Word by Word

Practical insights for writers from Jessica P Morrell

Quick tip: one trick to creating backstory

Written By: Jessica Morrell - May• 04•15

sidewalk drawingQuick Take: Every protagonist comes into a story with emotional baggage and justifications for their behaviors. These qualities and foibles, acquired over a lifetime, are also called back story. And these emotional needs, blind spots and hungers motivate the protagonist to behave the way he or she behaves. Because these behaviors are also coping mechanisms. Coping mechanisms—denial, projection, suppression, acting out and the like are used to stifle or hide from problems just as in real life. If your protagonist fully realized the cause of  his or her problems, he would solve them and your story would lack inner conflict. Characters are often (but not always) blind to why they do what they do, or powerless to stop using their coping mechanisms, but acquire more self- knowledge and strength as the story progresses. The storyline exists to deliver insights.

By the way, your antagonist or villain has his or her own set of justifications and coping mechanisms. Which ones do your characters use?

Keep dreaming, keep writing, have heart

 

Here’s helpful list of coping mechanisms. Which ones fit your character?

 

In case you missed it: How Stephen King teaches writing

Written By: Jessica Morrell - Apr• 29•15

A terrific interview at The Atlantic. Thanks Mr. King for speaking out against adverbs and lazy writing. My favorite line:  Reading good fiction is like making the jump from masturbation to sex.

Stephen King joyful

 

Keep writing, keep dreaming, have heart

Reminder: I’ll be teaching at the Pennwriter’s Conference

Written By: Jessica Morrell - Apr• 28•15

Pennwriters Conference

Dates are May 14-17

Pittsburgh, PA

On Thursday May 14 I’ll be teaching an all-day intensive The Anchor Scenes of Fiction that will clarify what happens next (and why)in a novel. Friday and Saturday I’ll be teaching  Whispers: Theme and Premise in Fiction and What Writers Can Learn from Downton Abbey.  You can find the details here.

Thought for the day

Written By: Jessica Morrell - Apr• 23•15

tomb carving“Human vocabulary is still not capable, and probably never will be, of knowing, recognizing, and communicating everything that can be humanly experienced and felt. Some say that the main cause of this very serious difficulty lies in the fact that human beings are basically made of clay, which, as the encyclopedias helpfully explain, is a detrital sedimentary rock made up of tiny mineral fragments measuring one two hundred and fifty-sixths of a millimeter. Until now, despite long linguistic study, no one has managed to come up with a name for this.”
– José Saramago

Needed: Milestones that Create Change

Written By: Jessica Morrell - Apr• 22•15

As your story moves along, each milestone the protagonist milestoneencounters will test, stress, and shape him or her in a new  way. It will force a reconsideration or recalibration of who he is. A milestone can be an emotionally-charged event or life passage such as a wedding, funeral, a harrowing childbirth, or death bed scene. A milestone can involve a decision or moral dilemma. A series of milestones are the basis for the story’s structure. Milestones are a way to measure the protagonist’s progress toward his or her goal and highlight key events.

They can also be set pieces such as a battle or fight or chase. Set pieces require a buildup, provide a lot of drama, emotional intensity, and change the direction of the story. Think the burning of Atlanta in Gone With the Wind.

Atticus Finch in courtroomOften the set piece scene will show the character’s new realization as the scene progresses.

Milestones, no matter their size or scope should force change and growth in the main character.

In To Kill a Mockingbird, a coming-of-age story,  the trial of Tom Robinson is the milestone and set piece the whole story evolves around. Once Atticus Finch decides to defend Robinson and the trial unfolds, nothing will ever be the same in Maycomb and the Finch family will be forever tied to and changed by the events.

Tom Robinsin, a black man is wrongly accused of raping a white woman. The case is based on the false testimony of Mayella  and Bob Ewell. Robinson seals his own doom by telling the court that he felt sorry for Mayella—something unheard of from a black man. The arrest and trial reveals all the simmering racism, hatred, and injustice in a small Southern town. A game changer. After a milestone no one is left unscathed.

What are the milestones in your story?

keep writing, keep dreaming, have heart

Resource for writers: Winningwriters.com

Written By: Jessica Morrell - Apr• 21•15

winningwriters logIn case you’re not familiar with winningwriters.com it’s a boon to writers trying to break in or break out. You’ll find all the latest contests, deadlines, and literary journalists to submit to along with tips and bits and pieces about the writing life.  Some of the contests offer real money, it’s just plain inspirational, and was again voted as one of Best 101 Sites for Writers by Writers Digest. You can sign up for their newsletter here.

Keep writing, keep dreaming, have heart

Jeanette Winterson: Language is freedom

Written By: Jessica Morrell - Apr• 17•15

“For me, language is a freedom. As soon as you have found the words with which to express something, you are no longer incoherent, you are no longer trapped by your own emotions, by your own experiences; you can describe them, you can tell them, you can bring them out of yourself and give them to somebody else. That is an enormously liberating experience, and it worries me that more and more people are learning not to use language; they’re giving in to the banalities of the television media and shrinking their vocabulary, shrinking their own way of using this fabulous tool that human beings have refined over so many centuries into this extremely sensitive instrument. I don’t want to make it crude, I don’t want to make it into shopping-list language, I don’t want to make it into simply an exchange of information: I want to make it into the subtle, emotional, intellectual, freeing thing that it is and that it can be.” – Jeanette Winterson

Keep writing, keep dreaming, keep reading poetry Jeanette-Winterson

Ray Bradbury: Living is the center of your life

Written By: Jessica Morrell - Apr• 16•15

puppy and kid leg“The intellect is a great danger to creativity because you begin to rationalize and make up reasons for things instead of staying with your own basic truth –  who you are, what you are, what you wanna be.

The worst thing you do when you think is lie – you can make up reasons that are not true for the things that you did, and what you’re trying to do as a creative person is surprise yourself – find out who you really are, and try not to lie, try to tell the truth all the time. And the only way to do this is by being very active and very emotional, and get it out of yourself – making things that you hate and things that you love, you write about these then, intensely. When it’s over, then you can think about it; then you can look, it works or it doesn’t work, something is missing here. And, if something is missing, then you go back and reemotionalize that part, so it’s all of a piece.

But thinking is to be a corrective in our life. It’s not supposed to be a center of our life. Living is supposed to be the center of our life, being is supposed to be the center, with correctives around, which hold us like the skin holds our blood and our flesh in. But our skin is not a way of life. The way of living is the blood pumping through our veins, the ability to sense and to feel and to know, and the intellect doesn’t help you very much there.

You should get on with the business of living.”
– Ray Bradbury

Written By: Jessica Morrell - Apr• 15•15

Picasso quote

Really quick tip: Bring on the clowns

Written By: Jessica Morrell - Apr• 12•15

I’ve mentioned this before: a portion of your story’s scenes need to rise, to explode, to provide surprises the reader never saw coming. In these pull-out-the-stops scenes your characters  can fumble, make mistakes, stage confrontations, discover dead bodies or that their beloved is sleeping around. Feature them stooping to new lows or achieving new highs.

Give your characters actions to regrets and  why-did-I-open-my-big-mouth remorse.Give them triumphs, but make sure they’re hard earned. Emphasis on the degree of difficulty.  That’s what causes sympathy and empathy, not playing by the rules. Not keeping quiet.

crutches

 If you’re not willing to maim and cripple your characters, you’re not ready to write fiction. 

keep writing, keep dreaming, have heart