So, the good news is the reason I haven’t written about Part 2 is because I’m busy with my script. The bad news is that right now I’ve hit a really crunchy bt and I’m backing off for a moment, so here I am. Procrastinating from writing, by writing. This is a first for me. Anyway, if you take a look at the previous entry, I had three things that happened to shake me out of whatever doldrums had locked me feet down. I’ve talked about one, I’m writing about the second here, and now that I’m re-reading that post, number three may escape me because I can’t remember precisely what it was my advisor said. Anyway. Have some squiggly mind maps. The thing with a story that relies on tensions among characters for its very existence is that it needs characters. I’d been talking about bringing Neyu’s sister Pukka … Read on!
It always feels like this: after a good stretch of feeling at sea and nothing making sense, there’s a pivotal stretch of time, maybe a few hours, during which you begin to work, and you’ve given up feeling bad about things because let’s be honest there’s a deadline looking and folks asking questions and you have nothing left to lose. And it happens. Things fall into place. Things begin to make sense, they have a sensible extrapolation, a kind of logic about them. And you feel like you’ve got your feet on the sand again, even if you’re still shoulder-deep in water. Three things happened to make this so. I went back to Bakhtin, dug around, read up on the context of his life and the political and social circumstances of his time; I took a good, solid look at polyphony again as a structure, as a theory, as a lens, … Read on!
GAH. So I was filling up hot water bottles, getting ready to head to bed (it’s winter here, and while a Brissie winter isn’t terribly onerous, the lack of any kind of insulation where I live means it’s as cold inside as it is outside), and I was thinking thinking thinking. Polyphony. Yeah. I harp on it. Foundational theory for me. Anyway. The original scope of Neyu’s story was quite big and long. …Ignore the double entendre. It was expansive, and had like three to five parts to it divided into smaller chapters. Which is epic, and not a problem when you’re working on something for the long run. And it’s not to say that I’ll never get to those far-flung places. But I won’t get to them for this thesis. Because all those opposing and conflicting and resonating viewpoints? It’s all in the ship. It’s like I said, what, two … Read on!
The hard thing about writing a summary is that — at least for me — I need to know more details about the thing I’m summarizing than ever end up in the synopsis. Yes, I realize that seems self-evident when I write it that way, but I’ve been trying to tackle this freaking synopsis for my thesis story and it’s harder than it really should be. And it’s because I’m just not feeling right over certain details. Or, more correctly, I wasn’t feeling right about details. Just as I posted the thing before about structure and plot, if I get all caught up in my head, if I get all tangled up and the whats and wherefores, I lose the heart. There are some structural problems with the initial conception of the story. I wanted to go polyphonic, but I had a singular main character who we follow as she … Read on!
Sometimes I need to be reminded of the following, as explained by Warren Ellis on his tumblr page. willsee90 asked: What are your thoughts on plot? Breaking rules, especially structural ones, leads to great works, but every story has some kind of structure and thus a set of rules, even if they’re wholly its own. What do you make sure to do when coming up with plots, and what are some plot elements you generally hate/see as too easy? And do you ever use those element if they fit? A: You need to stop obsessing about plot and structure. They are signposts and supports, not writing stories. There was a guy who’d yell over and over again that Stories Are Structure, but his own writing never rose above the shape and quality of a middling James Bond film. Stories are not nothing but structure. Stories have to breathe. Otherwise you’re publishing nothing but nicely-dressed … Read on!
Earlier this year, one of my friends from back in NYC invited me to contribute to an anthology for the ReDeus series, published by Crazy 8 Press. Briefly, the premise of the series is that the gods of yore have come back, and are quite ready to resume being worshipped as they once were. Native Lands features stories set in the Americas, where political games and turf wars between the native gods and those claiming people with non-American ancestry complicate an already difficult situation. I chose to play around in Yucatán, offering an educator and architect a choice that could lead to her own demise. I wrote about this in more detail in a guest post on Crazy 8’s blog, but there’s something I didn’t touch on there that I’d like to mull over and talk about here in a day or so. The reason I need the time is … Read on!
One of the things that has helped me replant my feet on the ground is Memory Makes Us, a project put together by if:book Australia. Over the past couple of months, people contributed long-term memories, anonymously, some of them with photos, some of them just text. This served as the foundation for a very audacious live-writing event in which Kate Pullinger, in full view of the public at the State Library of Queensland, composed a story of “lots of middles” for six hours. For those who were at the library, three typewriters were available for the contribution of more long-term memories which got delivered right after completion to her table as she wrote. For those unable to visit the library for the event, she composed on a GoogleDoc, where anyone in the world could drop by the web page and watch the cursor reveal letter after letter, word after word, … Read on!
Transmedia is all about platforms. I call them “vectors” myself — I like the image of story being transmitted like a virus over particular physical and event pathways. Putting together a story, for me, revolves around character. It’s absolutely centered on character. Anything that has to do with structure distracts me from character and gets me thinking all mechanically, and not … the word’s not spiritual, exacly, but it separates me from the heartspace of a thinking being. I end up writing what I think people should say to one another, as opposed to writing down what I hear them say to one another. So this is a tightrope I walk, and I’m not very good at it yet. I suppose that’s okay — it’s in the falling that I learn what is and isn’t useful for me, and then with analysis and comparison and reflection and observation, refine that into … Read on!
It’s been way too long since I’ve posted here. That’s because I’ve been doing some hard thinking and scribbling in my story, and how I’m approaching it, and how I’m approaching the transmedia nature of it. And I have finally understood, as I stand at the accordioned hood (bonnet!) of this metaphorical car, that I’ve been barking up at least one wrong tree. I feel a bit foolish, but in research, being wrong isn’t necessarily a bad thing, as we learn from our mistakes and missteps. My real challenge now is documenting what went wrong, and why I think it peeled off the rails. That’s what my next post (or posts) will be about. Also coming up will possibly be a flash fiction entry spurred by Chuck Wendig’s Terrible Minds blog. If you’re not reading him, you should be. I’ll add him to my blogroll linkist whatever the heck that … Read on!
I’m telling nothing new here. I’d say most people have this, at least the conscientious ones. Regardless of what you do, whether it’s traditionally seen as creative or not, if you’re like me, there’s a time when you look at yourself, you compare yourself to other people in your vaguely similar situation and you think: “I am a fraud. I’m here out of luck, I’m here because I said the right thing at the right time. They’re going to figure me out sooner or later, and I’ll be drummed out and ridiculed and shunned.” If you haven’t, well, more power to you. I find it crippling. Listen, I had a hard time contacting a person in the transmedia industry to ask him to be my industry mentor, and I’d already asked him if he’d be willing to entertain the idea in a class where he guest-lectured. It’s one of the reasons … Read on!