Drop by and give me a holler in the comments.
Fair warning: if you are committed to the spontaneous pantsing version of writing, please don’t read this. You won’t benefit, I won’t benefit. If you’re open to having assumptions challenged, read on. To the end. Don’t read the first 80% and quit or you won’t get the point.
What is a House?
Though wildly different around the world, all houses share certain characteristics. Let’s explore the ins and outs.
- Roof — Without a covering, it’s a yard, not a house.
- Floor — It may be dirt, but it’s not water or air. If your residents are standing in a pool up to their waist, or swinging in hammocks 30′ aboveground, you’ve built something other than a house.
- Privacy — Roof but no walls = carport or equivalent.
- Toilet — Yes, in some parts of the world this is not inside the house. If you live in one of those places, you may dispute this requirement.
- Services — Electricity. Running water. Drains. See above note for quibbles.
- Egress — Without a door suitable for us humans to enter through, it’s not a house, it’s something else.
- Lighting — Even if it’s windows and skylights, there’s a way for light to come in.
You may dispute any of these if you choose to live in the house yourself.
If you plan to sell the house, or even sell time using the house (called “renting”) I defy you to leave any of these out and still succeed.
Or, more accurately, how I begin the process of moving toward my books.
Planning is a left-brain process. Creativity has to have a healthy dose of right brain. You need both. The apocryphal Hemingwayesque “write drunk, edit sober.”
Here’s a very short version of my story-generating process, which thus far has given me good results blending left and right, analytical and creative: … more … “How I Write”
Elizabeth Spann Craig’s Twitterific writing links a couple weeks back led me to Ryan Lanz writing about stretching your word count.
In a moment of weakness, worried that Anodyne is too short, I followed it.
Expecting smarmy tricks, I found solid advice, which if implemented properly and with good motives is, what’s the phrase I’m looking for . . . oh yes; Good Stuff.
The 5 stretches listed by Lanz:
Science tries to deal with what’s real, to identify and label and if possible rule out the imaginary, illogical, impossible.
Sometimes science bothers people with little facts like gravity being the weakest force in the known universe. The only thing that keeps us from flying off into space as the earth turns (moving 1,000mph at the equator but slower near the poles) is that the earth is so huge that the tiny pull of gravity is amplified enough to keep us pinned.
Earth spinning: at the equator, a spot moves 24,000 miles in 24 hours. Simple math: 1,000mpg.
About 8 feet from the geographic pole, you could draw a circle 24 feet around. Stand (float) in one spot, and make the 24-foot trip in the same 24 hours.
That spot is moving 1 foot per hour. The bit at the equator is going 5,280,000 times as fast (1,000mph = 5,280,000 feet per hour.)
Your entire novel in 12 sentences. When I first read the concept, it made perfect sense to me because I’d just finished Story Engineering and knew why it would work.
What about you? Has this made sense?
It’s not easy. I’m grinding through the 12 sentences for the sequel to Through the Fog and they’re not coming easily.
But I’d rather struggle now than after writing a 40,000-word draft.
More than once I’ve heard the claim that some folks can’t plan a story in advance.
I just don’t buy it. … more … “Your Novel in 12 Sentences: Summary”
#12 of only 12 sentences you need to define your entire novel.
The last big event in your novel is the Resolution, where your hero delivers the coup de grace, eliminating the antagonist as a threat.
While others might be involved, your hero needs to be the one who nails the bad guy. Your hero cannot be saved by someone else, by circumstances, by a god in the machine. Even if it’s indirect, a discerning reader should see that the events which took the antagonist down were set in motion, directed, driven by the hero.
This is the final change in our protagonist: … more … “Resolution (#12 of 12 Sentences)”
#11 of only 12 sentences you need to define your entire novel.
After the hero survives the “All is Lost” Moment and the last piece of the puzzle surfaces in the Second Plot Point, it’s a race to the finish. Nothing new added; the only surprises are the realities foreshadowed earlier.
#10 of only 12 sentences you need to define your entire novel.
Now that our hero is in Attack mode, we need one last bit of information to put them on the path to victory. That last piece of the puzzle is the Second Plot Point. It’s the last piece of new information you can add. After this, everything and everybody is in play. No deus ex machina salvation or surprises.