Death Is Not the Worst Thing

At least not in storytelling it isn’t. If you’ve read any of his books or attended any of his workshops, you know this is a big point of Donald Maass. How can you make it worse?

Part of our job as writers is to torture our poor protagonists and often their friends and family as well. Sometimes we hesitate to take our stories to the level it needs to be because we like our protagonists. Why let them suffer so much?

Because it doesn’t make for a good story. Sorry, that’s the rub.

We like stories because we like to see conflict overcome. Triumph attained. Some kind of new understanding gleaned. In my opinion this is because we hope those issues in our own lives will come to some kind of catharsis in our lives or just a resolution that makes sense. So it’s relieving to read about others’ troubles and trials because typically stories have a resolution, whereas our lives may continue on troubled for some time.

That’s why what our protagonist is after should be harder and harder to attain the further we get into our story. Something should keep getting in their way, and each time something does it should make things worse.

Since hearing the advice, how can you make it worse for your character, I’ve come to new ideas I’m not sure I would have come up with otherwise. But the other side of that is remembering, death is not the worst thing. For our main characters, death must be off the table—as a result, not as a fear.

Firstly, if your protagonist dies, end of story—unless of course you’re doing some freaky ghost realm back and forth story. But when I say death, I mean no longer available to act in your story. Also, death can often merciful for a character. They can no longer be tortured, whether physically or mentally, by something.

When we’re crafting story, remember death is not the worst thing.

Do you torture your poor protagonists? Do you try and apply the “how can I make it worse” principle? Or has this philosophy helped spark any new ideas for your story? Have you read any Donald Maass or listened to him? Anything you would add?

Friday Flix: Fullmetal Alchemist – Brotherhood

It’s been a long time, friends, but welcome to another edition of Friday Flix. This week we’re doing it anime style in the foreign fantasy lands of Amestris, something like the European industrial revolution as far as setting goes. For those unfamiliar to the anime scene, there are actually two series titled Fullmetal Alchemist the first premiering in 2003, the second in 2009.

Why two series? Well, the original only followed the manga (Japanese comic) story line for half of the series, then went off on its own tangent. Now, I should note I was a HUGE fan of the original series. And when I was in Japan, it was still quite popular. I found me one of these.

I own the original series on DVD and there are bits of the story I think they do better than the new series (of course, the contrary is also the same). But, that having been said, is the 2009 series worth watching? You bet your sweet bippy it is!

The description from Hulu.com:

Brothers Edward and Alphonse Elric hoped to resurrect their mother’s corpse when they attempted human transmutation, but their reckless defiance of alchemy’s Law of Equivalent Exchange resulted in no miraculous reunion. Their experimentation with forbidden science plunged the boys into a hellish nightmare; half of Ed’s limbs were torn from his body, and Al awoke to discover his young soul transferred to a suit of armor. There is but one way the Elrics can restore what was lost – find the fabled Philosopher’s Stone. In a land marred by war and persecution, where truth comes only with tragedy, they undertake their desperate search. Every step closer to the mythical Philosopher’s Stone brings the broken brothers deeper into the darkest shadows of reality. Sinful abominations, both unnatural and human, will try to keep the boys from their redemption – but the Elrics must forge ahead if despair is to be transmuted into peace.

There are English dubs available as well as Japanese language with English subs. I tend to do original language and since I once heard the original series’ voice for Edward and vomited, I decided Japanese it is.

WHY IT’S AWESOME

Harry Potter and the Sorcerer’s Stone (aka Philosopher’s Stone) briefly touched on this idea of alchemy, and FMA runs full blast with it. Much like Voldie wanted the stone to get his body back, so do the Elric bros. That’s the power of a Philosopher’s Stone. Although when the Elrics realize what it takes to get a Philosopher’s Stone, they’re faced with major moral dilemma. So think scientific wizardry at the turn of the century.

One of the main characters is an empty suit of armor. Try working with that characterization. Even better, the massive, intimidating suit of armor has a little boy’s voice. Alphonse Elric quickly became one of my favorite characters (although the Elric bros tie on favs).
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Seven deadly sins run amok throughout both stories. It’s interesting to see how each character plays out their sin, be it Greed, Lust, Envy, Gluttony, etc. This is some serious creativity, taking old things and making them new. And above all, you come to love these Elric brothers as if they were your own siblings or kids. You want them to succeed no matter what, despite any flaws or difficulties that come their way. That’s some good storytelling!

2004 vs. 2009

So are they both worth watching? Purists will say skip the 2004, go straight for 2009. I say don’t count 2004 out. Even though they did their own thing with the story, the idea is still interesting. Plus it makes for an interesting study on how a story can go two separate ways depending on choices we make. What a perfect case study for us writers to see what worked better for each storyline.

I liked Barry the Chopper from 2004 better than 2009. The former was much more terrifying and left our boys in a lot more trouble. 2009’s BTC seemed too juvenile, reminiscent of Pokemon episodes. And that’s another complaint I have about the 2009 series. It seemed a lot more juvenile in the beginning. I felt like 2004’s was a bit more mature throughout, although 2009 does get crazy awesome in its ending. For those of you who are in the know, compare Rose’s story line between the two.

I liked Hohenheim from 2009 better than 2004. Good gracious, Hohenheim 2004 is almost completely useless to the story except that he’s the Elric bros dad. He’s shows up like he’s late for rehearsal and gives a half-baked performance before leaving the bros to do what they could have and would have done on their own in the first place. 2009 Hohenheim? He’s a bad a** mambo jambo who knows how to use alchemy like a boss. And did I mention he’s a big part of the reason the story is happening in the first place? You really dig Hohenheim 2009. 2004? Meh.

Something that bothers me about anime in general is going off on side character stories just as soon as the plot is getting good so they can drag it out. Ugh, I don’t care about the half animal dudes’ backstories and everyone’s brother and sister and cousin and so on. Maybe I’m remembering 2004 with rose-colored glasses, but good gracious is 2009 riddled with filler bits all over the place. Sometimes I wondered when the Fullmetal Alchemist of the show would be back on screen again. It got a bit Peter Jackson for me at times.

But all that being said, the ending of 2009 is beyond your wildest dreams and makes everything worth it. Well, minus a really long wrap up. Please, don’t do this in your novels. It kills the satisfaction.

Also, I just missed this video from the 2004 series, since it was my fav closer.

CONCLUSION

I really think it’s worthwhile watching, not only for the pure awesomeness of the story, but to compare different paths the story took and understand that our novels may do the same thing. I know with SHADE it started on a very different path than it’s on now—and that’s okay. Think parallel universes. Which one is better? Whichever one gets you to the strongest story.

Have you seen either of the FMA series? Do you agree or disagree? Any other series you would recommend?

SMC: Triple Duty Writing

This brings us to the end of the Storymakers Conference notes. I hope you’ve found something helpful from reading these. Polish up those manuscripts, peeps, cuz I wanna read about how you landed agents or sold a bajillion copies on Amazon in the near future.

I’ve mentioned Clint Johnson before, who any of you can hire to critique your stuff via his site. He really knows his stuff and his forum was no exception to helpful tips. I give you last NOTES of the conference:

What is actually happening or going on in a story? There are three actions that generate what happens in a story.

1. Advance Plot
2. Setting Scene
3. Revealing Character

Learn how to do all three of those motions simultaneously on the same page, in the same paragraph. Plot is not just a chronological unveiling of the events in your story. You can change the chronology to change the revealing of your story.

Setting limits within the scene dictates what can happen there. When you pick a place, remember that different places have different characters, your establishment of setting is going to affect those.

Revealed character is what makes your story matter. You can have set scene and have a plot that is completely advanced, and your story may still not matter. Characterization is the meaning..

Sometimes writers feel like they need to give us a block of backstory or a block of internalization. But anytime you have a block of anything, it’s a speed bump. The bigger the block, the bigger the bump, the more inertia you’re going to take away from your reader. Doing any one narrative action is bad.

Even if you know something that invests you, you’re using your previous knowledge to wade through the block. If you’re only using two of the three actions (from above), it’ll feel disembodied, or it’ll feel like nothing is happening or readers just won’t care. (And because I thought this next bit was especially good, I’m putting it in a block quote.)

Your story is not what happens. Your story is how your point of view character reacts to what happens.

Action only reveals so much meaning. Reaction is where the greatest amount of meaning comes from—especially in prose. Different mediums have different strengths, and what written prose does better than any other medium is it gives you access to the mind. We can slip into the mind any time we want. And we can’t escape the mind.

Your use of point of view is the key to being able to make everything you ever write matter.

It’s personalities that move an age, not politics – Oscar Wilde

If you begin with an individual you will find you have created a type (I think what he means by this is create an individual and let that individual reveal themselves to you and use what you have learned about the individual to create legitimate reactions within your writing). Begin with a type and you will find you have created nothing. (If you start with a characterization and don’t delve into what makes that character who he/she is, you will have a cliché and a flat character.)

The more we create an authentic individual we’ll find we’ve created a type. (And to go further into this, types in this sense are the Jack Bauers, Darth Vaders, Sarah Conners, i.e. the memorable characters).

In setting, you only record something important to the POV. Use POV to help it mean something. Two people can witness the exact same thing and have a completely different understanding of it. What you choose to describe tells you about the character.

WRITING EXERCISES

At this point he had us do some exercises. He had us look at the room we were in and pick out a detail about it to describe in prose. So, if you want to play along, look at the area where you’re seated and pick out a detail or two to describe that area to readers. Why did you choose the details that you chose?

Now imagine an old woman were to come into your area. What would she notice that would reveal to us something about her? Modern, uncomfortable furniture. Loud, obnoxious music? Etc? What about the main character of your novel? What would they immediately notice about your space? Use their reactions to what they see to tell your readers something about them without actually “telling” them.

After a little discussion on our choices, we moved to another writing exercise. He split us into groups and gave us a specific topic to write about. For our group the set up was this: a reporter at the beach discovers a dead body. We had to describe the scene pulling out details that would tell us our character was a reporter and also show our reporter’s reaction to finding the dead body.

Once we had written and discussed this, he had us switch the POV to a homeless man finding the body on the beach and his reaction. Then to compare and contrast the differences between the POVs encountering the same exact beach and the same exact situation. If you do this exercise, you’ll be surprised with how the story reads (or at least should) very differently for two different characters walking into the exact same scene.

CONTACT INFO

If you liked the sample of what you read here, you should really check out Clint’s site, especially for those of you thinking of self-publishing in the near future. I worked with him on the first 2 pages of my manuscript and found his insights to be extremely helpful and was astounded at how much he was able to read into the story with only 2 pages.

What do you think of Clint’s advice? Are you going to try the writing exercises? Have you considered approaching your writing in the way of your character’s reactions?

SMC: Writing Action Scenes

How are your action scenes? Too long? Not descriptive enough? Let this forum presented by AUTHOR give you the tips to take your action from flab to fab. Even if action is your strong suit, I think there’s great tips for all.

And now, the NOTES:

Tip #1 Do what you write
Figure out the logistics of your scene. Act it out as much as possible and see if there’s anything else you notice that might give texture to the scene for your readers. Or, if it’s not something you know a lot about, sit down with someone who does.

Tip #2 Use your verbs.
When it comes to action scenes, use very strong words, not passive. Ask yourself, does this verb foreshadow? Often great writers will take language that is in the climax and put it in Chapter One. That way when readers reach the climax on a subconscious level it all makes sense.

Tip #3 Avoid passive voice at all costs
Action needs to be very present and very accountable. Passive voice is abdicating responsibility. It shows a character being acted upon rather than acting, and action 100% needs your characters acting (even if they’re getting smashed to bits).

Tip #4 Use dialogue strategically.
In real life you don’t do much talking when you’re fighting, so leave out unnatural long speeches or dialogue that just wouldn’t work in an action scene. However, that doesn’t mean ex out all dialogue. When dialogue breaks up the action it’s a good thing. Dialogue can frame the action you’ve written. (Remember Empire Strikes Back? Of course you do! Anyway, think of Luke and Vader fighting. A lot of that scene they aren’t talking, but as Luke is being defeated Vader starts to insert lines that give us insight into Luke possibly losing his internal conflict as well.)

Remember, part of the battle is the psychological. The first one to lose their temper is often the loser. But don’t use fight scenes to put in exposition (aka backstory or infodumping). A fight scene should be all in the present and all intense.

Tip #5 Make sure every sentence moves the action forward.
This is not the place to dwell, wallow, or describe a sunset. Every sentence takes us closer to the climax of this action. Every sentence is a continuation of action. Only use details you’ve already introduced, don’t introduce new details because it will slow the scene down.

But remember, you don’t have to give the wikipedia explanation of everything. Sometimes writers feel like they have to prove they’re knowledgeable of something when all it usually ends up doing is showing that they’re trying to prove they are knowledgeable. Keep it simple and keep it moving.

Tip #6 Read Other Writers
One of the best ways to learn how to write great action is to read other author’s action scenes. Ask yourself, how do they “grab” me? Bad examples can teach you a lot as well. If the writing drags, can you see why? Emulate those you admire and workshop your writing (I think she means, have it beta read) to find strengths/weaknesses.

Tip #7 Give it Tension (Don’t make it easy)
Give your enemy a brain. Remember: if the action scene wasn’t planned by your protagonist, it was planned by the opposition.

The opposition must be formidable in some way. They must want something from the hero. What gives them an edge is they are willing to do things your hero can’t or won’t do.

The hero cares more and hence has more to lose. Everything your hero has on the field they want to keep. The opposition is perfectly willing to sacrifice whatever he/she needs in order to defeat the hero.

Tip #8 Foreshadow the Protagonist’s success or failure

(At this point we were running short on time, so she went way faster. I’ll try and summarize what I believe she meant by her headings.)

Use language and/or symbolism to indicate whether or not your protagonist will succeed. You can also use this to misdirect readers into thinking one thing will happen and show them it’s quite the opposite.

Tip #9 Keep it Tight (In Scene) But Let It Breathe
Set up the scene for action and then let the scene play. Understand the time/space where they figure out things. (She mentioned one author whose name I can’t remember, sorry, who had people read her action scenes while people behind her acted them out. She said it shouldn’t take longer to read the scene than it does for them to act it out. Daunting eh?)

Tip #10 Have Stakes (What does the winner get?)

Make sure whatever the winner gets that it’s really good and it’s really devastating to the opposition, be it the hero or the villain.

Tip #11 Keep Track of Time (keep it real time)
(Ah, here’s where she actually mentioned it. But it never hurts to read this twice). An action scene should not take longer to read than to physically do.

Tip #12 Keep it Primal (instinct not intellectual)

(Someone mentioned the fight scenes in RDJ’s Sherlock Holmes as the contrary example to this. But we fully believe that Sherlock would be doing the play-by-play in his mind of a fight, so it works for him. It likely wouldn’t work for most of our characters).

Let your characters react to action scenes based on instinct. Let them mess things up, misjudge things, get more angry when they realize they’re losing, etc.

*****

I really found this forum helpful and recently got feedback from a friend on a certain scene that wasn’t utilizing these tips. It’s been great timing for me to post it. 😉 I challenge you to look at your action scenes and see if there isn’t anything you can do to pep them up.

Did you find anything helpful? Do you feel more confident in writing action scenes? What do you do to research action scenes? Any of this advice you’re already utilizing?

Friday Flix: Iron Man 3

Oh, you knew this one was coming! Tony Stark strikes again in Iron Man 3, which some could call Iron Man 4 since Avengers was in some ways Iron Man 3, but I digress.

If you haven’t seen this in the theater yet, I’m going to warn you now of potential SPOILERS coming in the next several paragraphs. And I want to state up front right now that I thought Iron Man 3 was a solid A movie. It’s really, really good. But that doesn’t mean I don’t take issue with some of it. And since many of us are storytellers or at least appreciate good storytelling, it’s good to learn from the stories we hear.

But back to Iron Man 3. The description from IMDB.com:

When Tony Stark’s world is torn apart by a formidable terrorist called the Mandarin, he starts an odyssey of rebuilding and retribution.

Okay, so there we have it. Iron Man faces terrorist. And go!

WHAT I LOVED

The best part of this movie for me was the interaction between Tony and this kid Harley. Tony escapes certain destruction via the Mandarin and ends up in the middle of Tennessee where he meets a boy named Harley who helps him recover and keep his malfunctioning Iron Man suit safe.

Harley also plays the role of audience, asking Tony all the questions about New York we’d like to ask him. I think this worked really well for the story because Tony needed a different kind of reminder of what he’s doing this all for. There were the personal reminders of protecting his friends and his love, but there’s something so perfect about the innocence of this kid that helps Tony see what he needs to do to find healing. Kids are honest in ways adults just can’t be anymore.

Plus it worked great as a contrast for Tony’s ego to see this little kid has got it together better than he does. If you go for anything, even if you haven’t liked Iron Man, I think you’ll enjoy the back and forth between Tony and Harley.