For each one, tell me not what conclusion you want to come to — frankly I think that ought to emerge from the work itself — but what the nature of the problem is. What are the different points of view that might be entertained by one or more of your characters or explored by the story as a whole? We'll come around again to how to tie this in to your basic plot outline and your characters in the next two weeks.
But get your postings up to date now, so we can move forward. What I'd like to have you do here is to go through your basic plot-lines from the Plot 1 exercise, and start reflecting on how that will intersect with the characters and the themes you've put on the table.
In practical terms, you're probably down to one story-line now. For each plot point, therefore, answer the following questions for each of your main characters I would expect no more than three or four. The accounting of these things need not be elaborate or lengthy, but I think you will find that spelling out even what seems obvious will be productive.
Most particularly interesting, of course, is that point at which some character reacts in a way that isn't quite what you'd expect. This is always the point where the reader sits forward in the chair or hunkers down back into the chair and really starts to pay attention. If you've constructed your plot backward, as I suggested, that should not be difficult. Then also write a few sentences about the state of the thematic progression at each stage. This can easily become mindlessly mechanical, and I don't mean for you to do that. But actually stopping to consider at each stage, "Okay, so now what does this say about the problem of x that we were talking about earlier?
These last three units prior to the actual seat-in-the-chair writing frenzy are largely about synthesizing the strands you've already put into play; nothing is set in concrete, and you're welcome to change anything after this point. But getting something down is better than getting nothing down out of a fear of committing to it.
Put it down, and if it needs a change later, you have my blessing for whatever that might be worth. The really important thing to do now is to decide for real which of your characters is the main character — the protagonist. You can have multiple characters, and they can all be important at least some reasonable number of them can be important , but a story is virtually always centered around one. Ultimately it is in the person of the protagonist that the inner and outer stories cross. Perhaps one might say that the inner and outer plot strands cross to make the story as a whole.
- Creative writing - Wikipedia?
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The point is that with precious few exceptions, I think we can say that most solidly satisfying stories contain an external arc and an internal arc, and the real dynamism of fiction comes from their intersection. But you want to do better. I can cautiously recommend it: it has some language that some of our students might find problematic, but its basic analysis of the what-it-is of story is, I think, dead on.
Some of it will be redundant, but indulge me. You may find that revisiting some of these questions brings about a slight change in perspective. How would I know if you cheated? But you would. Summarize, in a paragraph — no more — what the arc of the inner story is going to do i. This calls for relatively little writing, but a moderate amount of thinking.
Write one or two scenes to warm up. That is, it should show something about the foundation of those fears or inner errors that the novel itself will address and that the main character will at least provisionally solve. Use this time to try to get your creative juices flowing.
Creative Writing Meaning — Creative writing
Use some dialogue. Describe a few actions. Make sure that it is set to send your main character directly into the starting gate, so to speak. If something happens in that scene that you need to refer to, of course, you may do so, though try to do it with the perspective that the current state of the novel requires. If you get this into the forum early enough, I will try to give you some feedback that may facilitate your actual writing of your novel. You should have established your NaNoWriMo account by the end of the week at the latest — you can do it at any point prior to this.
If you have already done it for a previous year, you can carry it forward this year. Connect to me as a writing buddy.
Be ready to take off from the starting line right away. Post your word counts to your NaNoWriMo page daily. Trust me. Do not edit. Do not indulge in any backward looks. There will be plenty of time for that. You can clean stuff up later — and we will. For now, your goal — your only goal — is to get it out there in a form that we can work with. You can cut it later. Post your word counts daily. Post in the forum in the Moodle a descriptive passage taken either from your novel or something else written for the occasion: it should be of a place, a thing, or a situation — not a character.
Make it somewhere between and words. We will look at one another's descriptions and see what we can make of them. What can you do with a description to maintain interest? There's been something of a hiatus, largely because everyone seems to have been at sixes and sevens, and not to put too fine a point on it not much work was showing up in the forums.
Dialogue is at the intersection of action, characterization, and thematic discussion. It's fantastically useful in narrative fiction, and ideally very economical since it can do multiple things at a time. Unsurprisingly, it's also rather tricky. Inasmuch as the next section is going to be about building a play, in which dialogue becomes the chief vehicle of narration, what I want you do do is write some dialogue.
Here are four exercises, which could, I suppose, have been distributed among the recent weeks; do the ones you think will be most useful. Dialogue is especially useful in moments of heightened emotional content, since often flatly narrating the emotion becomes unbearably cloying and repugnant. Write a page at least of dialogue on one of the following situations.
If you aren't already reasonably familiar with the story of David and Absalom, read up on it here. It's also spelled out in the books of Chronicles, but it will take you longer to read it there.
What Will be Covered in The Course?
In terms of plot advancement, he needs to tell David that Absalom is dead, but not to tell him that he is actually the one who has killed him. We don't actually know that Joab was the bearer of the news, but it makes for a good dramatic crisis, doesn't it? Joab attempts to provide some consolation, adumbrating his later actions of arousing David from his grief, but at this point he is not necessarily successful.
Your task is to write the scene with as few extras i. Your job is to get the information out there as plausibly as possible, but also to show the nuances of at least David and Joab.