To many writers out there, the fact that writing encourages a type of written freedom is almost refreshing. It provides a proverbial breath in each day. It's so well known in feeling-that writers simply can't live without jotting something down each day. But why is that?
Is it because writers find a medium to express their frustrations and desires? Or is it because it's a plane of existence to us, a place to free our minds? Perhaps some writers view it as a way to acquire inner knowledge about themselves, a zone of conference and coming together for their conscious and subconscious feelings.
Whatever the case may be, it's safe to say there are a number of reasons filed under something known as creative freedom. Creative freedom is a term that is used library in a post conservative environment. What I mean is simple. Books like Fifty Shades of Gray challenge the old censorship of the past. Heck, think of The Catcher and the Rye, a book about teen frustration with a loose sense of exile from society. It was so different and freeing through a certain kind of truth that we were not used to being liberal about. Books like this are of a different freedom it feels like, as if they challenge what's okay and what is not okay to write about. What is comfortable for us to discuss and what isn't? It's very important question.
Creative Freedom isn't just about expressing one's self but to create something wholly new. Though it may present a similar theme or characters as previous works by other authors, it must contrive of the new author's thoughts and message. The thoughts and messages that the author creates are critical to each piece, each work. Without these concepts most books would be stale and fall flat of being desirable by any audience and reader. Having thoughts that challenge the reader to think and truly feel inward instead of outward is a true from of creative freedom.
See, forcing an audience to instead look inside themselves for the answer can be freeing. The reader is therefore taken on an emotional ride of self worth and similarity to that of the character. It makes the bond deeper and valuable. Without that freedom of character there would be know connection to cling to. Then, when that connection is taken from the character by death or exile it forces new emotions and thought, things that challenge the reader to express their own thoughts and feeling.
Creative Freedom has many uses and functions. Primarily, it projects that with which we see with our eyes, understand with our minds, and feel in our hearts.
Tuesday, September 30, 2014
Monday, September 15, 2014
Keeping a Journal
During your lifetime of writing it becomes increasingly difficult to keep all of your ideas organized. Trust me, it does. You, as a writer, may have a good memory now and great focus but as soon as you start a job or writing professionally you'll soon find yourself going from one project to another can be rather difficult for the creative part of the brain to handle. That focus and great memory that so many writer boast of all the time begins to become stressed and busy. It happens to everyone.
See, the writing you do as a professional needs to be seamless and clear for each individual project that you take on. However, the stories that you want to write on your own time can become burdensome without some place to store the thoughts and ideas while you're busy with other things that life throws your way. Get used to jotting down ideas about plot, character, places, objects, and lore. This helps the writer find a way to process what's taking shape progressively and at their own pace. Doing this gives the writer a sense of ease. It allows the mind to think freely and without worry of losing context or ideas. In the literature world losing such things as context and ideas can be a critical failure.
If you are a writer give it a try. Start a journal. Life is not going to slow down and it helps to have a system. Think of it as a file system. If you come across something for a book you want to write, such as a plot heavy idea, write it down in a journal. Get in the habit of doing it. Make it a necessity. I stress my point because I know what it is like to lose a groundbreaking idea for something that is in the process of being written. It is maddening to know that the idea you had may never come back.
Honestly, it will save you time and stress. The less you have to keep mulling over a concept and trying to fixate on that one thing as not to forget it, the better for your brain. The brain itself is a muscle. As you know all muscles get worn out and strained. Muscles need breaks. So do your brain a favor and give it a break. Write those ideas down and record them for later use.
See, the writing you do as a professional needs to be seamless and clear for each individual project that you take on. However, the stories that you want to write on your own time can become burdensome without some place to store the thoughts and ideas while you're busy with other things that life throws your way. Get used to jotting down ideas about plot, character, places, objects, and lore. This helps the writer find a way to process what's taking shape progressively and at their own pace. Doing this gives the writer a sense of ease. It allows the mind to think freely and without worry of losing context or ideas. In the literature world losing such things as context and ideas can be a critical failure.
If you are a writer give it a try. Start a journal. Life is not going to slow down and it helps to have a system. Think of it as a file system. If you come across something for a book you want to write, such as a plot heavy idea, write it down in a journal. Get in the habit of doing it. Make it a necessity. I stress my point because I know what it is like to lose a groundbreaking idea for something that is in the process of being written. It is maddening to know that the idea you had may never come back.
Honestly, it will save you time and stress. The less you have to keep mulling over a concept and trying to fixate on that one thing as not to forget it, the better for your brain. The brain itself is a muscle. As you know all muscles get worn out and strained. Muscles need breaks. So do your brain a favor and give it a break. Write those ideas down and record them for later use.
Wednesday, August 6, 2014
Dialogue and Its Neccessity
Whenever the reader engages themselves in a fantasy story they need to have a strong link to the characters, places, and plot. Without a connection the audience is oftentimes left uninterested and unaware of what the author intends to relay. In fantasy stories dialogue is something that needs to be a strong transmitter for those receiving the information in this new world around the reader.
But how does an author make strong and connective dialogue? It's not an easy process. It means to be rigorous and fluid. As with any good story the words and plot need to flow like a river, rising and falling with supplemental action where its needed. Dialogue provokes the characters in the story to respond or question the motives of the people and world around them whilst discovering new things and experiencing the results of their progress through the story.
New writers often struggle with the concept of showing vs. telling. The author should strive for a balance that is usually referred to as storytelling. The art of storytelling is the process of creating a fluid tale that creates a sense of adventure and value for the audience.
How do you achieve that balance? It's hard. Any seasoned writer or English professor could tell you that. The balance comes from an even assortment of dialogue that is provoked from the characters and the result or caused actions that go with said dialogue.
Dialogue does one major thing that action can't necessarily do. It gives the audience a chance to learn about a character through spoken interactions. Each interaction slowly adds to the knowledge on a given character. Maybe a character is plucky and insecure. Or perhaps their mean and cold, but only because they lack empathy for those that remind the character of their abusive parent or spouse. These are things that can be relayed through dialogue and crafted through the author's words. It gives the reader a chance to experience the viewpoint of another person. This is a connection that can easily be lost though if the author doesn't stay true to the character's way of thinking. And if that character does change, then the audience or reader needs to experience that change not just through actions, but through words that are spoken to and by the character directly. Doing so gives the audience the idea of change without forcing it through mitigated action.
Actions alone cannot create the severity of any given situation, there needs to be context and feeling. Think of a boat that is sinking. If the boat merely dives to the bottom of the body of water around it-we have no context as to why we should care. You might as well be imagining a toy boat in a bath tub. It's silly, right? However, if you add people and dialogue it provides a whole new meaning. These are peoples' lives, people that could die in a terrible storm at sea. Maybe they argue and bicker with one another on the plan of action or perhaps they cry over their boat sinking. The reader learns who these characters are through both their conversations and the actions taken as a result. Either way, the spoken words that go along with the definitive action are what really defines a story. It creates something that life emulates in us, it creates emotion and thought
Emotion and thought need a fine balance too. Characters need to be aware of their world even if they seem outside the norms of society. Readers need to feel for the character through things that are said and done to the character directly. What makes you feel worse? Someone pushing down a kid and leaving? Or a raging bully that brushes up to an overweight schoolmate and shouts "Get out of the way blimpo" before shoving him into a trophy case? When you add dialogue to a given action you create an attachment that is wholly crafted by the author and experienced by the reader or audience. Whether that be negative or positive, the point is to create a real link between the outsider looking in and insider that is being acted upon.
Continue to ponder the use of dialogue as a tool. Why is it helpful? When is it too much? What can I do better in my own writing using dialogue instead of actions that depict everything that is happening? These are all useful questions and thoughts to take with you as a writer.
Join me next week for another addition. I'll be discussing my thoughts on free will and the illusion of free will that is interpreted into interactive stories or games.
But how does an author make strong and connective dialogue? It's not an easy process. It means to be rigorous and fluid. As with any good story the words and plot need to flow like a river, rising and falling with supplemental action where its needed. Dialogue provokes the characters in the story to respond or question the motives of the people and world around them whilst discovering new things and experiencing the results of their progress through the story.
New writers often struggle with the concept of showing vs. telling. The author should strive for a balance that is usually referred to as storytelling. The art of storytelling is the process of creating a fluid tale that creates a sense of adventure and value for the audience.
How do you achieve that balance? It's hard. Any seasoned writer or English professor could tell you that. The balance comes from an even assortment of dialogue that is provoked from the characters and the result or caused actions that go with said dialogue.
Dialogue does one major thing that action can't necessarily do. It gives the audience a chance to learn about a character through spoken interactions. Each interaction slowly adds to the knowledge on a given character. Maybe a character is plucky and insecure. Or perhaps their mean and cold, but only because they lack empathy for those that remind the character of their abusive parent or spouse. These are things that can be relayed through dialogue and crafted through the author's words. It gives the reader a chance to experience the viewpoint of another person. This is a connection that can easily be lost though if the author doesn't stay true to the character's way of thinking. And if that character does change, then the audience or reader needs to experience that change not just through actions, but through words that are spoken to and by the character directly. Doing so gives the audience the idea of change without forcing it through mitigated action.
Actions alone cannot create the severity of any given situation, there needs to be context and feeling. Think of a boat that is sinking. If the boat merely dives to the bottom of the body of water around it-we have no context as to why we should care. You might as well be imagining a toy boat in a bath tub. It's silly, right? However, if you add people and dialogue it provides a whole new meaning. These are peoples' lives, people that could die in a terrible storm at sea. Maybe they argue and bicker with one another on the plan of action or perhaps they cry over their boat sinking. The reader learns who these characters are through both their conversations and the actions taken as a result. Either way, the spoken words that go along with the definitive action are what really defines a story. It creates something that life emulates in us, it creates emotion and thought
Emotion and thought need a fine balance too. Characters need to be aware of their world even if they seem outside the norms of society. Readers need to feel for the character through things that are said and done to the character directly. What makes you feel worse? Someone pushing down a kid and leaving? Or a raging bully that brushes up to an overweight schoolmate and shouts "Get out of the way blimpo" before shoving him into a trophy case? When you add dialogue to a given action you create an attachment that is wholly crafted by the author and experienced by the reader or audience. Whether that be negative or positive, the point is to create a real link between the outsider looking in and insider that is being acted upon.
Continue to ponder the use of dialogue as a tool. Why is it helpful? When is it too much? What can I do better in my own writing using dialogue instead of actions that depict everything that is happening? These are all useful questions and thoughts to take with you as a writer.
Join me next week for another addition. I'll be discussing my thoughts on free will and the illusion of free will that is interpreted into interactive stories or games.
Wednesday, July 30, 2014
Drafts and Outlining
Why is it so important to draft and outline of a story? Even if it's non-fiction the writer needs to have a guide, a way that leads to completion. Any good story has a strong beginning, a good main body, and then a proper, if not climatic, ending.
But how does a writer achieve this? What does it take to make a truly great story? Besides the writing it takes practice. Anything you do takes practice. Drafting is essentially putting what you know into practice.
Take a moment and think about some of the drafts you've done over your life time, whether they were personal letters or stories. Drafting helps the writer see what is right and what is wrong with their piece of work. It is a way to establish what you want to say and how to say it even better next time. There is nothing wrong with creating several or many drafts of any one piece of writing, however there should be an end to it at some point. Obsessing over what could be and what needs to be are two personal struggles that every writer has. The objective is learning when to acknowledge that a work is finished in your eyes and is ready to be delivered to an editor or to the recipient.
Now let us think about outlining for a moment.
Outlining provides a very useful function. It is a way of finding the path that needs to be walked. This is where the beginning of an adventure is born. Outlining provides a visual for the writer and it depicts where the reader starts, where they will go, and where they will find an end. Think of it as a trail in a natural park. There are many ways the story could go but the writer takes the time to specifically plan out where the given path needs to lead. Along the way the trail has markers for things that must be seen or illustrated for the reader that comes along for the ride. Typically the writer wants to only add the most adherent details, things that are on a need to know basis. Other than that, let the story flow and naturally come across each event. The idea is not to force all of the story out when drawing up the outline, but to find the story's plot and conceptual ideas.
That's all for now. Thanks for joining me this week. Join me next week where I will be pondering the use of dialogue and its necessity in the fantasy genre.
But how does a writer achieve this? What does it take to make a truly great story? Besides the writing it takes practice. Anything you do takes practice. Drafting is essentially putting what you know into practice.
Take a moment and think about some of the drafts you've done over your life time, whether they were personal letters or stories. Drafting helps the writer see what is right and what is wrong with their piece of work. It is a way to establish what you want to say and how to say it even better next time. There is nothing wrong with creating several or many drafts of any one piece of writing, however there should be an end to it at some point. Obsessing over what could be and what needs to be are two personal struggles that every writer has. The objective is learning when to acknowledge that a work is finished in your eyes and is ready to be delivered to an editor or to the recipient.
Now let us think about outlining for a moment.
Outlining provides a very useful function. It is a way of finding the path that needs to be walked. This is where the beginning of an adventure is born. Outlining provides a visual for the writer and it depicts where the reader starts, where they will go, and where they will find an end. Think of it as a trail in a natural park. There are many ways the story could go but the writer takes the time to specifically plan out where the given path needs to lead. Along the way the trail has markers for things that must be seen or illustrated for the reader that comes along for the ride. Typically the writer wants to only add the most adherent details, things that are on a need to know basis. Other than that, let the story flow and naturally come across each event. The idea is not to force all of the story out when drawing up the outline, but to find the story's plot and conceptual ideas.
That's all for now. Thanks for joining me this week. Join me next week where I will be pondering the use of dialogue and its necessity in the fantasy genre.
Tuesday, July 22, 2014
Character Development
When it comes to producing main or supporting characters the writer needs to remember quite a few things. It's not as simple as creating a person out of thin air, it's more than that. A character needs to serve the story's lore while at the same time growing as a unique character. Sometimes the character needs to be a clean slate that fills itself with characteristics as the story progress. Together we will study the idea of character and what makes a certain type of character interesting to read about or watch in a movie. Consider the part that each character needs to play.
Here, let us make a list of character aspects that need to be established.
1.) The main character or hero needs to be relatable even if later on he becomes alienated from the rest of society. Readers or movie goers need a personal attachment. If one is not provided it is harder for the individual to connect to the story being told. Nowadays there are too many instances where the action is the primary focus over the main character. This simply is not the way to do things. True, audiences love flashy and excitable things. But where is the mental challenge and mental connection that so many people go to the movies for or pick up a book for? A good story always provides a lifelike character to be our vessel through the world that they live in. That is how it should be. Any kind of action needs to be a result of the villain's doing or part of the hero's consequences for an earlier interaction.
2.) Though I've touched on the topic of the villain before, I cannot help but stress the need for a good one. Never be scared to write a villain into existence that terrifies even you, the writer. Chances are that character will frighten others too but in a good way. Always create a path for the villain the same way you would the main character or the hero. Never neglect either one of these characters for they are the necessary polar opposites to any good story. It is the common science behind any great story in the last 70 years. The idea is to make the villain someone that the audience loves to hate or that they feel sympathy for. That or make the villain someone that is truly despicable. No matter what, build that villain as you would the lore of the story. This one character can make or break the value of the resolution. That said, a villain is not the focus of the story but the individual that we consider to be in the wrong opposed to being in the right. This creates strife which in turn produces tension and action.
3.) Supporting characters never get the spotlight that they deserve. The friend or helper in the story is there to push the main character or hero the extra twelve feet that they would never have gained on their own. Any supporting character needs to have a reason for existing. Simply killing or creating a support character is meaningless unless it serves the story. Think of these characters as accessories. The hero would be boring if they never had anyone there to support them or to instigate thought. The support character should always challenge the issue that the hero faces. What is the right way to go? Is it right or left? Is fighting the only option? Support characters have these thoughts to provoke the hero into saying or doing what would be expected of them. Sometimes they push the hero to do the unexpected. These characters are an important piece to both sides of the equation. Without the support around the dialogue between the hero and villain would become stale and almost cartoon-like in practice. The objective of the support character needs to be that of its name, support. These characters should behave as the active crutches that hold up the hero. Adding support characters also gives the audience a breath or refresher, and for the main characters a push in the right direction.
Here, let us make a list of character aspects that need to be established.
1.) The main character or hero needs to be relatable even if later on he becomes alienated from the rest of society. Readers or movie goers need a personal attachment. If one is not provided it is harder for the individual to connect to the story being told. Nowadays there are too many instances where the action is the primary focus over the main character. This simply is not the way to do things. True, audiences love flashy and excitable things. But where is the mental challenge and mental connection that so many people go to the movies for or pick up a book for? A good story always provides a lifelike character to be our vessel through the world that they live in. That is how it should be. Any kind of action needs to be a result of the villain's doing or part of the hero's consequences for an earlier interaction.
2.) Though I've touched on the topic of the villain before, I cannot help but stress the need for a good one. Never be scared to write a villain into existence that terrifies even you, the writer. Chances are that character will frighten others too but in a good way. Always create a path for the villain the same way you would the main character or the hero. Never neglect either one of these characters for they are the necessary polar opposites to any good story. It is the common science behind any great story in the last 70 years. The idea is to make the villain someone that the audience loves to hate or that they feel sympathy for. That or make the villain someone that is truly despicable. No matter what, build that villain as you would the lore of the story. This one character can make or break the value of the resolution. That said, a villain is not the focus of the story but the individual that we consider to be in the wrong opposed to being in the right. This creates strife which in turn produces tension and action.
3.) Supporting characters never get the spotlight that they deserve. The friend or helper in the story is there to push the main character or hero the extra twelve feet that they would never have gained on their own. Any supporting character needs to have a reason for existing. Simply killing or creating a support character is meaningless unless it serves the story. Think of these characters as accessories. The hero would be boring if they never had anyone there to support them or to instigate thought. The support character should always challenge the issue that the hero faces. What is the right way to go? Is it right or left? Is fighting the only option? Support characters have these thoughts to provoke the hero into saying or doing what would be expected of them. Sometimes they push the hero to do the unexpected. These characters are an important piece to both sides of the equation. Without the support around the dialogue between the hero and villain would become stale and almost cartoon-like in practice. The objective of the support character needs to be that of its name, support. These characters should behave as the active crutches that hold up the hero. Adding support characters also gives the audience a breath or refresher, and for the main characters a push in the right direction.
Monday, July 14, 2014
Not Giving Up
The hardest part of writing has to be not giving up and finding the willpower to workout an idea to its completion. Why is it that so many writers stare at a piece or work they contrived and wonder "Is this really any good? I mean is it? Should I turn the bucket over and let it pour out, all this nonsense I spent all this time writing?" The answer is obvious and it is due to the often depressing emotions that are the culprits of failure.
The only real roadblock that creates an obstacle before the finish line is yourself. If something you wrote is bad or dis-interesting this is not your queue to throw in the towel. No, it should be the scalding cattle prod that rekindles the jolt to your creative step.
Are you hungry? Do you starve to write? When you daydream do you live out stories that you plan to create with pen and paper? Then do so. Pen what is on your mind and drives your passion forward. Do not hesitate. Hesitation and fear are prisons worth avoiding detention in. Keep the mind fresh from anxiety, think of only the story, and of the characters. The rest will come to pass as it should.
Certainly don't worry what others say about your passion for writing if it is negative and only meant to scorn you. You are a one man/woman show. Do as those who have come before you would. Write.
Consider the following quote when next you write:
"Don’t try to figure out what other people want to hear from you; figure out what you have to say. It’s the one and only thing you have to offer"- Barbara Kingsolver.
The only real roadblock that creates an obstacle before the finish line is yourself. If something you wrote is bad or dis-interesting this is not your queue to throw in the towel. No, it should be the scalding cattle prod that rekindles the jolt to your creative step.
Are you hungry? Do you starve to write? When you daydream do you live out stories that you plan to create with pen and paper? Then do so. Pen what is on your mind and drives your passion forward. Do not hesitate. Hesitation and fear are prisons worth avoiding detention in. Keep the mind fresh from anxiety, think of only the story, and of the characters. The rest will come to pass as it should.
Certainly don't worry what others say about your passion for writing if it is negative and only meant to scorn you. You are a one man/woman show. Do as those who have come before you would. Write.
Consider the following quote when next you write:
"Don’t try to figure out what other people want to hear from you; figure out what you have to say. It’s the one and only thing you have to offer"- Barbara Kingsolver.
Thursday, July 10, 2014
Just Something to Laugh About
Need a small break from writing or reading meticulously today? Take a moment and let your mind breathe. Laugh a little. I find that clearing my mind and laughing is a great restart to my creative process. It gets my achy and sometimes light headed brain back to a normal state or a speed that I am used to working at.
Don't let yourself become angry with the fact that you hit a limit. Everyone has them. Some folks can only write a page a day. Others can write up to a whole chapter. The point is not to be the fastest. The point is to tell a story. Do it at your pace and when you are ready to get back into the groove.
That said do not become complacent and lazy. Keep a writing schedule of some kind. If anything do not become someone who is content with doing it tomorrow. We all fall into it every once in a while. The key is to write even if what you write is garbage and later edited or stripped from the story. Write no matter what.
As a fellow author/writer I would like to encourage you to laugh every now and then, and to keep your daily creative flow alive and well.
Don't let yourself become angry with the fact that you hit a limit. Everyone has them. Some folks can only write a page a day. Others can write up to a whole chapter. The point is not to be the fastest. The point is to tell a story. Do it at your pace and when you are ready to get back into the groove.
That said do not become complacent and lazy. Keep a writing schedule of some kind. If anything do not become someone who is content with doing it tomorrow. We all fall into it every once in a while. The key is to write even if what you write is garbage and later edited or stripped from the story. Write no matter what.
As a fellow author/writer I would like to encourage you to laugh every now and then, and to keep your daily creative flow alive and well.
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