Thursday Writing Prompts: Fever Dreams

I have not been feeling well all week. I came home this evening and climbed into bed. My thoughts are a little random and so these writing prompts are coming straight from not feeling so great and very tired brain. I hope they can spark some creativity!

1. What kind of monster lives at the bottom of “surprise casserole” in the dormitory cafeteria? How does it survive?

2. What if light poles were a type of sentience and wandered the streets looking to be illuminating? What might this alleviate? What other impacts might there be to this?

3. What if a certain type of running shoe could stimulate something in the human physiology and genuinely improve the athletic ability of people who trained in them?

4. What if the dreams that we dream are really tuning into the thoughts of other alternate universes and this is what is ultimately discovered via theoretical physics? What does this say about flying dreams? Dreams where the physics of the dream defy the laws of ordinary physics?

5. If your point of view character could step into any painting, which painting would they step into? What would be the story behind this?

Sunday Writing Discussion #7: Conflict– The Fuel of Fiction

Stories need certain elements in them to make them complete. A story must have characters, a setting, a plot, central ideas or a theme, and conflict. If there are characters, but nothing else, it isn’t really a story. It might be a character sketch. A plot without conflict is boring.

Conflicts can be of two main types– internal conflicts or external conflicts. Internal conflicts are conflicts that occur in the psyche of one of the characters. It could be something like wrestling with the guilt of murdering another person as in Dostoyevsky’s novel Crime and Punishment. External conflicts occur outside of the mind of a character. External conflicts can be a disagreement between two characters, a struggle against a situation, a fight against an organization, etc.

Often in stories there both of these two types of conflict and they are intertwined. There is a conflict that is internal to the main character and an external conflict that the main character is caught up in. To give you an example, in the Iliad Achilles’ internal conflict was whether or not to give his allegiance to Agamemnon and to fight in the Trojan War. If he fought in the war he would achieve glory, which was what he wanted, but he would die. If he avoided the war, he would never achieve fame but he would be happy and live a long life. The internal conflict erupted into external disagreements with Agamemnon that resulted in Patroclus donning Achilles’ armor and being killed. The conflict then evolved into an external conflict with Hector that was central to the war and Achilles’ fame was achieved as well as his eventual death as prophesied. His internal conflict was resolved with a meshing of interests with the external conflict of the story. This kind of intertwining of conflicts is desirable because it illustrates characters’ motivations and resulting actions that move the plot forward.

There are types of conflict problems that can arise in stories. A problem can be something like the characters involvement with the conflict doesn’t seem logical, but this is really more a problem with the characterization of the characters. Typically stories are lackluster if there is just not enough conflict. Sometimes when an author is creating a story they begin to like the characters that they have created. The author writes the quintessential sympathetic character and begins to have empathy for their creation. But this does not work! If the conflict is just plain old lame and has a really easy resolution that leaves readers wondering why the main character didn’t just figure this out right away and not put themselves through the drama, the fiction falls flat. Writing fiction means that you really have to put the screws to your character and when things get bad for your main character, you have to make them worse. A formula in regards to plot and conflict for a three act story is as follows:
1. the characters and conflict are introduced and the plot gets slightly worse (hopefully because of the actions of the main character);
2. the main character tries to problem solve and resolve their conflict and things get even worse;
3. the main character again works to problem solve the conflict, things get very dark and even more terrible, and the climax occurs;
4. the conflict is resolved.

There is no room for easing off the tension!

Another type of conflict problem has to do with the intensity of the central conflicts as well. The second type of intensity conflict problem is the insurmountable, overwhelming conflict. A challenging conflict is a good thing. It should be a challenge and worthy of writing a story about, but if it is too insurmountable it often leads to an ending that is flat because the writer has to resort to fiction magic, i.e. deus ex machina. This is infuriating for many readers.

Another type of conflict to be wary of while writing fiction is “Issues” with a capital “I.” Issues are big problems that the characters encounter such as drug addiction, domestic violence, rape, and incest. Yes, these are big conflicts and worthy of stories, but if an author is going to take one of these issues and make it part of their story, the issue should not be incidental. These issues are not good things to play with lightly in the hope of making a character’s motivations immediately understood or to make the character sympathetic. If you are going to write about one of these issues, know what you are talking about and give it the serious treatment that it deserves. Do not use these issues in an attempt to elevate your fiction, the only things that will improve your fiction is thought and good writing. Using these types of serious issues simply for dramatic effect and not giving them the respect they deserve actual cheapens your writing and makes the faults jump out.

How can you fuel the fire of your story and turn up the heat? Conflict! Use it well!

Sunday Writing Discussion #6: “Show, Don’t Tell”– Is this a rule to always follow?

Anyone who has ever written a college composition or has submitted a piece of fiction for critique has been told that they must use specific details and “show, don’t tell” what they mean. In an argumentative or literary essay this means supporting one’s points with specific statistics, described examples, or direct quotes from the literary work being written about. This writing “rule” is important so that the intended audience understands specifically what the writer is trying to convey with their words. Unfortunately I think very often because the rule has become so cliche, it is not explained. New writers get left scratching their head in dismay and wondering what they are supposed to do to improve their writing because after all aren’t we storyTELLERS?

To start, for tonight, I am going to talk about what “show, don’t tell” means and how to do it. Tomorrow I will talk about further considerations because there are times when you need to simply “tell.” You cannot break a rule if you do not know the rationale behind the rule and have not thought out when might be a good time to break the rules. And you betcha rules are made to be broken. Even hard and fast, uttered-on-the-wind-like-sacred-mantras rules of writing.

Showing and not telling is a kind of short hand way of saying “don’t sum things up.” If you are writing a piece of fiction, you want whoever is reading your fiction to experience what your characters are feeling, seeing, hearing, etc. You want the readers to be able to immerse themselves in the experience of your story.

For example, one could write the following:
Andy was at the bookstore looking at books. A woman tapped his arm and asked for a book recommendation. He looked at her and told her a few titles.

That’s a pretty unexciting account of Andy at the bookstore. Now I am going to spice it up a bit with some “showing:”
The new Eric Flint novel had just come out, Andy held his copy close to his side. Looking for an Alistair Reynolds’ novel he hadn’t already read, he squatted and tilted his head to the side to read the titles on the spine of the books. He felt a gentle tap on his shoulder and heard a hesitant, “Excuse me. Do you work here?”

Turning his head, Andy admired the shapely legs that stood beside him. His eyes traveled upward to see a smiling face framed by wavy light brown hair. Her eyelashes were dark and long. Andy’s heart pattered as he thought that her rose colored lips were softly sensuous. He blushed noticing that he was wondering what it would be like to kiss those lips and he didn’t even know her name. He stammered, “Um, no, but there is never anyone around. Can I help you find a book?”

The woman’s smiled widened.

Andy realized he was still squatting and his feet were beginning to fall asleep. He stood up and wished that he had worn a shirt other than his Futurama shirt. He asked, “What are you looking for?”

She said, “Maybe I should find a clerk.”

“No, I am sure I can help you. I am in here almost every other day. What are you looking for?”

“I have this class in genre fiction and I have to read a science fiction novel. I never read this stuff. It all seems kind of weird. Do you have any recommendations?”

Weird! Andy’s mind raced. How could she say science fiction was weird? He responded, “There are many excellent novels.” Andy listed a dozen science fiction titles, what they were about, and each novel’s virtues. Then he said, ” By the way, my name is Andy. Would you like to get coffee? I can look at your syllabus and help you with your assignment.”

The woman blushed, offered her hand to shake, and said, “Hi, my name is Rachel. It sounds like you like science fiction. Sorry I said it was weird. I have never really read any. I am not into stuff with aliens. It might help if you looked at my assignment because you know quite a bit about this and I am not sure what I am supposed to read and write my essay about.”

The first version didn’t really get a feel for the exchange between the two characters. It didn’t give details. The second exchange was more descriptive and offered some insights into how Andy was feeling as he began talking to Rachel. The female character in the first version could have been an older woman looking for a book to buy for her grandson. Andy could have been a chef looking at cookbooks. The first version left out a great deal. It was incomplete. It was a summary. Showing and not simply telling means offering readers vivid descriptive prose. So how does one do that?

1. Be Specific About What You Are Writing About Instead of Vague
If you write something like “June thought it was the best day of her life,” that does not really say much to a reader. It is too vague. The reader does not know the whole of the character June’s life nor how to rank the days. If you take the time and sort out the best way to relay why the day was the best of June’s life, or whatever you are writing about, it will be more meaningful. Describing the specific feelings and sensations, giving a context for what you are trying to get across, and filling in the pertinent details will convey what your mean. For example:
June opened the door. The house was very quiet. She could hear the ticking of the clock on the mantel.

She sighed. No one had remembered her birthday all day. It was always like this. The last time anyone had remembered her birthday she had been eight years old and Grandma Mimi had brought her a Madame Alexander doll.

She set her purse on the stand by the door and kicked off her shoes. She would go and change her clothes and maybe microwave a frozen dinner. She turned down the hall and Leslie, Peter, Jonah, Margaret, Mark, and half a dozen other friends yelled, “Surprise!” June blushed and smiled. They began to sing “Happy Birthday!” Susan hugged June’s shoulders and lead her into the dining room. There was a cake with pink roses and curly writing that read “Happy Birthday June!”

June began to cry when she saw the stack of presents on the end of the table. Margaret hugged her and kissed her on the cheek. June stammered, “I thought no one knew it was my birthday.”

Margaret asked, “Oh honey, why are you crying?”

June sniffled and said, “I am crying because I am so overwhelmed and no one has ever done anything like this for me.”

Margaret gave her a squeeze and said, “June you do so much for all of us and we love you. We wanted to make sure that you knew how much we appreciate you.”

2. Use Dialogue
Dialogue is a way to allow your readers to be involved with the characters more directly. If you write “Tony’s mother was angry.” that does not say much. But you can use an exchange of dialogue between the two characters and it will offer more insight into their relationship. Here’s an example:

Tony gently opened the door and peered into the space of the kitchen by the sink. His mother didn’t seem to be in the kitchen waiting up for him. She must have gone to bed. Maybe if he was quiet he could sneak in and she would never know. The sky was just beginning to lighten with the dawn. Tony tip-toed into the room and shut the door. He turned and there sat his mother at the kitchen table. She wore her heavy terry cloth robe. A mug of coffee was gripped between her two hands. “Where have you been? she demanded.

“Well, me and the guys, we went out to the quarry. Joey was playing his stereo in his car and he ran the battery down.”

“That tells me about Joey and that he doesn’t know not to play the stereo in the car all night, but what about you?”

Tony looked at the black and white tiled floor. He shuffled his feet. “Ma, I couldn’t leave him out there.”

“And none of you have mobile phones? You couldn’t call? I have been worried sick. I thought I would get a call from the police telling me you had been drinking and had an accident or something! I don’t know whether to be relieved that you are alive or chew you out for being so inconsiderate to your old mother. Is it too much to ask that you come home at a decent time and let me know where you are?” she yelled.

“Mom, I am twenty-five years old. You gotta know that sometimes I am going to stay out.”

“Not if you are going to live under my roof,” she shouted. “You barely contribute anything to the rent or electricity or anything. You got it good. It’s not too much to ask that you don’t slink in like a stray cat at 5 in the morning.”

The dialogue in the second version illustrates that Tony’s mother was angry and it also gives a glimpse into the nature of the relationship between them.

3. Use Sensory Language
If you write “Aidan was attractive.” that does not convey much. Sensory language can be used to give the reader a more sensory response. For example:

Sally tilted her head up and looked at Aidan. He smiled at her and she felt the room spin. His dark wavy hair was full and sleek, she imagined that it felt soft as silk. They were close enough that the heat that radiated from him, warmed her. He smelled like the woods, earthy and clean. In his brown eyes, years were marked like the rings of a tree. His rich deep voice resonated with something deep inside of her and she barely understood that he had said, “I could take you home.”

4. Just Plain Old Write Descriptively

Sure you can write “Mai Lin held the violin.” It tells some basic information and could be part of a larger story. But you could say more by writing that sentence more descriptively. For example:

With furled brow, Mai Lin’s eyes were closed in relaxed concentration. Her fingers massaged the strings of the violin with rapid movement. Her lips were slightly parted, the violin kissed her beneath her chin, and her bow made the notes sing with a clear resonance. Mai Lin wanted to cry out in her ecstasy, but contained her delight in the music that they made together.

In the second version Mai Lin still held the violin but the statement was not so simple. A sense of the importance of her relationship to the instrument was revealed. Descriptive writing can accomplish this.

For practice, write a singular summative statement such as:
John disliked Charlene’s car.
Amanda felt sad.
Dolly moved the chair.
Or any that you can come up with.

Then take that simple statement and rather than summarizing, flesh it out. Show what you want to illustrate with your words.

Tomorrow evening I will write more about “show, don’t tell.” Specifically when it might not be the best technique to include in your writing.