in life we can’t control even when we’re forewarned about it. I guess a jeremiad can bring our characters to surrender or undying resilience, as plot devices should beckon some kind of great change in our characters…but what do you think? Is a jeremiad and the use of prophecy that constrained? Is it dying out in fiction since we live in a postmodernist age? Comment below.
Most writers know about this very famous diagram of dramatic structure.
When I look at Freytag’s Pyramid, I also think of Dan Harmon’s Story Circle, which is one of the coolest and simplest ways to explain storytelling.
My favorite aspects of the story circle of the paradoxical nature of life/death, stasis/change, order/chaos, and the conscious/subconscious working together. These are the most important elements so we can see DEVELOPMENT in the characters. When a story is lackluster and unsatisfying, it’s often missing these elements. We’ve seen many stories flop due to a lack of transformation and purpose.
Another thing to point out is the vast difference between Freytag’s Pyramid and Harmon’s Story Circle is the climb versus the cycle. I think Freytag’s pyramid is very pre-modernist and concrete. A situation is presented, choices are made, and those choices lead to an inevitable end or revelation. We’ve structured the pyramid by sequential acts, beginning, middle, and end, but stories being told this way seem to be rigid, half-truths. It’s like these stories are saying “If this happens to you, and you do this, and things will end like that.” It’s a very black-and-white way of defining how we deal with conflicts in life. Harmon’s Story Circle, on the other hand, presents stories as cyclical. The Story Circle is postmodernist, more subjective, and fluid. The cycle of the character’s life do come to a finish, but only to allow a new one to be birthed. There really is no conclusion, yet there is still a revelation along with acknowledging the constancy of change.
So yeah… food for thought for my fellow writers. I’d love to know what you think if you’d like to leave a comment.