The start of Creedence Clearwater Revival’s Proud Mary is one of those rather iconic bursts, instantly recognisable when you hear it.
It’s there because when writing that CCR album, John Fogerty was listening to a lot of Beethoven. Fogerty was impressed with the opening of the Fifth Symphony.
Read MoreStructure is essential to guiding your reader through your story. It’s giving information when it is needed. It’s shaping perspective on the events in the book. Structure is the scaffolding that holds up other elements of writing. It also gives you plenty of room to play. When you’re struggling with how things happen in the story, in the order they happen, take a look at what theme and value you are bringing to these events.
Read MoreDeus ex machina. It’s a device we’ve all heard about from Ancient Greek theatre where a god was delivered by a machine, sometimes quite literally, to solve the problems of the players on stage. The famous example is when Medea needed to escape, the sun god Helios sends a chariot to save her. It wasn’t part of a subplot. It wasn’t something that grew out of lack of ideas. It was a device to bring a conclusion t a difficult position of the characters… and the playwright.
Even thousands of years ago, it wasn’t without its detractors.
Read MoreRiddles require you to make up the context of the scene and find what fits. Stories build that piece by piece. There’s no cathartic emotional revelation in having the context given like this. There’s no story. There’s no value placed on this information. There’s no tension other than trying to solve the riddle. Stories require that the information we need – hopefully – comes right when we need it in order to make sense of what has happened.
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Scenes and events don’t have a meaning on their own. It’s the context of a story that gives these events any significance.
The difficult part in writing is in building the foundations earlier so the emotional resonance speaks through these scenes.
When it’s looked at from a distance we can try to make a narrative out of it but they’re numbers, just statistics. Every half-time break in sports we witness talking heads trying to make sense out of statistics in order to give us a story of the game – some better than others.
These numbers don’t have meaning. But stories do.
Read MoreThere was a point while he was writing Fight Club where Chuck Palahniuk came to realise that the two characters – the narrator and Tyler – were the same. It wasn’t a twist he’d thought of before writing. It wasn’t a gimmick to string the reader along. He was writing a damning commentary on masculinity as he saw it in the mid-1990s.
Read MoreThe power of your story depends on clearly locating your inciting incident.
The fundamentals of this are often misunderstood.
Story is about transformation. A story is in how a character changes. This change does not come easily but there is something that pushes the character out of their comfort to begin the journey.
Read MoreStories are about risk.
The world shifts. Something is changed – for good or bad. The character reacts to this to either try to make things go back to how they were, or to make things better.
Read MoreSteve Albini – ““When I talk about recording an acoustic instrument, what I really mean is recreating the sense memory of having heard an acoustic instrument. I say that because acoustic instruments have an extremely long tradition. Every part of the world uses some form of acoustic stringed instruments, and we all have engrained in us personal and cultural memory of these instruments. So when I say I’m trying to make an accurate recording of an acoustic instrument, what I mean is I’m trying to evoke the sensation of having heard that instrument in life.””
Aristotle opens Poetics by describing poetry as a species of imitation. There are different ways to do that, different mediums and different ways. Painting, too, is imitation, Aristotle points out.
In our stories, that’s what we do. We imitate to recreate sense memory.
Read MoreBlues music has been a part of popular song on radio and streaming for all our life. We’ve heard countless songs based on the structure. We instinctively know where it rises and falls, where it changes, and where the turn around is. Story structure is similar.
Read MoreAs in marking a character in stone. So, a face that shows character shows that which has been marked. Or deeply impressed.
The term didn’t come to mean a person in a story until the late 1660s – a good fifty years after Shakespeare had, as he put it, shuffled off this mortal coil.
Read MoreBrian Eno has a card in his Oblique Strategies set suggesting: Whatever worked last time, never do it again.
That might be more extreme than we always need but the sentiment is a good one. Just because it worked last time doesn’t mean it would work again. And just because a client has one idea in mind with their story, it doesn’t mean that’s the best way to narrate their own journey.
Read MoreThe architecture and design of the building was held together in a particular way. The pressure and tension was held in places that you might not first assume. The architects knew this. A fractured window in one place meant the tension was wrong somewhere else. This is like a manuscript.
Read MoreHaruki Murakami describes how he takes feedback from his first reader – his wife – and his editors over the years.
Read MoreJohn Swartzwelder is a reclusive writer best known for writing a huge amount of the strongest early Simpsons episodes. He also wrote for Saturday Night Live. Now he writes novels. His writing process involves getting the idea out quick. Finish the first draft as fast as possible. Then work deeper in the rewrite.
Read MorePeople read to connect with a story. Or they read to learn. They talk about the story with friends because it connects with them. They see themselves in the text. Or they’ve learnt something important from reading it.
Rarely has someone sat down with a friend over coffee and gushed over complicated sentences they couldn’t understand.
Read MoreThe creative process is so fascinating. Over the last twenty years or so, I’ve collected a lot of different strategies and techniques to tap into the creative process. These come from reading books and interviews, talking with other writers and artists, watching documentaries, and searching out strategies that worked for my favourite writers and artist.
Read MoreWhen we work within limitations that we set ourselves, we rely on our inspiration and creativity to find solutions. This makes the story work. There are problems we could get around by breaking our own rules. But these rules keep us honest as writers. It forces us to find an answer that draws from the world we’ve written.
Read MoreWhen Brian Eno was working with U2 and Luciano Pavarotti for the song Miss Sarajevo, he observed that opera singers are cheats. Or professionals, depending on your perspective. No matter how the work is done, the professional or the artist understands that the right way is the way that works for them.
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