Tag Archives: Craft

http://walkingtheduck.wordpress.com/2013/09/18/iou-a-story-that-works-narrative-debt/

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I first came across the term ‘Narrative Debt’ in the appendices to the extended edition on the Two Towers DVD and it struck a chord with me. As a pantser I work with narrative debt all the time, so I understood the concept; I just didn’t have a name for it.

To my mind it is a variation on ‘Chekov’s Gun’. Anton Chekov said, ‘Remove everything that has no relevance to the story. If you say in the first chapter that there is a rifle hanging on the wall, in the second or third chapter it absolutely must go off. If it is not going to be fired, it should not be hanging there.’

Which is a tad prescriptive.

But it also has more than a grain of truth in it.

Not surprising. He was, after all, a great writer.

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In Praise of Editors: from first draft to last it is always a blast

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I write pretty good prose first time up, but I want my finished work to fall somewhere between pretty good and perfect.

Pretty good, ain’t good enough. And perfect ain’t possible.

And that is where my editors come in.

First up strike the beta readers, who aren’t editors as such but people who read the first draft and go: ‘Did you really mean that?’ ‘What is all that about?’ ‘I like this guy?’ ‘Is this even English?’

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So who the hell’s head are we in now?

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Transitions between scenes, between acts, between storylines, are an important part of storytelling. They ease the reader from one place to another without making their eyes stop as they pause to try to puzzle out where the hell they are.

But in multiple POV storytelling, transitions are vital.

Who? What? Where? When?

Those four questions have to be answered at every transition from one POV to another.

Why?

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Structure is not a Formula

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A formula is a precise mix of ingredients put together in exactly the same way to achieve the same result every time. Which is fine for cleaning agents, but not so good for stories because a formula is easy to see working in a story.

The ‘Ordinary World’ beginning. Oh look he’s a farm boy feeding the chickens. Oh look she’s a cop just going on shift. Oh look he’s a rich playboy waking up from another night of excess. Oh look she’s a CEO dealing with the board.

Yeah, that opening is so stale it’s beginning to stink.

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My Caveats

These are my caveats, which I have formulated over decades. One is personal, but the other two are universal. I suggest all writers engrave two and three upon their brain-pans in indelible, glow-in-the-dark, neuronal script.

  • Caveat One: I may not know what I’m blathering about.
  • Caveat Two: There are no rules about writing, there are just things you can get terribly wrong.
  • Caveat Three: If people apply the words never or always to storytelling techniques, ignore them.

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