Saturday, September 24, 2016

September 22, 2016

Writers’ Roundtable



Welcome

News and Jabber

At this site I found a link that led to a link that led to this:

A Love Story

September 21st, 2016
Before an author can find her readers, she must first find her story. She finds her story by asking herself, “What is the best story I can tell? What is so interesting to me that I cannot take my attention from it? What killer must I see brought to justice, or what woman must find love with what man?” The writer asks and answers these questions, and asks and answers these questions, until the story is told.
Now the author the needs an audience. She wrote this story to satisfy her own curiosity and then share what she found with others. The story is really not complete until someone else has read it, has filled in the blank spaces between the author’s brush strokes with their own imagination. So the author tweets about her story, blogs her story, Instagrams about her story, and travels from bookstore to bookstore talking about her story. By and by she discovers she has a readership.
And perhaps she does a little market research and asks those readers, “How did you find my story?” Some report stumbling over her book in a bookstore, others heard about it from a friend, still others from Facebook or Twitter or The New York Times. Yet all these answers are misleading. These answers say little more about how the reader really found a story than a wedding says about a marriage.
The way the reader really found the story was by asking, “What do I most want to read? What kind of story would be so interesting to me that I couldn’t put it down?” As she asks and answers this question, the reader by and by finds the story, and finishes in her own imagination what the author began in hers. The author-audience connection is in this way a love relationship, two strangers guided together by the single organizing principal of the universe.
9781935961994-Perfect_CS.indd
A book to keep nearby whenever your writer’s spirit needs feeding.” Deb Caletti.
You can find William at: williamkenower.com
Follow wdbk on Twitter


I found it interesting in light of the current assignment to write a one-page piece on what your work is about. This is something I had never done until last spring when I was in the Satureday phase of starting this group. The above is a blog entry from yesterday and it appears that the writer blogs quite regularly and may be worth a scan.

The Current Assignment

How did it go? What questions did it spawn? Problems? Results?


The Next Assignment


The Next Meeting

The next meeting will be on September 13, 2016. Same time, same place (maybe)

Other Jabber




Friday, September 9, 2016

August 8, 2016


  1. Writers’ Roundtable

    1. Welcome

      1. Thanks to those who joined us today. It was a good start and should get even better. I will expand publicity and I ask you to bring a friend too.
      2. Sign the email list
        1. I need also to know who is not on the email list
        2. I will want to see if there is a way to contact you, share MSs, etc.
      3. What kind of group will this be?
        1. Any and all forms of writing are welcome here although I would  prefer to keep poetry to the Poets’ Roundtable that meets on the first and third Thursdays of each month at this same time.
        2. Any and all levels from beginner to published expert
        3. Our policy is to critique writings, not writers. The table will be safe for all, the attitude supportive. In the words of Don Sheehan, former director of the Robert Frost Center for the Performing Arts in Franconia, NH, “When the choice is between intelligence and compassion, choose compassion. The result will be a higher intelligence.”
    2. General considerations

      1. What are you writing?
      2. What do you want to write?
      3. Why are you writing?
      4. What are your goals
        1. Production (pages, volume, etc.)
        2. Date, deadline
          1. If deadline, then why the deadline?
      5. What stage is your project at?
        1. Done, half done, just an idea, notes
      6. What is your audience like?
        1. Family
        2. Public
        3. Personal only
    3. Sharing MSs?

      1. Depending upon the size of the group and project attributes we may be able to make good use of online communications. In the prior incarnation of the roundtable we had just a few participants and their projects were well-along. We exchange excerpts via email so that all had read them in advance of the meeting and prepared notes, questions, ideas.
      2. There are any number of ways to do this and email may not be the best.
      3. NB: The key here is to fully participate. Everybody signs up, posts and comments.
        1. This may be a subset of the larger group.
    4. Things we will cover

      1. How we write
        1. Frequency and duration
        2. Word processors
        3. Backups
        4. Online resources
          1. Software
          2. Websites
          3. Publishing
    5. Link to “How to Revise a Novel”

      1. I covered during the meeting some of the  points in this article particularly apt for the writing process in general. Here is the link:
      2. https://hollylisle.com/how-to-revise-a-novel/

Sunday, May 22, 2016

http://www.writersdigest.com/online-editor/your-novel-blueprint

http://www.writersworkshop.co.uk/plot2.html

What is Plot - How to Build a Story from Beginning to End

On this page, we answer the question, "What is plot?" and talk about how to create a road map for your own fiction. At the bottom, you'll find links to other fiction writing resources, including a free creative writing course.


What is plot and how to get where you're going

A story's plot is what happens in the story and the order it happens in.

For there to be story, something has to move, to change. Something goes from point A to point B. 

This change could be:


  • A physical event (Point A = psycho killer is picking off everyone in town. Point B = police arrest the killer).

  • A decision (Point A = character wants to practice law like his father. Point B = character decides to be a ballet dancer).

  • A change in a relationship (Point A = They hate each other. Point B = They fall in love)

  • A change in a person (Point A = character is a selfish jerk. Point B = character has learned to be less of a selfish jerk.)

  • A change in the reader's understanding of a situation. (Point A = character appears to be a murderer. Point B = The reader realizes that character is actually innocent and made a false confession.)
This change could even be the realization that nothing will ever change. (Point A = your character dreams of escaping her small town. Point B = her dream escape is shown to be an hopeless.)

What is plot? It's the road map that takes your story from point A to point B.


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What is plot - why happiness is overrated

There's a reason why "Happily ever after" comes at the story's end. It means nothing else is happening. Cinderella and her Prince Charming wake up late, eat a nice breakfast, and take a walk. A slow news day. Forever.

It would be different if it were:
"Happily ever after, except for one extramarital affair and its violent ending..."
"Happily ever after until Cinderella discovered Prince Charming's secret dungeon..."

Please don't assume I'm some kind of evil fairy-tale witch, wishing ill on the fortunate couple. I don't think there's anything wrong with happiness. There's just no story in it.

The story is how you get to the happy ending. Or how it turns sour.

For there to be a story, something's got to happen. Narrative conflict is what makes it happen. This can be:


  • a conflict between character's (Prince Charming's ex-girlfriend decides to break up the marriage)

  • a character's internal conflict (Cinderella develops a drinking problem)

  • a conflict between characters and an impersonal force (floods, disease, dragon attacks)
Einstein once said, "Nothing happens until something moves." If your characters are getting comfortable too early in the story, it's time to stir things up.

What is plot - how to stir up major trouble

How do you come up with an interesting conflict for your story? It's often a good idea to start with your main character.


  • What's something this character desperately wants? What difficulties might get in the way? There's your conflict.

  • What would force this character to do something he or she is really uncomfortable with? Something he or she doesn't feel capable of doing? Create this situation, and you've got a conflict.
Or maybe there's a specific type of conflict you feel inspired to write about, and you're building your story from there. Perhaps you already know that you want to write about divorce or a battle with cancer or child abuse. That's fine, but be careful not to skimp on character development. Remember that the more real you can make your character for readers, the more deeply readers will care what happens to him or her. We lose sleep worrying over the divorces and illnesses of our friends, not those of strangers. If you haven't done so yet, you might want to take a moment to read about writing character profiles.

What is plot - drawing your road map

Okay, so you've invented characters, and you've planned a conflict that will get them off their sofa and doing something interesting. How to organize your story? 

Here's a traditional way of looking plot structure:

Step 1) The reader gets to know your characters and to understand the conflict. You can accomplish this by showing instead of telling. Take a moment to review the difference between showing and telling here. 

Step 2) You build up the conflict to a crisis point, where things just can't continue the way they are. A decision has to be made or something has to change. This point is called the story climax. If the story is a road map, this is the major fork in the road. The character can turn left and wind up in Alabama with her ex-lover or turn right and end up back in Illinois with her husband and kids. 

The story climax is when Cinderella discovers Prince Charming's dungeon. Will she leave? Will she just pretend she doesn't know? The rest of the story depends on what happens at this moment. The story climax can be a moment of great suspense for your reader. It determines how the story will end, the location of Point B.

Step 3) Show, or hint at, Point B. This is called the story's resolution, and it all depends on how the climax played out.

Remember that this is just one theory of plot structure. But it provides a road map that will give your reader an interesting ride from Point A to Point B. Then, as you read and write more and more short fiction, you will develop your own sense of the best shape for each story.

What is plot - next steps

Choose one of the following links.

Are you taking the CWN Free Online Writing Courses? If not, do you want to? Click here.

Not sure how to start writing a story? Get advice here

Are you looking for story ideas? Browse writing prompts related to plot structure

Would you like to see a complete list of CWN pages on how to write short stories? 



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Literary Analysis: Using Elements of Literature



Students are asked to write literary analysis essays because this type of assignment encourages you to think about how and why a poem, short story, novel, or play was written.  To successfully analyze literature, you’ll need to remember that authors make specific choices for particular reasons.  Your essay should point out the author’s choices and attempt to explain their significance.
Another way to look at a literary analysis is to consider a piece of literature from your own perspective.  Rather than thinking about the author’s intentions, you can develop an argument based on any single term (or combination of terms) listed below.  You’ll just need to use the original text to defend and explain your argument to the reader.
Allegory - narrative form in which the characters are representative of some larger humanistic trait (i.e. greed, vanity, or bravery) and attempt to convey some larger lesson or meaning to life. Although allegory was originally and traditionally character based, modern allegories tend to parallel story and theme.
  • William Faulkner’s A Rose for Emily- the decline of the Old South
  • Robert Louis Stevenson’s Strange Case of Dr. Jekyll and Mr. Hyde- man’s struggle to contain his inner primal instincts
  • District 9- South African Apartheid
  • X Men- the evils of prejudice
  • Harry Potter- the dangers of seeking “racial purity”
Character - representation of a person, place, or thing performing traditionally human activities or functions in a work of fiction
  • Protagonist - The character the story revolves around.
  • Antagonist - A character or force that opposes the protagonist.
  • Minor character - Often provides support and illuminates the protagonist.
  • Static character - A character that remains the same.
  • Dynamic character - A character that changes in some important way.
  • Characterization - The choices an author makes to reveal a character’s personality, such as appearance, actions, dialogue, and motivations.  
Look for: Connections, links, and clues between and about characters. Ask yourself what the function and significance of each character is. Make this determination based upon the character's history, what the reader is told (and not told), and what other characters say about themselves and others.
Connotation - implied meaning of word. BEWARE! Connotations can change over time.
  • confidence/ arrogance
  • mouse/ rat
  • cautious/ scared
  • curious/ nosey
  • frugal/ cheap
Denotation - dictionary definition of a word
Diction - word choice that both conveys and emphasizes the meaning or theme of a poem through distinctions in sound, look, rhythm, syllable, letters, and definition
Figurative language - the use of words to express meaning beyond the literal meaning of the words themselves
  • Metaphor - contrasting to seemingly unalike things to enhance the meaning of a situation or theme without using like or as  
    • You are the sunshine of my life.
  • Simile - contrasting to seemingly unalike things to enhance the meaning of a situation or theme using like or as  
    • What happens to a dream deferred, does it dry up like a raisin in the sun
  • Hyperbole - exaggeration
    • I have a million things to do today.
  • Personification - giving non-human objects human characteristics
    • America has thrown her hat into the ring, and will be joining forces with the British.
Foot - grouping of stressed and unstressed syllables used in line or poem
  • Iamb - unstressed syllable followed by stressed
    • Made famous by the Shakespearian sonnet, closest to the natural rhythm of human speech
      • How do I love thee? Let me count the ways
  • Spondee - stressed stressed
    • Used to add emphasis and break up monotonous rhythm
      • Blood boil, mind-meld, well- loved
  • Trochee - stressed unstressed
    • Often used in children’s rhymes and to help with memorization, gives poem a hurried feeling
      • While I nodded, nearly napping, suddenly there came a tapping,
  • Anapest - unstressed unstressed stressed
    • Often used in longer poems or “rhymed stories”
      • Twas the night before Christmas and all through the house
  • Dactyls - stressed unstressed unstressed
    • Often used in classical Greek or Latin text, later revived by the Romantics, then again by the Beatles, often thought to create a heartbeat or pulse in a poem
      • Picture yourself in a boat on a river,
        With tangerine trees and marmalade skies.
The iamb stumbles through my books; trochees rush and tumble; while anapest runs like a hurrying brook; dactyls are stately and classical.
Imagery - the author’s attempt to create a mental picture (or reference point) in the mind of the reader. Remember, though the most immediate forms of imagery are visual, strong and effective imagery can be used to invoke an emotional, sensational (taste, touch, smell etc) or even physical response.
Meter - measure or structuring of rhythm in a poem
Plot - the arrangement of ideas and/or incidents that make up a story
  • Foreshadowing - When the writer clues the reader in to something that will eventually occur in the story; it may be explicit (obvious) or implied (disguised).
  • Suspense - The tension that the author uses to create a feeling of discomfort about the unknown
  • Conflict - Struggle between opposing forces.
  • Exposition - Background information regarding the setting, characters, plot.
  • Rising Action - The process the story follows as it builds to its main conflict
  • Crisis - A significant turning point in the story that determines how it must end
  • Resolution/Denouement - The way the story turns out.
Point of View - pertains to who tells the story and how it is told. The point of view of a story can sometimes indirectly establish the author's intentions.
  • Narrator - The person telling the story who may or may not be a character in the story.
  • First-person - Narrator participates in action but sometimes has limited knowledge/vision.
  • Second person - Narrator addresses the reader directly as though she is part of the story. (i.e. “You walk into your bedroom.  You see clutter everywhere and…”)
  • Third Person (Objective) - Narrator is unnamed/unidentified (a detached observer). Does not assume character's perspective and is not a character in the story. The narrator reports on events and lets the reader supply the meaning.
  • Omniscient - All-knowing narrator (multiple perspectives). The narrator knows what each character is thinking and feeling, not just what they are doing throughout the story.  This type of narrator usually jumps around within the text, following one character for a few pages or chapters, and then switching to another character for a few pages, chapters, etc. Omniscient narrators also sometimes step out of a particular character’s mind to evaluate him or her in some meaningful way.
Rhythm - often thought of as a poem’s timing. Rhythm is the juxtaposition of stressed and unstressed beats in a poem, and is often used to give the reader a lens through which to move through the work. (See meter and foot)
Setting - the place or location of the action.  The setting provides the historical and cultural context for characters. It often can symbolize the emotional state of characters. Example – In Poe’s The Fall of the House of Usher, the crumbling old mansion reflects the decaying state of both the family and the narrator’s mind. We also see this type of emphasis on setting in Thomas Mann’s Death in Venice.
Speaker - the person delivering the poem. Remember, a poem does not have to have a speaker, and the speaker and the poet are not necessarily one in the same.
Structure (fiction) - The way that the writer arranges the plot of a story.
Look for: Repeated elements in action, gesture, dialogue, description, as well as shifts in direction, focus, time, place, etc.
Structure (poetry) - The pattern of organization of a poem. For example, a Shakespearean sonnet is a 14-line poem written in iambic pentameter. Because the sonnet is strictly constrained, it is considered a closed or fixed form. An open or free form poem has looser form, or perhaps one of the author’s invention, but it is important to remember that these poems  are not necessarily formless.
Symbolism - when an object is meant to be representative of something or an idea greater than the object itself.
  • Cross - representative of Christ or Christianity
  • Bald Eagle - America or Patriotism
  • Owl - wisdom or knowledge
  • Yellow - implies cowardice or rot
Tone - the implied attitude towards the subject of the poem. Is it hopeful, pessimistic, dreary, worried? A poet conveys tone by combining all of the elements listed above to create a precise impression on the reader.

Sunday, May 15, 2016

May 14, 2016