My wife I are really doing it this year. We're chopping the Christmas budget to unprecidented lows. We've already achieved somewhat of a Scrooge status by bowing out of the annual family gift grab. I mean, really, what's the point in buying gifts for my cousin's kids? I don't need to launch into the ridiculous height of "stuffness" that Christmas has become, we're all fully aware I'm sure. As I near my 39th birthday (Dec. 30th), I find that there's nothing left that I want anyone to buy me, other than books, because you just can't have enough books. But things like power tools, computer toys, etc., I can buy whenever I need it. And I don't really need it anymore. When I look at a new toy, I see something else that will take up my time, not to mention my money.
What I find, at Christmas, is wishing I had enough money to give to everyone who needs it. I'd love to pay off my church's debt for the steeple we built several years ago. I'd love to buy Robin a laptop so she can bug me even more. I think Dineen and Ronie are set. Okay, laptops for everyone! Randy I. recommends the i-book. Color preferences? Gina, you get black. Wouldn't do for a spooky writer to have a pink i-book. Robin, red of course. Ronie gets yellow because she's from Texas, and Dineen gets, umm, do they make a clear one? Then you can see what your toes are doing while you write.
As long as we're in Ron's fantasy Christmas land, what else can I buy? There's about fifty ministries I'd like to support. I'll fund a thousand missionairies...and send them i-books. Some good friends or ours live three miles away. Too far. They get the house that's for sale across the street. I'll even pay their taxes. Some other good friends, who do live in our neighborhood, have four kids and need new cars. A minivan and an Avalanche so they tow the trailer I'll buy them so they can go camping with us (it's not really camping, it's a portable hotel room).
What else shall I do with my newfound fortune? A writer's retreat you say? Okay! Northern Michigan on the Manistee River. We can fly-fish between lectures. We'll have a Starbuck's on site (free, of course) and Coldstone Creamery will provide desserts (if you haven't, you must!) We'll have cabins with Wi-fi. Each guest will get an i-book.
Naturally, all AFCW members are free to use the property for their own retreats. Feel free to fly your group in (on my private jet) so you can brainstorm. Make sure you're wearing orange during deer season. I'll have a buck pole put up for any of you who wish to indulge in Michigan's favorite pasttime.
Now, if I can't have all that, I'll settle for a book contract. Surely, that's not too much to ask for, is it?
Saturday, November 26, 2005
Wednesday, November 23, 2005
Writing from the Inside Out
I think I understand. For as long as I've been writing, I've been told to "just write." Turn off the internal editor and get it on paper. I've tried, but my brain still gets in the way. Leave it to a screenwriter to get it through to me. Robert McKee talks about "writing from the inside out" in his book, "Story." For a novelist, it's second nature to write from the viewpoint of one character and stay in that character's head. For the screenwriter, it's a little more difficult. McKee actually includes a scene from "Chinatown," where the hero is confronting his suspect. Now, before every single line, there is a short paragraph explaining what's going on in that character's head. Essentially, the notes portion of the scene is what you'd use in a novel.
For the novelist, it needs to go a step further. As I write, I should be including everything that's going on in my POV character's head as well as the other characters in the scene. The difference will come in the editing, where I cut all the stuff the POV character won't know, and even quite a bit of what he does know. What I'll get is a more realistic scene. Allow me, if you'll be so kind, to attempt an example.
Tracy knew that Jack killed his brother, but she couldn't let him know that she knew, or she'd be dead, too. She struggled to keep her face smooth, the muscles in her cheeks from twitching. "Jack," she said, "what brings you here today?" He's knows, oh Lord, he knows. Stay calm, Tracy. After all, you were in a relationship with this man once, he can read me like a book.
Jack studied her eyes. She's nervous about something. Could she possible suspect that I killed my brother? No way, she's too stupid. She could barely balance her checkbook. "Just wanted to say hi, Tracy. We're still friends, aren't we?" And I've got to get that computer file off your desktop. I never should have saved it there. Idiot! What was I thinking? Just play it cool. You don't need her blabbing to her friends that you were pulling files off her computer. But how to get her out of the room. "I was hoping to borrow that old belt sander you got from your dad." She'll never buy it.
OH NO. He's trying to get me in the basement. Blah blah blah.
So there's a really bad portion of a scene. I've gotten into both character's heads, which doesn't work so well any more in modern fiction. Now, stay with me, I'm brainstorming this idea as I go. But if I write a rough draft like this, I've got choices to make, good ones. After typing out ten pages of this nonsense, I have to decide which POV to go with. I don't have to do it before writing the scene, as I normally would. See what I'm getting at? I can make the choice, depending on who can provide the most tension, who generates the most internal conflict. I think that's great. I may try this tonight. Of course, I'll end up writing something like what I have above and getting maybe three lines of dialogue and two sentences of internal conflict. It's like mining for gold after you've created a mountain of dirt.
For the novelist, it needs to go a step further. As I write, I should be including everything that's going on in my POV character's head as well as the other characters in the scene. The difference will come in the editing, where I cut all the stuff the POV character won't know, and even quite a bit of what he does know. What I'll get is a more realistic scene. Allow me, if you'll be so kind, to attempt an example.
Tracy knew that Jack killed his brother, but she couldn't let him know that she knew, or she'd be dead, too. She struggled to keep her face smooth, the muscles in her cheeks from twitching. "Jack," she said, "what brings you here today?" He's knows, oh Lord, he knows. Stay calm, Tracy. After all, you were in a relationship with this man once, he can read me like a book.
Jack studied her eyes. She's nervous about something. Could she possible suspect that I killed my brother? No way, she's too stupid. She could barely balance her checkbook. "Just wanted to say hi, Tracy. We're still friends, aren't we?" And I've got to get that computer file off your desktop. I never should have saved it there. Idiot! What was I thinking? Just play it cool. You don't need her blabbing to her friends that you were pulling files off her computer. But how to get her out of the room. "I was hoping to borrow that old belt sander you got from your dad." She'll never buy it.
OH NO. He's trying to get me in the basement. Blah blah blah.
So there's a really bad portion of a scene. I've gotten into both character's heads, which doesn't work so well any more in modern fiction. Now, stay with me, I'm brainstorming this idea as I go. But if I write a rough draft like this, I've got choices to make, good ones. After typing out ten pages of this nonsense, I have to decide which POV to go with. I don't have to do it before writing the scene, as I normally would. See what I'm getting at? I can make the choice, depending on who can provide the most tension, who generates the most internal conflict. I think that's great. I may try this tonight. Of course, I'll end up writing something like what I have above and getting maybe three lines of dialogue and two sentences of internal conflict. It's like mining for gold after you've created a mountain of dirt.
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