Monthly Archives: February 2017

How to Break Through Writer’s Block

Writer's blockWriter’s block. It happens to all of us at some point or another.

It happened to me while writing my award-winning novel, The Land Below. One minute I’m conjuring up a storm, full of plot plans and enthusiasm for the characters in my story, the next I realise that a month has passed without my having added a single word to the text.

I had succumbed to writer’s block – that insidious creature that slouches in the shadows hoping to snatch our muse away and keep her prisoner in his dungeon.

But writer’s block, no matter how persistent, needn’t mean the end of our writing careers.

Breaking Through Writer’s Block

They say that genius is ninety-nine percent hard work and one percent inspiration, and they’re probably right.

Without the force of habit, hard things seem harder to do: Training in the gym. Getting up early for work – just skip exercising for a week, or return to work from a long holiday, and you’ll see what I mean. That engine just doesn’t want to turn over. There’s just not enough spark left in that battery.

So, what to do?

You could just give up and walk away. Have a drink. Take up table tennis.

Or, like persevering with a car that won’t start, you could put your back into it and push. Never mind that the road is flat and narrow without a hint of a downward slope to make things easier. Never mind that there isn’t anyone to help you steer. If you want that engine to start, you just have to push until you gain momentum.

So, it is with writing. You have to fight the inertia. Grit your teeth and place those fingers on the keyboard. Write something. Anything. Heck, write about how much you hate writing.

Sure, what you write might be silly, uninspiring garbage that no one wants to read. But who cares? Silence that inner critic and push on.

Five minutes today. Maybe ten tomorrow. Twenty the next. Just get back into the habit of writing, and inspiration be damned.

Set yourself small goals – increase time spent daily at the keyboard. Pay no attention to the quality of the output just yet. Just write, write, write.

Suddenly, perhaps when you least expect it, the engine will turn. It might take several days. It might take a month, or longer. But inevitably, that engine will start and you will find yourself back in the driving seat steering the car down the road.

And don’t be too surprised, if, a mile or two along, you happen to stop to pick up a hitchhiker, wearing a tee-shirt with a large M on the front, who spins you a yarn about kidnappings and dungeons, and how she escaped them both.

Summary

Beat writer’s block by writing through it, one bit at a time, one day at a time.

Do your Minor Characters Have Character?

Minor charactersIn his book, Your Screenplay Sucks, William M. Akers admonishes us to make all our characters, even minor characters, memorable and fascinating in some way. He believes that no role is insignificant unless you make it so.

In Body Heat, for example the writer gives assistant D.A. Ted Danson, one of several minor characters, an interesting habit – he pretends he is Fred Astaire, often doing little dance steps as he swings across the room much to the bewilderment or amusement of others. It is a small thing but this makes his character interesting. He stays in our minds long after the film has ended.

In the film, Down Periscope, one of the the minor characters, Seaman 2nd Class ‘Sonar’ Lavacelli is blunt and a bit of a roughneck, but he is also loyal. He has amassed an impressive collection of whales sounds on tape. When, during the war game, he finds himself in the presence of an enemy ship, he plays the sounds of whales having sex in order to confuse and divert the attention of the enemy away from the submarine.

Eccentric behaviour often does wonders to beef up a minor character. Imagine a character who is so obsessed with order and neatness that he measures the distance of every object in his room after cleaning to ensure that it is in precisely the same position as before. This not only speaks volumes about his character, but it is visually interesting to watch.

Or someone who is so spotless that she washes and shines the vegetable cans she has purchased before placing them in the cupboard for storage.

You get the idea. Go have fun with the minor characters in your stories by giving them interesting and fascinating things to do.

Summary

Make each character colorful or unique in some way in order to make her memorable and fascinating.

What is the Hollywood Story Structure?

Hollywood signI am a big fan of story structure, especially the structure of stories intended for a commercial audience, and nobody does commercial better (or worse – when it misfires) than Hollywood.

As I have noted before, when thinking about a commercial story, I sometimes lay out the skeleton of a tale before commencing the writing itself. At other times I have the structure tucked away in my mind, so that I am only subliminally aware of it. Yet, its presence, in some magical way, guides my hand.

But what is story structure anyway? And how should one go about learning its secrets?

There are many books and articles written on the subject, including many on this site, drawn from a wide range of respected sources. One can hone in on the details, and study the workings of the inciting incident, the first and second pinch, the first and second turning point, the midpoint, the climax, and the resolution, and certainly, one would be more enlightened for it.

But sometimes, I prefer to talk about structure, especially to those who are just embarking on their writing journey, in a more accessible, common sense way.

The Hollywood Story Structure in a Nutshell

I have come across many descriptions that capture the essence of a good conventional tale, (I sometimes refer to such stories as Hollywood stories), but here, for its brevity and simplicity, is one of my favorites. I quote from Scott Meredith’s book, Writing to Sell:

“A sympathetic lead character finds himself in trouble of some kind and makes active efforts to get himself out of it. Each effort, however, merely gets him deeper into his trouble, and each new obstacle in his path is larger than the last. Finally, when things look blackest and it seems certain the lead character is finished, he manages to get out of his trouble through his own efforts, intelligence, or ingenuity.”

Much can be learnt by thinking carefully about several key words in this passage – sympathetic lead, trouble, active efforts, deeper into his troubles, larger than the last, blackest, finished, out of trouble though his own efforts, intelligence, or ingenuity. Each contains important kernels of insight that helps make for a successful story.

For us to care for the protagonist, for example, he must be sympathetic. We wouldn’t give much of a damn for Hitler, now would we?

For us to be drawn into the story itself, the character must also be in serious trouble.

Further, this trouble can not remain static. That would render it boring. For us to stay interested, the tension needs to increase and the problem needs to worsen.

You get the idea.

Commercial structure, then, orders an interconnected set of events about a sympathetic character facing an almost insurmountable problem in a way that conspires to keep the audience engrossed in the story.

So there you have it. Three sentences, taken from Mr. Meredith, that sum up the structure of a commercially viable story to get you started on that next Hollywood screenplay.

Summary

Hollywood story structure refers to an arrangement of interconnected events about a sympathetic character facing a difficult problem in a way that conspires to keep the audience engrossed in the story.