Other Cool Blogs: D.B. Jackson 8/12/2020

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Is there meat on those bones?

Going into summer, it’s time to break out the grills and BBQ sauces. Hamburgers and steaks already fragrant the air on Sundays here in the South. Fish and ribs less so, as those need a smoker and breaking out a smoker means a Crowd is needed for the resulting disgorging of meats.

Ribs need meat on the bones to be worth the hassle.

Just like a writing idea needs meat on the bones to be worth the hassle.

As you know, this year I’ve been working on catching up on all the writing the pandemic smothered under worry, concern, and change from the normal. 2019-201 were barren years for the blog, but I’ve caught up with nearly all of it at this point except for the flashes.

Those are getting filled in quicker than expected thanks to a Facebook group I belong to doing a weekly flash using a word or a visual. Well, we started with a word or visual, but no one responded to the word prompts so we have switched to 100% visual prompts. Since the point of them for the group is to kick-off writing, not substitute for a Work-In-Progress, the group asks people to limit themselves to around 50 words.

This makes them short, very short, maybe too short to tell a story. Most of the time I end up doing just vignettes, scene descriptions, a world-building blink, or character sketches. Creating a STORY – beginning, middle, and end – a growth arc for characters – something changing or developing – a true flash, that is difficult.

When I worked on an anthology for LTGBQ+, I reviewed a lot of character sketches. Writers honoring people they knew, explaining how LTGBQ+ might think, a situation they lived through or were told about (a news article). Very, very few of the submissions were STORIES.

D.B. Jackson describes his trials with working through anthologies submissions looking for stories instead of noodling-out an idea to see if it has meat on its bones. The 8/12/2020 post is titled “Writing-Tip Wednesday: Short Fiction Anthologies – When Does an Idea Become a Story?

Many of the ideas I test out in flashes appearing here don’t have enough meat to become a story. And many of the ideas done even have the meat to be flashes. Let’s break down some of the things that aren’t stories.

To be a story, a reader needs to connect. There should be a beginning, middle, and end. A character development arc should occur, as well as the beginning-middle-end rise and fall of action/activities. A point or theme helps strengthen the base of the plot. Most importantly, something happens, something progresses, something changes.

News Article – Relating an event. It doesn’t need reader engagement and often only the end of the story is reported, not the beginning and middle.

World-building blink – I love my world-building and sometimes I just write down a definition or rule set for a new world.

Character sketches – Like world-building, and more common with most writers, a character definition, sometimes shown through a vignette.

Scene descriptions – More about the description than what is happening within the scene. Again, no beginning, middle, nor end. The concentration is on the Now.

Vignette – A scene description, but more about the emotional reaction it provokes. Reader engagement is much higher than the previous options, but there is no rise or fall of action. The story is still focused on the now.

Recent story categories:

Hotties – This flash is somewhere between a story and a vignette. The main character is on the cusp of making a change. At less than 200 words, this needs words to make more meat.

Claims a Warrior’s Heart – Over 1,500 words, we got a story with meat. I snuck in poetry and many of the characters are well defined.

Not all who wander – 879 words of character sketch. Yeah, it’s slightly more than a character sketch, but nearly everything happening is defining the main character as a character.

Long Loop – 262 words and a worldbuilding blink.

Elementary – This is clearly a vignette. All about the emotions.

Light – A scene description. (The visual prompt below it crosses into a vignette.)

Pizza and Movie Night – 123 words … and a full story. A change in expectation, a decision made. A beginning, middle, and end. It’s possible even for the shortest wordings, but doesn’t happen often.

Again, the article is: https://www.dbjackson-author.com/2020/08/12/writing-tip-wednesday-short-fiction-anthologies-when-does-an-idea-become-a-story/

WRITING EXERCISE: Look over some of your short works. Are they full stories, or is something lacking making them fall into other categories. Give two examples in comments, linking to your blog or wherever you have posted the manuscripts.

Writing Exercise: Inciting Incident

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Hannah Yang gave a very in-depth article “How to Write an Inciting Incident for Your Novel” on ProWritingAid (Jan 16, 2022)

The Characteristics of Inciting Incidents really hit me with characteristic #3 being the gut punch – “It’s out of the protagonist’s control.” I’ve never really thought about it. It isn’t Joan chose to leave home, it’s Joan was kicked out of the house. It isn’t John choosing to marry, it’s John falling in love with someone (and the plot centers around the fact he couldn’t legally marry them). Not only does Inciting Incidents happen (1) early in the book and (2) changes things / disrupts the status quo. It also isn’t in the characters control and (4) forces them to make a difficult choice.

The Inciting Incident is when everything changes. 

Genres tend to be Inciting Incident driven early in the narrative.

  1. Romance – Introduction of the protagonist to another person. A “meet-cute”.
  2. Mystery – A question/mystery arises that must be answered/investigated.
  3. Fantasy/Sci-Fi Adventure – “Answer the Call”. Something is inviting (or forcing) the character from the previous life into a new one.

Literary fiction often has something challenging the protagonist’s worldview – questioning what they are taught. These may be related to coming-of-age stories, but anyone in any genre might have an “a-ha” moment that terrifies, shifting their world with a snap,

For flash and novellas, most Inciting Incidents happen in the first chapter, maybe even in the first paragraph, dumping the reader into the fray. Downside, the reader doesn’t understand how the Inciting Incident is changing everything, but it does start with excitement. Novels might do a bit of worldbuilding and character development, giving a chapter or three before everything changes.

This is just the scratch of the surface for the article. If you want to found out more about Inciting Incidents before tackling the writing exercise below, the URL is: https://prowritingaid.com/inciting-incident

WRITING EXERCISE: Write an Inciting Incident. Just a short scene.

My Attempt: It took some doing to find flashes meeting “out of the main character’s control.” Like I said, I hadn’t really focused on that aspect of an Inciting Incident before. Need to work on it more.

Not All Who Wander” (February 27, 2022) – This is a sci-fi romance, with romance being the central part of the story, and starts with a meet-cute. Yes, the two had played a VR adventure together, but it was a “for-hire” from a chatroom one-and-done. Garrett takes the first big step saying he wants more. Becca starts her normal comfort zone declining, but decides to Change Things to the point of sending him a Contact Card when she returns to real life. I really would like to return to this couple to see how things go – between her real-life body betraying her and his body being … well, that is what the story hinges on.

You Have Mail” (February 6, 2022) – An urban fantasy romance starts with a mystery. A physical letter from an on-line friend with just a key and a sheet of paper with an address. Should Bryan investigate or leave it be? Given his normal life, worldbuilt into the story as he does the initial letter investigation, how bad can looking into what the key goes to be?

Writing Exercise: Foreshadowing

Last month, I did an Editing Rant on Foreshadowing. The foreshadowing I discussed there was when the predictions were used POORLY. Foreshadowing, when used well, can rock the story.
Foreshadowing can be done one of two ways: directly and indirectly. Direct foreshadowing just comes out and states what it is all about – in the prolog or in a prophecy. The witches in Shakespeare’s Macbeth cook the perfect prophecy prolog. Indirectly, casual remarks and superstitions can provide hints of the future. For example: “Remember three times the charm.” The characters say this famous superstition at the beginning of the story, and at the end, their third and final attempt at solving the issue, everything resolves.
Foreshadowing is not “little does the character know what is waiting around the corner” (chapter break).
This device must be integrated into the story in order to enhance it.
Why is foreshadowing needed for the story? Does it give the readers clues on how to solve a mystery? (The one murder mystery I have in my head, the character states at the very beginning the motivation of the killer based on someone else they are dealing with.) Does it add tension IN A NATURAL method?
A very well-crafted article appears in ProWritingAid breaking foreshadowing down further – for example what ISN’T foreshadowing like flashforwards – What is Foreshadowing in Storytelling and How Does It Help the Reader? (ProWritingAid, Jennifer Jahn, published June 28, 2021): https://prowritingaid.com/art/2326/foreshadowing.aspx
READING EXERCISE: Think of your present read-in-progress or a previous narrative you read where foreshadowing occurred. Was it direct or indirect foreshadowing? How did it support the plot?
WRITING EXERCISE: Think of your present work-in-progress (WIP) or a previous story you created where foreshadowing was used. Was it direct or indirect? Did the reveal come as a surprise to you (i.e., you wrote the story but didn’t realize you had done foreshadowing until the predicted action happened)?
My Attempt: In Honestly (available on Amazon), I foreshadow Troy’s disability when after kneeling for a while, he “stood awkwardly”. I hint again with a cane being in the laundry room. For the first part of the book, the romantic hero is actively hiding his disability from everyone around him but his father. Still the clues are there – the pillows, the obsessive neatness, and the emotional swings.
Another unrelated foreshadow in Honestly are the papers in the laundry room and the “nothing officially unofficial” Troy lets slip; that should come out in different story someday.

Editing Rant: Foreshadowing

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I hate foreshadowing used to build tension. After reading over 200 slush submissions this year, I find they are common device, used as a lazy writer’s tension builder.

The formula is:

  1. Describe the situation (ie, infodump the worldbuilding)
  2. Introduce the character
  3. End the opening chapter with “But the character doesn’t know what is about to hit them.”

You don’t need to tell us what is about to happen. Don’t be the news where they open the news with “Big Developments in X”, story soon. Then as they go to break, “X had Big Developments today.” Coming back from the commercials. “Huge Changes for X.” Eventually the news program gives a one minute segment on the topic. They spent more time pushing the story than on the story itself. That is what tension created through foreshadowing feels like.

Yes, foreshadowing – WHEN USED WELL – is a great device. But it’s best integrated into the story through a seer or someone within the story hinting at the future.

Don’t have the Narrator go “just you wait!!! This is going to be great!”

That is telling, not showing.

Don’t be formalistic, don’t create artificial tension, and don’t reveal major plot points by telling before you show us. And really, really don’t do this as the hook for the first chapter. Please!

Related Posts: Artificial Crisis (1/12/21)