Tag Archive | writing

Ode to the MacGuffin, or, moving the plot and subplots along

“McGuffin: noun, The MacGuffin is an object or device in a film, TV show, or a book which serves merely as a trigger for the plot.”

Heh, the text spells it both McGuffin and MacGuffin… (click to embiggen)

I didn’t quite mean to go so long before continuing my series of blog posts about subplots; additionally I have also been meaning for years to do a post on some 3rd of June1 about the 1967 hit song, “Ode to Billie Joe” and its unusual singer/songwriter, Bobbie Gentry. Then, because another blogger who did remember on June three to write about the song and they linked to an excellent podcast about the singer, I realized there is a connection between the subjects of plotting and the song. So I’m a couple of days late, but let’s talk about a narrative device which is often intimately related to subplots: the MacGuffin!

First, let’s deal with the song a bit. If you aren’t familiar with the song (which knocked the Beattles off the top of the pop charts for 4 weeks in 1967, then went on to make it into the top twenty of the Blues chart, the Soul chart, and finally the Country chart), you must listen to it once before we talk about it. Even if you are familiar, you really should listen again, and try to listen to it as a short story, rather than just some song:

The song is often retro-activily classified as Country, but at the time it was more clearly pop with a heavy blues influence. I think people classify it country because the story of the song is set in the south and she lets her Mississippi accent through.

Anyway, as a short story, it’s pretty phenomenal. And part of appeal of the song, clearly, is the mystery at the center of the song: what did the narrator and Billie Joe throw off the bridge earlier in the week, and why did Billie Joe commit suicide?

Over the years, Bobbie gave a very consistent answer: she didn’t know and it didn’t matter2. Many times she explained to interviewer, “It’s a MacGuffin. Alfred Hitchcock called the object that moves the plot along but isn’t really important on its own a MacGuffin, and writers have been using that term since the 1930s.” The song wasn’t about what happened, rather it was about unconscious cruelty. The family is sitting around the table discussing the suicide of someone they all know as casually as they ask each other to pass the biscuits, completely unaware that the suicide victim’s girlfriend is a member of their family, sitting right there listening to them.

The something that the narrator and Billie Joe were seen “throwing off the Tallahatchie Bridge” is one type of MacGuffin. It is something another character saw, and a third character comments on, which draws a connection in the minds of the audience between other events in the story. But exactly what it was and why it was thrown off aren’t important to the tale that the writer is sharing.

You’ll find a few different definitions of MacGuffin out there (also spelled McGuffin and Maguffin). My definition is:

  • A story element that draws the reader’s attention to certain actions and/or,
  • Drives the plot of a work of fiction (usually because several characters are willing to do almost anything to obtain it), but,
  • The specific nature of the object may be ambigious, undefined, left open to interpretation, or otherwise completely unimportant to the plot.

Alfred Hitchcock once said that in a thriller the MacGuffin is often a necklace (a small object which can be worth a lot of money, but may also hold sentimental value or be coveted for its beauty), while in a spy stories the MacGuffin is usually some mysterious papers. The important thing (storytelling-wise) about the MacGuffin is what it motivates the characters to do, not what it actually is. In the example of “Ode to Billie Joe” the thing thrown off the bridge is important because apparently it contributes to Billie Joe MacAllister’s decision to commit suicide, probably motivates the preacher to come tell Mama the news of the suicide, and draws the audience’s attention to the connection between the narrator and Billie Joe.

One might wonder how MacGuffins relate to subplots. As I’ve discussed before, subplots are sequences of events with plot-like structures that happen within a larger story an are sometimes only tangentially related to the main plot. And sometimes a way you can connect subplots more closely to the main plot, or even connect subplots which aren’t otherwise related to each other is with the use of a MacGuffin.

For example, many years ago when I became the editor-in-chief of a small sci fi fanzine, I inherited a project started by the previous editor. She had come up with a framing tale to allow contributors to write a large group story together. This allowed contributors who had trouble coming with with plots an easy situation to write some scenes about their characters in, for instance, and encouraged contributors to work with each other. When I became the editor, there were about 40,000 words worth of writing from a whole bunch of people… and most of it did not fit together very well.

I went through the whole thing, taking notes and trying to come up with an outline that would fit all the disparate pieces into the original framing tale. One of the contributors (and an Associate Editor), Mark, regularly wrote a lot of the stories we published, and had written several sequences with different characters which could have been turned into interesting plots on their own. So we talked at length before bringing the proposal back to the rest of the editorial board. There would need to be a lot of new stuff written to tie the pieces we had together and push the whole thing to an ending, and I proposed two MacGuffins to help us out.

A lot of the existing sequences (and the framing tale) involved a criminal deal (worth the equivalent of hundreds of millions of dollars) gone wrong. While the initiating event for the non-criminal characters was an anniversary party to celebrate the original maiden voyage of a spaceship. So, one MacGuffin would be the 36th Century equivalent of a bearer bond: a physical object containing some kind of encryption key which could be presented to a particular financial institution and be exchanged for the hundreds of millions of dollars—that could be cashed by anyone. The other was an anniversary present which the pirate captain charged his first mate with making certain was delivered to the captain of the ship celebrating the anniversary.

This gave us two packages that were both in the possession of one of the criminal leaders early in the story and then became separated in the chaos of the shoot out and the inconveniently times major earthquake. Many of the criminal characters believed that either of the lost packages was the fabulously valuable bearer bond, but weren’t sure which one. Other characters had no idea when either package was.

A lot of the sequences which had no other connection to the established plots could thus be connected merely by adding a few sentences where one or another of the characters came into contact with a package that looked important, and then losing it. Other sequences got a more firm connection to the plot by adding a few sentences where one or more of the characters was trying to find one of the packages.

The two MacGuffins on their own didn’t solve all the problems. We spent a few months dividing various sequences and subplots to members of the editorial board to write additional bridging material5. And then Mark and I would each re-write these sequences to make them fit with the others. After a few months of this, I started sensing a bit of dread from the other members of the editorial board when we got to the standing item of this story6, so one meeting when we got to that point I immediately said, “I think we’ve reached the point where I should take over and finish weaving the rest of the tale together, and then Mark can do a clean-up pass.” At least two members of the board audibly sighed and said something like, “Thank goodness.”

We published the final tale as 24 chapters in consecutive issues of the ‘zine. The final word count was a bit shy of 250,000 words. And those two MacGuffins really helped. In the penultimate chapter, one MacGuffin finally ended its journey, and I managed to make the delivery of the lost bearer bond to the pirate captain into the punchline to a joke. The other MacGuffin never made it to where it was originally destined, but it served as the final punchline to the entire story.

The objects themselves were not really important, particularly in light of the number of characters who were killed in the course of the tale7. But the objects provided through-lines for may subplots and kept the reader guessing until the very end.


Footnotes:

1. The opening lyrics of the song are, “It was the third of June, another sleepy, dusty Delta day”

2. Please don’t ping me to tell me that the 1976 movie based on the song reveals the answers. It doesn’t. Through a series of events involving a later minor hit of Ms. Gentry’s that was the theme of another movie, a studio approached her with the idea of making a movie based on her first hit. Per the agreement, her only involvement with the movie was they would use an existing recording of her singing the song in the soundtrack, and she would have one meeting with the screenwriter. Only one. He reported afterwards that the first question he asked her was why did Billie Joe commit suicide. He said Gentry laughed and told him, “I have absolutely no idea. That’s not why I wrote the song.” Then he asked her what they threw off the bridge, and she repeated that she had no idea. Left with no information he could use, the screenwriter made up a rather convoluted plot, and named the previously unnamed narrator of the song Bobbie, so that audiences would believe that the song was autobiographical3.

3. Which it wasn’t4.

4. In a very early interview about the song, when the interviewer was not happy with Bobbie’s explanation that it was a MacGuffin and pressed her repeatedly for an answer, Bobbie said, “I really don’t know. Maybe it was a ring or a locket that represented an engagement or something?” But clearly at this point she admits that she is guessing, too.

5. A lot of the authors or co-authors of some of the sequences had left the project, but we had permission to use the material, without always knowing how the absent writer had intended to end their sequence.

6. Yes, we were technically a fan project, but we had regular meetings and I had agendas for the meetings and we took minutes and everything. I’m that kind of editor!

7. It was a natural disaster story and the story of a criminal deal gone wrong, with multiple shoot-outs—of course characters died!

8. Edited to add: I should have linked to the podcast. Cocaine & Rhinestones Season 1, episode 4, “Bobbie Gentry: Exit Stage Left”.

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Wants to be rockstar, doesn’t want to make music, or How did he even get that gig?

“Normality is a pave road; it is comfortable to walk, but no flowers grow.” —Vincent Van Gogh

(Click to embiggen)

More than twenty years ago my first husband died. Shortly afterword, I got a call from an acquaintance, a former member of the Seattle Lesbian & Gay Chorus. For some context, I had been a founding member of the chorus and had served on the organization side in various aspects. At the time of Ray’s death, I happened to be the Chairperson of the Artistic Direction Committee. This former member supposedly was calling to offer condolences. However, scarcely seconds after the words “Sorry for your loss” left his lips—while I was still replying with some comment about his thoughtfulness—before he launched into a complaint about an incident that had happened two years previously in the chorus, specifically in the Artistic Direction Committee.

He had submitted a set of lyrics to the committee for a song that he hoped the chorus might sing in an upcoming Pride concert. In order for us to have performed the song, the chorus would have had to hire a composer to come up with music to accompany the lyrics, and an arranger to convert that melody into four-part harmony and some sort of accompaniment. As it happened, two years previously when those lyrics had been submitted, I had also been on the committee, serving as the secretary of the committee, and I remembered the meeting where we had evaluated music suggestions that had been submitted for consideration. And I remember reading the lyrics and being underwhelmed—it wasn’t just that it was rather trite poetry of the kind you might expect someone’s grandparent to stick up on the wall somewhere, but it had ended on a defeatist note about staying in the closet rather than being out.

So it had been one of the pieces eliminated early by the committee. We had a very limited budget to hire composers/arrangers, and we all agreed this thing wasn’t worth it.

I was a bit stunned to be sitting there, listening to this guy who had decided to use my recent bereavement as an excuse to bring out this ax to grind, and was trying to figure out how I could possibly respond, when he made the comment that crystalized the real problem. He said, “I don’t know if you know what it’s like when you just really, deeply, sincerely wish to have had your music published, but you never got to go to school to learn music theory or how to arrange music because your family couldn’t afford it. I don’t know if you know how much it hurts that someone who knows how to do that won’t turn the words you’ve written into a song for you.”

He didn’t say that he sincerely wished to make music. No, what he said was that he sincerely wished to have music that someone else made but that he could take credit for produced.

I understand the frustration of not being able to do the whole package. I’m not very good at the art side of things, so if I go the indy publishing route, I’m going to have a difficult (and expensive) time getting good cover art for my books. While arranging is a different skill set than writing music or creating lyrics, it’s something you can learn without having majored in music in university. And particularly when one is in their fifties (as this guy was) and had supposedly been trying to become a songwriter for decades, how can he think it’s okay not to have ever even learned how to read music (yes, he was the kind of chorus member who could only learn the part if someone who could read music sang the melody in his ear).

Some would say I don’t have proper sympathy because I took band and orchestra and various vocal classes in high school, and for one year my major in college was music education (I changed majors a lot: math ed, music ed, communications, journalism, then back to math without the ed part…). But the reason I was in so many different musical groups playing so many different instruments back in the day wasn’t because my family paid for lessons for each of those instruments. Public school teachers taught me to read music and how to almost play the viola and later to play the trumpet. But I taught myself how to play bassoon, ephonium, trombone, french horn, flute, bass clarinet and a bunch of others. And while I’ve only finished full arrangements of a few songs over the years, no one taught me arranging, I taught myself.

I’m not saying that finding teachers isn’t worth it, but I am saying that if you want to be good at something, you have to be willing to work for it. Yes, it is harder for those of us who come from working class families. There are many social, financial, and other systemic barriers to many opportunities in this world.

But there is a point where you need to realize that before you can be a star, you have to learn how to make music (or how to write a story, or how to draw a picture…).

Some people never get that.

And some of them are people who seem to have successful careers in the arena which they aren’t really very good at. These folks have enough privilege to fail their way into middling success. Because of connections and so forth, these guys (it is most often a white guy from an upper middle-class or better background) get jobs where they have some responsibility to create (or direct the creation of) something, and they screw up in various ways, they make promises they can’t keep, but they have an assistant (almost always a woman) who cleans up for them. Anyone who has worked in a large office knows this woman: she may have a title like Executive Assistant or even rarely Office Manager, but the upper management people she reports to clearly think of her as a secretary; but she’s the one that actually makes everything happen. She knows how to work projects through finance. She “cleans up” the boss’s presentations. She smooths things over when morale is down or people are angered by things the boss said or did. She finds solutions to the contradictory instructions.

It doesn’t just happen in boring corporate locations. Lots of people in creative positions are just like those bosses. They make decisions that contradict other things they’ve said. They order people to do things that won’t actually work. They write scripts full of clunky dialog, if that’s part of their project. And other people “clean things up.”

That’s how you get someone who can’t direct an interesting movie to save his life being paid to make one loser after another. It’s how you get best-selling authors who throw temper tantrums when someone writes a critique of their work who are flabbergasted when someone holds the page in front of them and shows them that yes, that passage did come out of their work. That’s how you get senior partners at law firms who had an extensive and impressive record as a prosecutor, when deprived of their phalanx of assistants making blatantly incorrect declarations of the law and actually further incriminating their client in television interviews.

And sometimes, apparently, it’s how you get someone clueless enough to use a supposed condolence call to whine about why other people won’t compose and arrange music to accompany their mediocre poetry.

If you really want to be a rock star, you have to learn to rock and roll. Otherwise, you’re no different than a lip-synching puppet.

Believability isn’t just about fiction, or Let me tell you about my Evil Grandmother

Sometimes the difference isn’t this obvious. (click to embiggen)

This post meanders a bit before I get to the point. Sorry.

Over the years people have reacted with everything from amusement to confusion to disbelief to my references to my Evil Grandmother. I had two grandmothers, a Nice Grandma and an Evil Grandma. Sometimes when I would comment about something going on with one of my grandmothers, a friend who had heard me use the phrase “Evil Grandma” would ask if this grandmother who had done this annoying thing was her, and I would say, “Oh, no! This is my Nice Grandma!” And they would freak out, “What do you mean, this is the Nice Grandma? That doesn’t sound nice at all!” To which I would reply, “Let me tell you about my Evil Grandmother…”

Here is a mild example. My Evil Grandmother (who was my paternal grandma, i.e., my dad’s mother) believed that all mental illness was just the person selfishly vying for attention. There are a surprising number of people out there with a belief very close to this. Any person who responds to someone else struggling with depression or recovering from trauma by telling them to get over it, for instance. They don’t see it as a real illness that requires treatment or recovery, right? But my Evil Grandmother was even worse than that. My Evil Grandmother believed that epilepsy was the same. So when one of my sisters started having seizures, my Evil Grandmother was constantly undermining the doctors. She would scold my sister for having a seizure after the fact, for example.

Oddly enough, she also believed that mental illness was hereditary and a sign of poor moral character. Which she also believed was hereditary. When my parents finally were getting a divorce, after my Evil Grandmother found out I had told the judge that I definitely did not want my (alcoholic, physically abusive) father to have custody, she sat me down and gave me a long litany of all of the mental health issues that plagued many of my mom’s distant relatives. One example was a great-uncle who we would now say was suffering from severe PTSD because of his experiences during World War II.

Now, if I wrote a novel in which a woman who had a college degree and worked as the City Treasurer for many years and was a respected member of her community, who punished her nine-year-old grandchild for having a seizure on a day where said grandmother had prevented the grandchild from taking her prescribed medication, I would get irrate messages from people telling me that this was completely unbelievable.

But I would also get comments from people who would tell even more horrific stories from their own childhood.

This is just one example of why having a bunch of editors tell you a story is too far-fetched is not indicative that the story is, in fact, too far fetched.

The editors or critics may have a valid point that you, as an author, hadn’t done a proper job of laying the groundwork to help the reader suspend their disbelief, but it doesn’t mean the notion is objectively and universally unbelievable. Even if they focus on the groundwork aspect, they still may be letting their personal perspective override things.

For example, there’s the tale of the male writing professor who once gave a woman in his class the advice that merely showing that one character had raped a young woman was not enough to justify the young woman killing him later in the story. “You haven’t convinced me he’s truly evil. Show him being cruel to a dog or something to make this evil real.”

Being cruel to a dog is worse than raping a woman? Irrational disconnect much?

Preception isn’t just a matter of taking in the information offered. It is heavily influenced by our prejudices, past experiences, expectations, fears, and hope. This doesn’t mean that there is no such thing as objective reality, it just means that it takes a lot of work to sort through all that subjectivity…

And it means that there will always be some things no one will agree on. Likewise, there will always be some people who will refuse to see something, no matter how much evidence we provide.

This doesn’t mean they are hopeless, it just may mean that we have to walk away and expend our energy elsewhere.

I have two codas to the saga of my Evil Grandmother. First, 20 years after my parents’ divorce and the subseqeunt exodus of myself, Mom, and one sister to the west coast, Mom, Nice Grandma, and my step-grandpa took a road trip back to the town where my parents met to attend the christening of my oldest sister’s first child. At one point in the visit, Mom found herself alone with my paternal grandparents, her ex-in-laws. Mom told them that she was sorry that my parents’ marriage had ended the way it had. Grandpa admitted that saying goodbye to Mom, myself, and my sister when we left was the hardest and most painful thing he had ever done.

Evil Grandmother muttered something, and she had tears in her eyes. She cleared her throat a couple of times and eventually said something about the time for blame being past. Now, I should mention that long before my parents divorced, Evil Grandma, on two occassions, set up appointments for Dad with a divorce attorney without consulting him first, and tricked Dad into meeting her at the law office on pretexts to do with her business. When I say that Evil Grandma had wanted my parents to split, that’s an understatement. So, Mom took this “time for blame” as a way to change the topic and avoid taking any blame.

But then some more extended family members arrived, and as people were picking places to sit and talk, my Evil Grandma moved from the seat next to Grandpa, to sit next to Mom. And she grabbed Mom’s hand and in Mom’s words, “squeezed it like she was afraid to let go.” She didn’t say anything, and didn’t really join in with the rest of the conversation for the next couple of hours, but she refused to let go of Mom’s hand. And later, when Mom needed to leave, Evil Grandma gave her a hug. Her eyes were full of tears again, and she murmured, “I’ve missed you all.”

Mom said that she decided that that was the closest Evil Grandma could come to saying she was sorry.

Second coda: About ten years after that I was out with friends at a bowling party when my phone rang. It was a call from one of my aunts. She was at a hospital with Evil Grandma. Evil Grandma had had both a stroke and some sort of heart issue. She’d been revived and was on a resporator, but she was alert and had demanded the my aunt call me. I need to add here that when I came out of the closet in 1991, other than one handwritten note that said, “I hope you’re happy now,” Evil Grandmother had stopped talking to me (and I would later learn she had forbidden other family members from mentioning my name in her presence). My aunt handed the phone over Evil Grandma. Because of the resporator, she had to speak in short bursts. She could speak on the exhale then wait for the machine to push in the next breath. She said my name. I replied, “Yes, Grandma it’s me.” She repeated my name on the next two exhales, and each time I told her it was me and I could hear her.

I, meanwhile, was moving to try to find a quiet place thinking the noise of the bowling alley was confusing her.

Finally she said, “I love you.” And I replied that I loved her. She repeated it a couple more times, and each time I replied. I was sobbing at this point. How could I not be? No matter what had happened between us, here she was, possibly on her death bed, using perhaps her dying breaths to reach out?

After about the fourth ‘I love you’ exchange, she said. “I know you…. I know you do… but do you know…. do you know… I love you?”

I said, “Yes.” She repeated my name and said “I love you” again, and then my aunt was back on the phone.

That turned out not to be her deathbed, but she had at least one more stroke before being released from the hospital, and her ability to talk was severely impaired for her remaining years.

But, Christmas cards started arriving every year. The outside of the envelopes were clearly addressed by the aunt who was caring for Grandma by then, but the inside always had very jittery writing that was clearly Grandma’s. Some years Christmas presents (usually ornaments) would also arrive, sometimes with Grandma’s writing on the tag. There was sometimes be a note from my aunt saying that Grandma had seen it in the store and wanted to get it for me because it reminded her of something I had once talked to her about as a child.

One is left wondering, which her was the real her? Is it simply that years of regret and an acute awareness of her mortality caused a change of heart? Is such a deathbed conversion, as it were, believable? Or as much a product of our hopes and wishes?

I know she had always been extremely concerned with keeping up appearances and not doing things that would make the right sort of people look down on you. So had she been suppressing inconvenient feelings for years–feelings that went counter to her hopes and aspirations–and only later in life as neurological changes occurred she started letting them out?

Wrestling with these questions have not led me to stop referring to her as my Evil Grandmother. She just did too much too many times to hurt people–often people she should have been protecting. But I am reminded of an observation which I once put into the mouth of one of the characters in one of my fantasy novels: “Evil isn’t something you are, it’s something you do.”

Cocky romance author testing my ability to suspend disbelief

“I don't drink coffee to wake up. I wake up to drink coffee.”

(click to embiggen)

A concept we often talk about when critiquing someone’s fiction is the “willing suspension of disbelief.” The phrase was coined by the poet Samuel Taylor Coleridge, when he said that if a writer could infuse their tale with a human interest and a semblance of truth, the reader will react to even the most fantastic tale as if it were real. The semblance of truth means, among other things, that events within the story don’t feel out of place. Once we have accepted that frogs can have a passionate debate about the nature of government, for instance, we are not at all surprised when later in the tale a stork expresses a different opinion. The suspension of disbelief is broken if the writer introduces incongruities or forces the reader to stop following the tale to try to understand a confusing phrase. One friend often phrases it as, “bounced me out of the story.”

There is a flip side to this concept of being bounced out of the story. It is implicit in the relationship between a reader and a story that when one first opens a book (or opens a reading app, et cetera) the reader is ready to give the story the benefit of the doubt. Which isn’t to say that a reader is obligated to keep reading if they don’t enjoy the story or it becomes confusing or whatever. It just means that for the first sentence or so the reader will accept what is being offered.

Different readers have different definitions of that initial willingness to accept the story. I once had an English teacher insist that a good story shouldn’t begin with a compound, complex sentence. An arrogant smart aleck student in the class1 pointed out that the classic novel, A Tale of Two Cities, opens with a single very long sentence:

“It was the best of times, it was the worst of times, it was the age of wisdom, it was the age of foolishness, it was the epoch of belief, it was the epoch of incredulity, it was the season of Light, it was the season of Darkness, it was the spring of hope, it was the winter of despair, we had everything before us, we had nothing before us, we were all going direct to Heaven, we were all going direct the other way – in short, the period was so far like the present period, that some of its noisiest authorities insisted on its being received, for good or for evil, in the superlative degree of comparison only.”

One reason that opening works is because it doesn’t sound, in one’s head, like a run-on sentence. It has almost a musicality to it that builds and builds as it goes along. My favorite bit is the “we were all going direct to Heaven, we were all going direct the other way…”

Somedays when I read the news, I find myself convinced that we’re all going that other way and in a handbasket of colossal proportions.

But occasionally that handbasket induces a few giggles. Such as #CockyGate: This Romance Novelist Trademarked the Word ‘Cocky’: And now she’s threatening other writers with legal action if they don’t change their book titles and The #CockyGate Trademark Kerfuffle. The article gives more details. An intellectual property lawyer working with the Romance Writers of America has filed a petition with the Trademark office to invalidate the trademark on the word (and it is possible this will work; but the system has been inconsistent).

The notion that someone could trademark an adjective and forbid other people using that word in their stories (or even just the titles of stories) is a chilling one. I hope that, like the “space marine” trademark issue from five years ago, that this trademark bully will be stopped.

Because that’s what this is: bullying. The cocky author has been sending cease and desist messages to any other romance author who has used the word in a book title, including books that were first published long before she started writing herself. She’s been threatening to issue takedown notices to Amazon (just like the space marine trademark bully did years ago), which can result in lost sales as well as messing up their review and ratings histories, even when Amazon re-instates the listing. Also, some books were taken down when the cocky author contacted Amazon directly without first sending a letter to the author. The RWA and their lawyer has since contacted Amazon, to ask them to stop taking action on any cocky romance books until the legal matter is resolved. Fortunately, the books were restored.

It’s also a likely case of the Dunning-Kruger effect. This is the notion that incompetent people aren’t able to recognize their incompetence. In this case, I say that in part because of how the cease and desist messages are worded. Rather than having an actual lawyer draft the letters (which would cost money), she is writing her own, and her messages include the statement, “my lawyers have advised me that I will win all the monies you have earned on this title, plus lawyer fees will be paid by you.” Which clearly is not a statement a competent lawyer would make. The lawyer might say that if she prevails in a lawsuit that she might be entitled to the money earned and so forth, but they would never say they were even guaranteed to prevail.

And someone has already posted a parody book called, Too Cocky for the Law: Cockier Than the Rest (Cocky Legal Book 1), and have included the word cocky and many synonyms in the description. I have heard that the proceeds of the book are going to help with the legal fees of the trademark challenge, but I wasn’t able to confirm that.

I have been very tempted to create a parody e-book with the title Cocky Space Marine, but since I have crazy deadlines at my day job and a couple of fiction writing deadlines also looming, I really shouldn’t… even if the story almost writes itself…


Footnotes

1. It was me, all right.

Living in a chemical world, plus dream sequences

Cat with head deep in coffee mug “iz not addicted to caffeine, i juz need it to function”

(click to embiggen)

Every time I have my annual wellness exam, my doctor gets a little carried away on the prescription renewals so that when I show up at the pharmacy to pick up the meds I expect, there is often extra things like the codeine cough syrup he’s prescribed when I last had bronchitis, or the inhaler he prescribed one time when I got bronchitis and it didn’t respond to the first antibiotic, or the corticosteroid nasal spray he keeps recommending for my allergies or when I get a sinus infection. So I wind up telling them I don’t actually need several of them, but I have kept one unopened bottle of the nasal spray, just in case. I don’t like using it because when I have done so in the past I got very vivid and disturbing dreams for several days after. And by disturbing I don’t mean that they are bloody or horrific (usually) it’s just that they are so vivid that it takes many minutes after waking up in a panic before I can convince myself they aren’t real.

So the other night, when I conked out after dinner unexpectedly, I woke up to find the apartment full of smoke and my Mom was standing at the door, calling to me to come help her open it because and we needed to get out and where is Michael? And I jumped up from the recliner, stumbled over a filebox on the floor trying to get to my mom and the door and just as I’m opening my mouth to yell for Michael the smoke had vanished. Also, Mom (who hasn’t visited us in over 20 years because travel is difficult for her for various health reasons) had vanished. There was no smoke. There was no fire. There had been no Mom.

And the dream was so vivid that I went to the bathroom and dug out the box with the unopened bottle of the nasal spray just to confirm that I hadn’t opened it and used it when the sinus headache had been real bad the night before. I didn’t remember using it, but the dream really felt like one of those, so I thought maybe in the middle of the night, when I was half asleep and had been tossing and turning because of the headache I had given in and added the spray to the mix of allergy pills and over the counter cold medications I’d already taken.

And that was only the first day of the fever.

I haven’t used the spray, but I keep having the weird dreams. The next morning my alarm watch went off a few hours after my husband left for work (he leaves much earlier than I even want to wake up). I often wake up briefly while he is getting ready for work. I may mumble, “I love you” or “Good morning” to him as I stumble to the bathroom and then back to bed. Sometimes I just try to wake up enough to say something to him and don’t succeed. Also I often wake up briefly once or twice before my alarm goes off, note that I still have more time to sleep, and roll over. But back to the alarm: The alarm was ringing and Michael is calling from the next room that I should turn off the alarm and asking if I’m going to try to go into the office or call in sick. And I get up and stumble out to the room where my Apple watch is on its charger to turn it off and I ask Michael, “What are you doing here? Did you get to work, decide you were too sick, and come back home?”

And Michael didn’t answer. But now that I’d spoken aloud, that was enough to completely wake me up, and I’m standing in front of the watch in its charger. Its face is lit up showing me that there are still two minutes until the alarm will actually go off.

There have also been two dreams where I was somewhere in the city trying to remember where I had parked the car because I either needed to pick up Michael somewhere or I was trying to get away from someone who was trying to hurt us. And both of those ended with me awake, standing in front of the phone charger, trying to find the app on the phone that will help me find the car. One of the mornings I wasn’t actually holding my phone, I was holding the TV remote (which is normally on the shelf above the phone charger), but I swear a few seconds before it had been my phone. And yes, it was as if I watched it morph from phone to remote as I finished waking up.

The fact that when I’m having a nightmare I will get up, walk around, talk (sometimes yell), and so forth is one of the reasons that normally I don’t watch scary movies, by the way.

So I still haven’t actually used the spray. I’m of two minds: since I seem to already be having the side effect I least like, maybe I should go ahead. On the other hand, the spray might just make the weird dreams even worse.

And this gets me to two reasons why I shy away from writing dream sequences in my fiction. When I have tried to write them like the dreams I remember, the reaction from readers (at least the ones I hear from) is that the dream was more confusing than enlightening. When I tried to write them to have a bit more narrative flow, readers say they went on too long. Having had these reactions, I am not enthused when someone suggests that a dream sequence would better explain a particular mystical thing happening in one of my stories.

Besides trying to get work done while juggling regular meds, symptoms of this cold thing, extra meds, it’s been a bit of a struggle to remember to keep hydrates and get enough caffeine in me so that I don’t wind up with a caffeine-deprivation headache on top of everything else. You would think that coffee, of all things, would be something I didn’t have to remind myself to drink, but you would be wrong.

I hope I’m well sooner rather than later.

Camp NaNoWriMo and the continuing adventure of resetting

Reset buttonCamp NaNoWriMo is underway, sponsored by the same people who do National Novel Writing Month. Camp happens in April and July each year with far more nebulously defined goals that NaNoWriMo’s bit word count target. For camp, you set your own goals. Often people use camp to edit something already written, or to write something shorter than a novel, or to get out of a rut of non-productivity. Because of the camp metaphor, participants are encouraged to join a cabin, which is really just a small on-line chat. You can let yourself be randomly assigned to a cabin, or you can set up a private cabin and invite your friends, or you can join someone else’s private cabin.

I like having the expectation that I’ll publish my word-count (or number of words revised, or what ever) regularly and having at least a few people to kibbitz and commiserate with. My attempts at Camp have had a varying degree of success.

Anyway, part of my Camp NaNoWriMo project for this month is to implement some of the new things and changes that I’ve been thinking about as I’ve been revising my goals. I wrote earlier about why I hadn’t posted a list of goals for the year, nor posted monthly updates. The summary is that I’ve been writing private checklists each month, and so far each of those checklists has included at least one item about better defining my long terms goals. The list of long term goals is shaping up, though there are some details I haven’t quite finalized.

I am still using the model of attempting to replace a bad habit with a better habit. I’m also trying to redirect where I’m expending my energy and attention. I’ve been cutting back a bit on my Twitter activity, for instance. Another more obvious change is that I’ve replaced the labor-intensive Friday Links weekly post with a much easier to assemble Friday Five post.

When I start posting monthly updates on my goals, the posts are likely to be put up on Patreon, rather than here. I’m still figuring out how much and where other things I post a lot (such as my Writing Advice posts or my Why I Love SF/F posts) should be posted/cross-posted and how to manage that without it eating up more time than I’m freeing elsewhere.

I hope to finish a longish NorWesCon Convention report to post here this week. There is at least one movie review and one book review about half finished that should go up soon, too.

So that’s what is happening here. If you’re doing Camp NaNoWriMo, especially if you’re interested in joining my Cabin, leave a comment here, or send me a message on twitter, or send me an email with the Contact Me page here—or if you already have another way to ping me use that.

Let’s get writing!

Subplots, plots, and resolutions — but what about the denouement!

“My subplot... has no resolution”

(Click to embiggen)

When I wrote previously about subplots, I searched for other blog posts and articles about it to link to for other perspectives, and was surprised to see a few pieces of what I considered bad advice being repeated in a lot of them. For instance, many such articles insist that subplots must be resolved before the main plot. A few allowed an exception for a subplot that is intended to carry across multiple books (perhaps to become a main plot of a later volume), but most didn’t even mention that. And that’s simply wrong.

Let’s review a few definitions: the main plot is an obstacle, puzzle, or problem which confronts the protagonist at the beginning of the story, is resolved by the protagonist’s own actions at the end of the story, and is the thread that ties everything else together. A subplot is a subordinate plot taking up less of the action than the main plot, having fewer significant events occur, with less impact on the “world” of the work, and often occurring to less important characters. A resolution is the point where the outcome of a plot or subplot is revealed (or sometimes only suggested). And remember that a resolution isn’t always a solution in that the character can fail to solve the problem; which makes your story a tragedy.

Now, subplots can end before the main plot. In a novel many of them will as a matter of course, because some subplots are literally distractions and additional obstacles your protagonist encounters while pursuing their main goal. In order to rescue the enslaved knight, your protagonist may first need to get information from a mystical oracle, which may involve enduring some hardship just to consult the oracle. Then the oracle may tell her that she has to find a magic artifact, an ancient spell book, and a blood relative of the enslaved knight. Obtaining each of those involves a mini adventure and thus a subplot and resolution along the way, and so on.

But some subplots can also be resolved at the same time as the main plot. In the same fight that the protagonist frees the enslaved knight, a supporting character may rescue his children also captured by the main villain, while another supporting character avenges himself upon the minor villain who is a minion of the main villain, and so forth. Several subplots all being tied up at the same time. Pulling that off with a lot of the subplots, getting them to converge on the main plot, makes for a very satisfying climax to your novel.

However, a few subplots can also be resolved right after the climax, in the part of the novel known as the denouement. Time for another definition!

The denouement is that portion of the story where all the loose ends are tied together. Side note: the word comes to English from the French dénouement meaning to untie something—isn’t language funny? To get back to the main point: in most modern novels, the denouement is usually a single chapter at the very end, after the outcome of the main plot is revealed. It’s the time to assure the reader that the characters who survived and triumphed have actually gotten their happy ending, to show that the villains are indeed suffering, and so on. One of my university literature teachers described it as the time for the reader to catch their breath after the excitement of the resolution and say good-bye to their favorite characters.

I think the reason so many of those other blog posts and articles think that the subplot has to resolve before the main plot is because their authors conflated the resolution with the denouement. Which is easy to understand, because in short stories the resolution and denouement often happen in the same sentence. In plays and movies the denouement is usually in the same scene, comprising only a few lines of dialogue or the like after the resolution.

I mentioned above that most modern novels accomplish the denouement in a single chapter after the resolution. But that hasn’t always been the case. A great example of the old school way of doing it is found in Tolkien’s Lord of the Rings, in which the denouement goes on for nearly a third of the final book!

Some of your subplots will be those loose ends tied up during the denouement. Loose ends don’t always require an entire scene for a resolution, they can sometimes be handled by a couple of lines of dialogue. “But what happened to the elephant?” “I found him a good home with that druid we met at Gobsbridge.”

And yes, some of your subplots will be left unresolved, carrying over into a future installment. They can even, technically be introduced in the denouement! That moment when a supposedly minor sycophant of the main villain is shown to somehow have survived the explosion and is clinging to some floating wreckage down river, perhaps. Horror movies and the like often have the cliché of a single hand reaching out of the smoking wreckage, indicating one of the supposedly dead villains isn’t. You get the idea.

If you decide to emphasize that a subplot is going to continue into the next story, don’t lay it on too thick. You don’t want to overshadow the happy endings for those characters who got one. Remember, the denouement is a time to let the reader catch their breath. It’s a way to ease the reader out of the excitement and anxiety of the main plot. Yes, you want the reader to be interested in what happens in the next book, if you plan to write one, but they’re most likely to do that if they feel good about the ending of this one. That isn’t to say that everyone always has to get a happy ending. I’ve set denouement scenes at literal gravesides of heroes, as well as the bedside of two children being read a bedtime story by their grandfather who is taking them home to their mother with the news that their father was killed saving them.

So bittersweet and tragic endings are fine. But any indication you give that there is another adventure ahead for some of the characters shouldn’t leave the reader feeling as if the protagonist accomplished nothing.

Readers may not remember everything that happened during a story. They won’t remember a lot of the lines, scenes, plotholes and such that you worked hardest on. But they will always remember how you made them feel.


For another perspective on subplots, you might want to check out this blog: Writing and Such: Tackling Subplots

A writer writes — where do characters come from?

“Yes I am writing you into my book! You're gruesomely butchered on page 76. You're welcome!”

“Yes I am writing you into my book! You’re gruesomely butchered on page 76. You’re welcome!”

I have written more than once about my annoyance with an oft-used trope when portraying writers as characters in movies, TV shows, on the like: specifically, that the only reason a particular novel or series of novels has so enraptured the readers is because the author has secretly based the story on real life and real characters. My annoyance with that is multi-fold, not the least because I truly believe the old adage that the difference between real life and fiction is that fiction has to make sense. You can’t tell a compelling story by slavishly recreating something that you experienced in real life. You weave an illusion that feels real from a combination of observation, interpellation, and omission. For example, dialog isn’t about exactly transcribing the real way that people talk—we omit parts that don’t move the story forward, or don’t flow easily off the tongue, or that will confuse the reader without the context of nonverbal cues.

Which is not to say that characters we put in our stories aren’t or shouldn’t be based on real people. Many characters are amalgams of many people that the author has encountered throughout their life. Quite often the author can’t name all of the sources of a character because many were people we encountered without getting to know well, plus half assembling of the personality quirks happened in the writer’s subconscious. Other times, we knew exactly who we got a particular mannerism or figure of speech from. And sometimes it’s a lot more than one or two things.

I made a conscious decision with one of my novels to (in most cases) loosely base characters on specific people or characters from other works. It started out as just a whim, and for a while was kind of a fun game, and then it became something I did without thinking. I’d need a new supporting character for a particular scene or subplot, and start writing them, only to realize many paragraphs into the first scene that I was basing some aspects of the character on that person.

Some people don’t want to do that, at all. And I’m sure that you can find someone out there who will adamantly insist you should never base a character on a real person that you know. They will list off several good reasons for this advice. One of the things those annoying shows I mentioned earlier do get right is that if friends and acquaintances guess or suspect a particular character is based on them, and that character if portrayed in a less-than-flattering way, that can cause a bit of resentment in your real life.

My counter argument is that certain people in your life will, when they read something you wrote, sometimes think that you have based a character upon them whether you consciously did so or not. And if they take offense, whether you meant to base the character on them or not isn’t going to matter. You can attempt to explain the way every character in fiction is, to an extent, a pastiche built from your imagination as well as observation of real people, but it may not convince them.

One of my favorite villains in my current WIP is a character named Mother Bedlam. Parts of her personality, mannerisms, and relationships are based on at least three real people I have known in life, all of whom have since passed away. Other parts of her come from a variety of crass, conniving, and criminally depraved characters and historical figures. She’s intended to be a comedic villain, despite also doing some vile and violent things and propelling serious plot points along. Many of her traits are exaggerations for comedic effect. If any of the people I have consciously based her on were to read my stories (which they never will, because they’re all dead) and recognize themselves in her, I might have an awkward situation to sort out.

As it is, one time when I read one of her scenes to my writers’ group, another member of the group who had laughed a lot during that scene, told me later that if he didn’t know better, he would have been convinced I had somehow spied on his childhood and one particular despised teacher he had in grade school. At subsequent appearances of the character he would bring that up again. One time another person’s critique of some new scenes was that Mother Bedlam had been over the top—that no person would really treat one of their underlings that day. The other guy jumped in to say that his teacher had done almost exactly the same thing to one of the children in her care.

There are at least two lessons to take from this example. First, to paraphrase Terry Pratchett, there are only actually a few people in the world, we just meet many of them again and again. The other is that this illustrates why some character you think of as wholly original to you might make someone you know insist that the character is based upon them.

And I know I am hardly the only writer who has ever based a minor character whose only purpose is to die brutally to further the plot on a real person who gave us some sort of trouble at some point in our lives. My most vicious middle school bully has leant his name and or personality to a number of characters who have met such brutal deaths. Then there is one person who caused so much trouble for both myself and several people I know, that I made him into a character who is brutally killed in one book, brought back as an undead creature, and variously maimed, burned, re-killed, and so forth a few times in subsequent books.

Some people call it petty. I call it do-it-yourself-therapy.

You’re a storyteller, so paint pictures with your words

“Don't tell me the moon was shining; show me the glint of light on broken glass.” —Anton Chekov

“Don’t tell me the moon was shining; show me the glint of light on broken glass.” —Anton Chekov

I posted a while ago about many of the ways that the cliched advice of ‘show don’t tell’ is actually bad advice. A lot of people take it to mean that all exposition is bad. The usual ways of implementing it creates fiction that is only accessible to people who—because of the culture of their upbringing or through study—are privy to a specific set of presuppositions. This doesn’t mean that there isn’t a nugget of truth in the advice, rather that the advice itself is an oversimplification and many of its proponents are pushing (whether they mean to or not) an agenda that excludes many people and cultures. The nugget is worth digging into.

There is no clear consensus of who first used the specific phrase “show don’t tell,” but it is possible that it is a reduction of a longer piece of advice from Russian author Anton Chekov: “Don’t tell me the moon was shining; show me the glint of light on broken glass.” Of course, in this longer form, it is a bit more obvious that the problem isn’t exposition of all sorts, but rather flat or boring exposition. If you merely tell the reader, “the moon was shining” and nothing else, that’s a pretty generic image, and doesn’t set much of a scene. But if instead you say something like, “moonlight glinted off the broken glass on the floor” that gives a more specific image—and raises some questions. Why is there broken glass on the floor? What happened?

You show the reader that the moon is shining by telling them that moonlight is glinting off broken glass. And you’re going to show the reader what happened by telling them more. As I said in the previous post, being a storyteller requires one to tell stories.

Anton Chekhov is more famous in English-speaking writer communities for another piece of advice: “If in the first act you have hung a pistol on the wall, then in the following one it should be fired. Otherwise don’t put it there.” The idea is that when certain objects, events, or utterances occur in your story, you raise expectations in the audience that this thing is going to be important. Another way to look at it is, if you’ve shown your reader something that seems important, you should eventually tell the reader what happens to that thing.

Anton Chekhov knew a lot about writing. He’s best known now for a few significant plays, but he wrote an unbelievable number of short stories, short-shorts, vignettes, and other tales. When Chekhov was a young medical student, his father got severely into debt, and Chekhov started writing and selling short, comedic stories and sketches of Russian street life in order to pay for his own tuition and to assist his parents. Eventually, his writing output was so prodigious, that he paid off his parents’ debts, was supporting several of his adult siblings, his own wife, at least one kept mistress, and he was treating medical patients for free. He considered his important life work to be the medical care, and the writing was just to pay all of those bills.

To get back to his advice about showing the reader things: while it is important that your telling of your story paints vivid pictures in your reader’s mind, it is equally important that everything you show the reader serves a purpose within your story. It’s a balancing act.

Many years ago I was asked to give a critique of a draft story by someone in one of the writers’ groups. The story was set in the late 1800s in a “wild west” town, and it had a sex scene. The scene included several pages of beautifully worded and painstakingly specific description of the layers of cloths the woman was wearing and just how much work was involved. There were more than a dozen paragraphs dealing with the unfastening of a set of buttons on a single garment. It was excruciatingly clear that the author had spent many hours researching period fabrics and design and construction of women’s garments in the period. And the author was determined that the reams of information gathered in the hundreds of hours of research would all explained to the reader.

The author claimed, during discussion, that the plot was her protagonist needed to get a piece of information from this guy, so she seduced him. Unfortunately that was completely lost in the very elaborate description of the clearly frustrating undressing process. A case could be made for a humorous story answering the question “can the protagonist get herself undressed and have sex with this guy before they both die of old age?” but that wasn’t what the author was going for—and even then, there was too much detail to support such a punchline. As it was, neither the difficulty of the undressing process nor any of the details of the clothing had anything to do with the author’s intended plot.

It should also be noted, there was no description of the man’s process of undressing. He got his clothes off in less than a sentence at the beginning of the scene. Which is why more than one person in the group thought that the story was meant to be a humorous parody of a bodice-ripper.

I usually have the opposite problem—I don’t describe things enough. So an important part of my revision process (once I get the first draft done) is look for places where painting the picture will make the plot, character motivations, and so on more obvious to the reader.

If you tend toward the more elaborate form of description, than you will need to pay attention to the other side of things during your edit and revision passes: look for abandoned guns. If you’ve described someone’s clothing in detail, ask yourself why? Is the scalloping on the hem of his cloak important to the story? Sure, if you need to establish that this character is well off, and has a flare for fashion, give some details. But maybe that little digression about the type of stitching should be trimmed. If at a later point some property of the cloak is going to be important to a plot point, yeah, show us a detail that at least hints at that possibility.

Similarly with the way a character looks, or the visual details of her home, or the contents of her desk, or the design of any weapons she carries. Show enough for the reader to imagine the character. Show enough to get the reader an outline of the way the character does things. Show the reader things important to the plot without drawing a bullseye on things that will telegraph plot twists.

Paint the picture, but only the picture that is relevant to the story.

A Writer Writes: Where do I find my subplots?

“Adds diabolical subplot to torment protagonist.”

(Click to embiggen)

While working on last week’s post about subplots, I had several digressions that didn’t quite fit in the final version. That happens on most any topic I write about here. I wound up taking those sentences, fragments, and so on, dropped them in a new post with a temporary title “The next time I write about subplots.” This post is not made from those fragements. I started trying to expand them into a full-fledged post this weekend, but it wound up being just a few short paragraphs. So I thought maybe I could use those small points as an anchor for a post where I would include links to advice other people have given about subplots.

So while I was gathering some links, I hit on this one post entitled “How to Add Subplots to Your Novel.” When I saw the title, I thought, “Someone has some advice for people who can’t think up subplots. Brilliant!”

Except that wasn’t what the article was about at all. It’s a good article, don’t get me wrong. It explains what subplots are and the purpose they serve in a novel–basically the same info I wrote about last week. There is some additional advice about mistakes to avoid when weaving the subplot around your main plot and so forth, but nothing for the person who realizes their story needs the extra depth of subplots, but can’t figure out what the subplots should be. As I said, it’s a great article, just with a misleading title. The title should have been something like, “How to Properly Use Subplots in Your Novel Once You Think Them Up.”

Clearly, I need to write about this! First, though, I should admit that I’m having to do some reverse-engineering to write this. My problem has never been thinking up subplots, it has always been restraining myself form using all of them that pop into my head. My subconscious just churns them out by the gross, but I have a good idea of how it does this. Because of that overabundance, I have often been asked by members of Writers’ groups and other people reading drafts questions such as, “Why did you add this sequence in?”

My flip first answer was, “I didn’t add it! It’s just there.” What I meant by that is, when I think about all the characters in my story, I always think about things they are doing throughout their day and who are the imporant people in their lives. For instance: one supporting character runs a deli that she and her husband own. Her husband works as a handyman with a number of clients mostly in their neighborhood, including helping with the business, but she’s the one who runs it. She hires and supervises the staff, makes decisions about where to buy ingredients, designs the menu, and so forth. She also has a sister who she doesn’t always see eye-to-eye with, especially when it comes to religious matters. Her husband, unbeknownst to most of the family, is secretly one of the Elders of the Brotherhood of Chaos. She refers to these activities as her husband “taking care of some lodge nonsense again.”

I could keep going on and on about this supporting character who isn’t even directly involved in the main plot of the novel where she was introduced. All of those details I mentioned about the other people in her life, the business, et cetera, each has potential for subplots. Her deli is where one of the important conversations one of the protagonists has early in the book takes place. Her son is another of the protagonists (this novel has three protagonists).

Even though her first involvement in the novel is that conversation I mentioned, that isn’t why I created her. I was figuring out who my main characters were, and when I was looking at the third protagonist, I asked myself who was important in his life, and started jotting down ideas. Once I had a few sentences about her and her husband, I moved on. I was doing a similar exercise for another protagonist who runs an antique shop, and was wondering what other businesses share the same road, and I immediately thought of the deli-running character. Which gave me a connection between two of the protagonists.

So, if you are stuck for subplots:

  • For every character in your story, jot down the names of a few people important to them (this doesn’t have to be loved ones), a few facts about their life that have nothing to do with the main plot, and at least one ongoing activitiy (it can be as simple as “goes to work every day”)
  • For the characters who have significant roles in the main plot, think about times that they are not on center stage, and ask yourself what were they doing when they were gone. And don’t settle for, “Well, she has to retrieve the holy relic from the monastery then meet back up with the others.” Right. So who does she meet on the way? How does she get there? Where does she eat? What could happen that might delay her?
  • Think like an actor in a stage play: when the character is on stage but not the center of attention, what is the character doing? If two of your supporting characters are having lunch while the protagonist consults an oracle, what do those supporting characters talk about?

Not all of these things will be subplots. If you tried to make all of them subplots, it will look like one of my first drafts. But that’s where most subplots come from: answering the questions about what else is going on in the lives of your characters and their neighbors and friends and enemies outside of the main plot.

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