Here we are again. Jenny is only just back in business (with a new laptop to boot) and I hope she keeps well.
As for me, after a hectic weekend with grandkids (Mr Bounci-Castle) … I realised The Writers’ Neuk was on tonight … oh dear.
Please consider this a panic attack. I won’t make excuses, but have plenty of ’em just in case; most involve writing and looking after energetic grandchildren.
Business of the day
The writing topic for today is: ANYTHING – that means you can share anything in your store-cupboard.
Enjoy a few minutes buzz as we catch up
Plan to introduce our writers’ words:
All shared writing should be published under a nom-de-plume. Rationale is that protecting ID assists genre change, practise and the invitation of feedback and critique (accepting some of it might not always be ego massaging). Also, people well established in a field can avoid exposure before they want it (if ever).
Provide an image to link with the NDP.
Agree a way so a visitor to our site will readily find a chosen writer’s work
Writers can invite critiques.
We agree *not* to reveal anyone else’s ID.
Create a monthly schedule for routine posts
Develop a blog post rota for people willing to provide them. THis could also include editing practise for those interested.
After an hour of general discussion about our individual on-going projects the group asked me to share mine with them. This led to my sharing the use of the Storyboard.
What I do is take a single simple idea and built a framework around it. In scriptwriting, this is called a storyboard and is the basis for a variety of writing styles, particularly fact-based fiction, my preferred genre, where the story needs to follow a set path.
E.G. – developing a movie idea
In this case, my task was to take a song lyric, deconstruct it into its characters and then imaginatively shape a life around each one of them.
My chosen song, ‘The Piano Man’, by Billy Joel, is about people visiting a late night bar to drown their sorrows and contains the formidable line, ‘they are sharing a drink they call loneliness, but it’s better than drinking alone!’
Basically a storyboard is just a scratch pad or, to use Scrivener’s process, a cork-board where you pin up post-it notes and can shuffle them into some sort of order. So on each ‘post-it’ I head it with each character’s name and pin them all in one section.
I am fortunate in my recent writing life to have researched a massive history book which involved me interviewing nearly 100 interesting people, some of whom were in the final years of life. In almost every case the questions were tailored around what little information I had about them.
questions of characters
Likewise, in this situation, we apply a little intelligence to the questions we ask each player. Of course, there are the obvious ones: how old are you, colour, sex, creed etc? But then we go deeper. Why are you lonely in a bar? What has life done to you to get you here?
In one line we are fed: ‘Paul is a real-estate novelist, who never had time for a wife.’ What on earth is a real-estate novelist? So Paul, tell me about your life as an estate agent, wasn’t much fun, eh? Sold a few houses, market crashed, and you wrote what? Maybe you saw how the sub-prime market worked and discovered the smokescreen and corruption that lay behind the banking system that eventually brought the global economy to its knees? That would put me in a late night bar, for sure!
Then there’s the waitress, who is ‘practising politics’? We’ve all met her. Doing a night job to pay her way through college? Where better than in a downtown bar? Bound to be a few washed up senators lurking around here?
… and the rest
Each one gets given a history based around what little info we have on them and then, for me, in this exercise, the fun really starts, with the shifting of the pieces. Out of these eight or so sad people, who knows who? Which one has had their life touched by another? Where have all their paths crossed?
select a protagonist
As with all good stories, we need a protagonist, and I chose the old man who is asking the piano-man to play a tune he used to know ‘when he wore younger man’s clothes!’
This guy has been around, right? Bound to have bumped into some of the other players in his 3 score years and ten? So I stick him in the middle, and weave the others around him.
it’s a learning exercise …
As this is only an exercise, I want to keep it tight, maybe a script for a 15-minute movie, or a short story. So I make only three to four scenes involving each player, each on its own post-it. I am a great believer that scenes and characters are only borrowed and there is rarely anything original left to invent, in the same way that there are only so many notes in a music scale. So, in the majority our scenes we use everyday situations that readers can relate to.
pull it together
The timing works out that the old man could have been a veteran from the Vietnam war, so there is his first scene, in the jungle in 1969. But we don’t want a chronological history of each person; that’s no fun, far too conventional! So let’s mix them up. Paul sold houses – maybe he sold one to the old fella just before the market fell?
That waitress seems like a nice girl; perhaps she helped the old man across the road or woke him up when the train reached his stop? Venn diagram centre! So finally, when we walk into that bar at 9 o’clock on a Saturday, a quick look around and we have everyone pegged down.
neat line, neat idea
Eventually, after some enjoyable head-scratching, this exercise will end up with maybe 15-20 scenes, all in a neat line, so the author, and subsequent director, can colour them in as he or she perceives them. As with musical notes, it is the combinations and order in which they are played that make a tune.
That, to me, is what a storyboard is, a simple melody.