Showing posts with label story. Show all posts
Showing posts with label story. Show all posts

Monday, November 25, 2013

NaNoWriMo Summation Scene

I am a bit early on this as I have not yet achieved my ultimate goal of 70,000 words. However, I have reached the National Novel Writing Month mandate of 50,000 words. I'm at 50,491 actually.

The joy is there but not the irrational whoops of joy from previous years. I know so much more about novel writing, my creative process, the editing process, and what happens when I finish a book. It is true with novels as with art that you never finish a work. You just stop at an interesting place. It is also true about novel writing that the first draft is just a beginning. For sheer quantities of revisions, script writing for feature films wins out. Novel revisions make up for that in word quantity.

Yes, it's all about revisions folks. Once the glow of creation wears off, it's back to the salt mines of checking plot lines, character arcs, grammar, and other mundane technicalities such as deciding where the chapters begin and end. Unlike my fine art process in which I generally create an image in one sitting with little preparation or afterthought. I suspect my art could use a little kick in the development pants, too.

This year's novel pulled in characters from previous novels, as well as embellished plot lines, and added a third book to the Cosmic Control series. Sorta weird as I had no intention to do any of that when I started writing. I'm still grappling with a summation or log line for the plot. Here's a first try.

Cosmic Control: Defeat of the UnRegs
Working cover with
working title.
The story involves two soul twins who were separated before birth and came to life in separate universes with parallel time lines, which should have guaranteed they would never meet. And in a normal world they wouldn't have. However, the Prime Locus is tampering with the time lines again and the twins are needed to thwart his vicious and devious plans to destroy the power of gifteds. Enter the UnRegs—the UnRegistered Citizens—a huge confabulation of pirate-style, off-grid individuals who have been around for so long they are quite numerous and have fostered a wide variety of subcultures. Some UnRegs are lawful, some aren't, and some suffer from situational ethics. They have their own goals for changing history. Within all this, the two sisters must determine a course of action that will save time, prevent collapsing the time lines in favor of the evil Prime Locus, and yet still emerge with their identities and lives intact. (Your basic save the universe scenario.)

It's a lot of fun. Well, it has been for me anyway. And I intend to continue having fun for a couple more weeks yet while ignoring the distant call to get down to serious editing work.

Thursday, September 5, 2013

My reaction to "The Ocean at the End of the Lane"

... because I can't really call this a review.


The Ocean at the End of the LaneThe Ocean at the End of the Lane by Neil Gaiman
My rating: 4 of 5 stars

I'm amazed I got through this book. I was deeply frightened and repulsed and yet I read on. I liked the boy with no name and wanted to know what happened to him and Lettie.

The best Neil Gaiman I've read so far. I am not a Sandman fan. I came in with American Gods after reading Good Omens: The Nice and Accurate Prophecies of Agnes Nutter, Witch with a Barnes & Noble online book club. I didn't particularly care for Anansi Boys, so I may not be the best litmus for a Gaiman fan. However, for the rest of us, this is a well-crafted story with intriguing and original characters, carefully told in a compelling and spooky way. Sort of like "Coraline" as teenager or adult, if you can imagine a story growing up.

No way would I recommend this as a book for children. It deals with adult themes in a manner too deep for most children, i.e, the interrelationship of bereavement and fear.

The story left me sad and a bit weepy but in a good way.

View all my reviews

Wednesday, May 1, 2013

You're never too old to write a screenplay and two other tips from Corey Mandell

Grabbed from Corey's May/June newsletter.

Are the screenwriting contests a waste of time and money? Mack V.
Most of them are, as they are designed as profit-making ventures. So if you're going to enter contests, I'd stick to the ones that the industry actually pays some attention to. Here's the three I'd target:

The Nicholl Screenwriting Contest
The Austin Screenplay and Teleplay Competition
Final Draft's Big Break Screenwriting Contest

And if your writing has an indie bent, you may also want to submit to the Sundance Screenwriters Lab and Film Independent's Screenwriting Lab.

(Full disclosure: I [Corey] have ties to both Final Draft, which sponsors my Professional Screenwriting Workshops, and the Film Independent Screenwriting Lab, for which I serve as a mentor. Regardless, I would whole-heartedly recommend their excellent programs. Okay, enough with the disclosures.)  

How old is too old to break into the business? —Lou W.
You won't be submitting a photo or bio with your script so it's doubtful anyone will know your age. They'll only know how good your script is or isn't. One of my script coaching clients, a 57-year-old South African woman, just sold her first two spec pilots. David Seidler was in his late 60s when he wrote The Kings Speech. Alvin Sargent was in his 70s when he wrote Spiderman. Being too old is never the reason someone doesn't have a career, it is only the excuse.

What's the biggest mistake you see new writers making? Laura F.
Following the "rules". There's a growing chorus of experts telling writers what they need to do to break into the business, what kinds of scripts they need to write, how they should write them, and what has to happen on what page.  

So what is the one thing almost all these experts all have in common? They have never actually had a writing career. In fact, many of them tried to break into the business and failed. Now they make their living telling everyone else how to break into the business.

Connect with Corey
Corey Mandell | Professional Screenwriting Workshops
310-243-6758 | Hermosa Beach, California, USA
corey@coreymandell.net  | http://coreymandell.net On facebook: http://bit.ly/coreyfanpage

Thursday, March 7, 2013

Story Basics in Graph, Table, and Diagram

Here's a clean copy of Kurt Vonnegut's graph of character arcs from the shape of stories video.
Kurt Vonnegut's diagram illustrated by Elaine Greywalker
In the video, he mentions that the names of the plot arcs are just reminders; not limitations. For example: Boy Gets Girl is your basic romantic comedy no matter who gets whom.

The "Cinderella" plot line (which Kurt says will make you a million dollars) could be fitted to the character arc of Katniss Everdeen from The Hunger Games trilogy—with modifications. The first book is classic Cinderella. Over the entire trilogy, it's a bit different. Primarily, Katniss goes below her beginning level, unlike Cinderella. Secondarily, she ends in the mid-level between Good and Ill Fortune. An interesting exercise would be to graph her arc across the trilogy on Kurt's chart.

Here's Aristotle's version, which is rather more conceptual.
Aristotle's Table of Plots
A good exercise would be to make character arc graphs for these concepts. 

By the way, the central line is "moderate complexity" in case you were wondering. I know I was.

While reading Story by Robert McKee, I made this triangular diagram which is a modification of Mr. McKee's from page 45 of the book.
My version of Rober McKee's plot triangle.
The three corners are indicators of plot types and not quantity of plots. Mr. McKee doesn't write much about the non-narrative plot area. It's still a big undiscovered sea. And, yes, another good exercise would be to make character arc graphs from this triangle.

Saturday, December 1, 2012

NaNoWriMo Win and Postpartum Blues

I did it again. I wrote another novel draft -- or 50,100 words of one, anyway. Which makes me a Winner in National Novel Writing Month terms. This is my seventh win.

As usual, I wrote a SciFi/fantasy story. This one includes time travel and people from the future. I love people from the future. And aliens. My aliens are simply people not-from-earth who look like people from earth. Generally, they are more advanced technologically or they practice magic.

I haven't been able to put this year's story into a log line yet. The through line is vaguely about love in that the hero gets involved in rescuing his wife. It's also about talent, a theme I love. Talent is generally under nurtured. I try to point out the advantages of talent and the waste of talent suppressed or undeveloped. In the books, talent refers to magic or magical powers or some combination of occult, magic, and intuition.

This year's main character, Lauren, is targeted by a society called the Pathbreakers as the crux of their plan to dominate the universe. She is chosen because she is gifted with a physiology that affects time lines. She is repeatedly abducted in her various parallel time lines to ensure the time lines collapse into one: the one that makes the Pathbreakers supreme.

Her husband, Ted, works with specialists from the Chronometry Department of the FBI, to rescue the "home" Lauren and return her to her native time, in an attempt to restore the parallels and defeat the Pathbreakers.

There's also an off-worlder (the PC term for alien) who is a master Chronometrist and a Philonaut (a philosophical astronaut) with his own agenda about how the Lauren time line should unfold. He's on his own side.

What Made This Year Unique
Storywise
1. Very few props or magical items.
2. No magical creatures.
3. Ordinary locations.

Writing Process
4. No zero word days.
5. Slow start.
6. Easy finish: 2500 words on the last day as opposed to 5000.
7. No coffee!
8. No write-ins!
9. No cafe writing!

It is, as usual, a big let down when I win. I'm off later today to the Thank God It's Over gathering. This helps a little to ease the pain.

I plan to go on writing. I was quite successful with this last year. I eventually finished and self-published that novel. This year I'm not so sure. I might dip into a past novel draft and work on that instead of working on this one. There are some thorny problems with the plot that should be easier to resolve if I take a break.

Anyway. It's over. I miss it. Writing alone is not the same. Still, it's a fun month and proved to me, once again, that having an ongoing active project is so good for me.

Wednesday, May 2, 2012

Interesting Beginnings: Coarse Corrections

I wrote a screenplay!
In honor of Script Frenzy, which ended April 30 at midnight local time, I'm posting the beginning of another screenplay I began last fall. I made up the idea based on some wild women friends and a day dream.

NOTICE: There's some strong language towards the end.

=========

INT. Deck of confabulated magical ship-like thing - Day

Behind the helm on the mostly wooden deck, stands a very large mature woman with hair flying. Her clothes fly too, being a confabulation of whatever was to hand. The weather is windy and rainy. The woman, MATHILDA, peers through the storm intent on her destination. On the deck in front of her, oblivious to the weather, is SATCHA, a mature, reasonable woman. She stands with her eyes closed, arms outstretched parallel in front of her, palms perpendicular to her arms.


The ship is an amalgam of fantasy and fairtale construction with wide sails and strange wings; a mixture of wood, metal, plastic and whatever other parts could be salvaged from wrecks. A skeleton is attached to the bow. Skulls line some of the railings. Various shades of pink and purple, faded and new, are prominent. There are a lot of long, narrow flags. Inexplicably, steam and smoke periodically arise.

MATHILDA
Can't you do that in your room?

SATCHA
(without opening her eyes or moving)
No!

The wind howls. Another woman emerges from below deck. This is SILVIA, a lovely blond mature woman, her long hair showing three inches of gray roots. She is pleasingly plump.

SILVIA
Are we there yet?

MATHILDA
Nearly.

SILVIA
Good. I'm fresh out of larkspur. (pause) I see she's at it again.

MATHILDA
Yes.

SILVIA
If it works, I'm next.

Silvia disappears below decks. Satcha lowers her arms and opens her eyes.

MATHILDA
Was he there?

SATCHA
(nods a bit sadly)
I miss him.

MATHILDA
You've never met him.

SATCHA
But I will.

MATHILDA
Secure that rope, will you? And bring me a glass of wine.

Satcha secures a rope and then disappears below deck. The wind quiets and the rain stops. Mathilda secures the wheel and adjusts her appearance. She pulls a cloth from the interior of her clothing and wipes her face.

MATHILDA
There. That's better. Satcha!

Satcha is behind her.

SATCHA
Here's your wine. You didn't say, so I brought you white. It was open.

Mathilda takes the wine and gulps it down. She wipes her mouth with the back of her hand.

MATHILDA
Excellent. So, how is he today?

SATCHA
Tolerably well. (sighs) It's taking such a long time.

MATHILDA
Try not to wait so hard. A lady keeps her man waiting.

SATCHA
(dryly)
Oh ha ha. What if it's a woman?

MATHILDA
Then you'd better get out of my way!

There is a pause while Mathilda finishes the dregs of her wine and peers into the distance.

MATHILDA
You see that glittering thing over there?

SATCHA
(peers into the distance)
Yep. Barely. It's just a nuanced anomaly.

MATHILDA
I don't think so. This looks like something. A vehicle. Headed toward us.

Satcha peers again. She climbs up on the shrouds and leans out over the edge of the ship.

SATCHA
You may be right.

MATHILDA
Thank you.

SATCHA
Looks like another ship ... or maybe a plane.

MATHILDA
A plane. That's all we need.

WILLA, a plain-face, matter-of-fact mature woman appears on deck. She dresses traditionally in keeping with present cultural norms.

WILLA
Do we have time for a stop over? I've got a call from my daughter. The grandchildren need me.

MATHILDA
Time is what we're made of. What's the location?

WILLA
(peers at a small, rectangular electronic in the palm of her hand)
Uh, ... let me see ... I think ... oh, here it is. Richmond, 2011.

MATHILDA
(grabbing the helm and bringing the ship about)
That's it? You know I hate fuzzy logic.

WILLA
No. There's more. Give me a minute. Uh, June ... 13th ... about 6 p.m.

MATHILDA
Got it.

Willa taps her device and then puts it to her ear.

WILLA
Honey? Okay. I'll be there. Should I bring something? You want me to stop by the grocery store? (she listens) Alright. Love you!

MATHILDA
We've got a situation. Might not be able to pick you up right at the precise moment.

WILLA
That's fine. I can stay the night if I need to.

Mathilda grunts. She whirls the helm. The ship is consumed by cloudy steam or possibly clouds. Only the helm and Willa can be seen. Willa flips out a ladder and steps down into the cloud.

WILLA
I'll call you.

MATHILDA
Got it!

Willa descends into the cloud. Mathilda swings the helm. The clouds and steam clear and we are back to the previous view of the ship. Satcha is still in the shrouds.

SATCHA
I think it's a pirate ship. ... Plane. Whatever. It's turning back.

MATHILDA
Silvia!

Muffled from below comes a reply.

MATHILDA
Is your Ex after you again?

A couple of bumps are heard. Silvia appears on deck.

SILVIA
No. Why do you ask?

Mathilda indicates with a rough gesture. Silvia peers out toward the object.

SILVIA
That's not him.

MATHILDA
Great. Who is it then?

SILVIA
I don't know. Why don't you ask him?

MATHILDA
Him?

SILVIA
Well, yeah. It's some guy with a bunch of his buddies. Looks like racers or sky divers.

SATCHA
Bungee jumpers.

SILVIA
Yeah. That's it. Bungee jumpers.

The vehicle flies closer, appearing to be at first a black galleon and then transforming as we close in to a black catamaran and then a black glider. Hanging from the glider are six guys dressed in black, each one suspended from a different type and color of bungee cord. They wave raucously as they swoop past the ship and then disappear into the horizon.

SATCHA
Was that ...?

SILVIA
No. Never. Nuh ah. ... Anyway, I've got water boiling. Tea anyone?

SATCHA
(raises her hand)

MATHILDA
None for me, thanks.

Silvia goes below deck.

MATHILDA
What you got on for today?

SATCHA
Thought I'd make a few visits.

MATHILDA
Were you going to file a flight plan or did you want me to use my ESP?

SATCHA
Both. (pulls out a crumpled map) Here. And, uh, here.

MATHILDA
What's this in aid of?

SATCHA
My sanity? The order of the universe? Dying children in Cambodia?

MATHILDA
You think you're going to find him in one of those spots?

SATCHA
Uh, yeah. Why not?

MATHILDA
So, okay. Let's imagine that were possible ...

SATCHA
It isn't?

MATHILDA
Tell me about him.

SATCHA
He's a pilot, flies for a commercial airline, used to make long flights - now just does short hops. You know, there and back again. Gets to the airport, doesn't even leave the plane, and then back again.

MATHILDA
But you don't know which airport?

SATCHA
Right.

Mathilda peers at the map.

MATHILDA
Or the time.

SATCHA
Just a minor insignificant detail.

MATHILDA
I can't run around all day with you. I've got a schedule, you know.

SATCHA
Won't take ALL day.

MATHILDA
(sound of disgust)
Might as well.

SATCHA
Thanks.

INT. Passenger Airplane Cockpit - Afternoon

WRIGHT, a well matured male pilot, sits in the cockpit with a clipboard and a laptop checking over the equipment. The clipboard is his backup, having once lost his laptop to the cleaning crew. FUNK, the male co-pilot, enters and sits in the co-pilot seat.

FUNK
Gees. How do you do this everyday?

WRIGHT
(not looking up)
Practice.

FUNK
What's the weather look like.

WRIGHT
Good. Check the maps will you?

Funk turns to the displays and taps screens and shit. Might need someone in here who actually knows something about flight displays. On the other hand, you could just have the ubiquitous big red button.

FUNK
Looks accurate.

WRIGHT
Hmmmfff. Take a look. What's this look like to you?

Wright shows his laptop display to Funk. Do not zoom in on this. No one needs that level of detail.

FUNK
Like a storm.

WRIGHT
And doesn't the flight path take us squarely into it?

FUNK
Uh,.. yeah.

WRIGHT
What have you been smokin'?

FUNK
Nothing. Lately.

WRIGHT
Dammit! Do I gotta report you?

FUNK
Fuck, Wright. You know I fly better when I'm relaxed.

WRIGHT
Relaxed is one thing - damn out of it is another. Get the fuck off my plane!

Funk stands, picking up his cap from the dash.

FUNK
Happy Trails, mother fucker.

WRIGHT
Thanks.

Funk exits leaving the cockpit door open.

WRIGHT
(shouts after Funk)
And tell the duty manager to send in another navigator!


Wednesday, April 18, 2012

Interesting Beginnings: Crucible

"This crucible leaks something horrible," the first magician said, poking into the carved stone bowl on the table. "What are we supposed to do?"

Two others stood beside him.

 "We aren't supposed to do anything," said one. "It's what are we going to do?"

"Dunno," said the first. "We can't do bloody anything with this piece of shit." 

"Sssshhhh!" said the other. "You'll offend it."

"Offend it? How can you offend a piece of stone?"

"Everyone knows crucibles have inner lives. You need their cooperation," said the other, a smart woman and the best witch of the age.

"Well, this one's been cooperationed out," said the magician. His black hair fell over his eyes and he shook it out. He put his wand back in his pocket.

"We'll get another," said the third one, a young man with shocking red hair. "Here." He pointed to the dusty shelves behind him against the wall. "Bound to be another one."

The magician sighed. "We need this one! Or weren't you paying attention?"

The woman sighed. "Yes, we were all paying attention, but you can hardly get the cooperation of a broken crucible."

"We're meant to use this one! It's in the prophecy. It's in the book. It's the one made for the job." The magician practically screamed. He'd had a very long day and he was wet from the storm.

"Well," the woman sniffed. "Obviously the prophecy has got it wrong."

"The prophecy can't get it wrong."

"Yes. Yes it can. It's only written by a man." The woman gave the magician a dangerous look.

"And passed down by many others," said the young red head. He stood between them holding a granite crucible and pestle. "I found these ... over there." He pointed a dank corner of the shelves. They were covered in dust balls held in place by thick cobwebs.

"You could have cleaned it first," said the woman.

"Thought we were in a hurry," said the boy.

"And how do you expect us to mix anything in a crucible filled with dirt?" She sneered at him and pulled the crucible from his grasp.

"Ow!" he said.
.-.-.-.-.-.-.-.-.-.-.-.-.-.-.-.-.-.-.-.-.-.-.-.-.
"Robin Hood: A Maiden's Tale" Robin Hood and her merry woman defend the poor one woman at a time.
Statistics
Total Pages Written: 45
Daily Page Count Goal: 4
Pages Written Today: 6

Wednesday, April 11, 2012

Interesting Beginnings: Jaia

In the spring, for reasons unknown, I get a medieval thing in my head. It never lasts long enough for me to make anything of it. This story may have been the seed for my third novel, "From the Isles of Orion," which takes place in a future dystopian medieval world. As in, the world devolves into the medieval age after a major war or some kind of catastrophe. (That part is pretty vague.)
========================
The family shield showed an eagle, the eagle of protection. The old "eagle eye" or perhaps it was a hawk. She should really study up on her birds. She knew, anyway, that there was something noble about the emblem and it meant that she had inherited the paternalistic job of caring for the local community. This was a symbiotic relationship as the estate was supported by the income from the community. The baron/prince/sire protected in return for offerings. One of their landowners had done quite well, practically propping up the fiefdom/barony all by himself. Jaia knew this was bad. Having one support put them at risk. However, all by himself, the Laird of Loch Lynch provided half of their income. The rest came from small holders, a few merchants, and the monastery. Yes the monastery. They made a casked brandy and a goat cheese favored by the free worlds.

Yes, worlds. This was perhaps the biggest secret of leadership. While the general population thrived in ignorance, Jaia, as heir, knew about those from other worlds, other galaxies, who traded with them. On some worlds farming was no longer viable for those who had either destroyed their ground/earth or had covered it over with endless structures. Either way, it was an advantage for them.

Jaia was adept at covering over her knowledge. She had grown up with the dualistic life, ever remembering to change her stance and language for the locals and then back again when in the privacy of her home.

She lived with only a father. Her mother having died of some local fungus for which there was no known cure at this time and place. That was the official story. Unofficially, her mother now lived a disease free life on another planet. They spoke from time to time. Her mother was happy. Jaia missed her a lot.

At 16 Jaia was expected to become engaged; had actually left it a bit late, according to local custom. She stood beside the window, holding an embroidery project and sighed. She itched. Under her clothing something had bit her. She sighed again. A pox on this ancient garb! Lucky Mum dressed in something bacteria and disease resistant on a clean planet. Jaia thought about cursing her life and then stopped. It was not wise to spread that sort of energy. She crossed herself and silently appealed for grace. She sighed again.

The door flew open. Standing in the doorway was her lady-in-waiting, Trista.

"What ho, Trista?" asked Jaia calmly.

"My lady! He has arrived!" Trista's eyes were wide. She gasped audibly.

She's been at the dried cherries again, Jaia thought. "Who's arrived?"

"You're intended!"

"I have an intended?"

"You jest! Let not the Lord Darca hear you!" 

"He shan't hear me if you do your job and keep him from my private chambers."

Trista quickly closed the door behind her and came up to her, putting her face so close to hers she could see the blackheads on her nose.

"My lady, I am as silent as the night."

"Without owls, I presume?"

"You must attend. The Lord Darca is here and he will wish to see you."

"I believe I can countenance that wish."

"Come! I will help you prepare."

"Prepare? Is he so dangerous?"

"You can't be presented to him in your common dress."

"Why not? He will become accustomed to it soon enough if we wed."

"If? How can you not accept him? If you wait much longer you will acquire the status of dowager and then none will have you."

"Trista, you may be astounded to learn that I am not interested in being had."

Trista stood shocked into silence.

Jaia sighed. "But if it will bring you happiness, let us prepare for this unknown lord."

"Thank you, miss. Else I would have had to send a disappointing message to your father." 

"Oh? And would he dress me?"

Trista relapsed into her shocked pose.

"Never mind. Let's be dressing, shall we?"

As she dressed, Jaia thought about the hounds and her hunting horse. She'd much rather be racing through the countryside. She didn't particularly care for fox hunting. It merely gave her an excuse to pursue an normally unladylike penchant for galloping through the landscape. A good run would relax her. But then Lord Darca would have to wait and that was unacceptable.

She wished her father had remembered to alert her to this new suitor. Perhaps he had grown tired of her exacting standards. Perhaps there was some reason she needed to be betrothed right now. Perhaps ... well, useless to speculate. Best to get dressed and get it over with so she could be enlightened as to her father's purpose.

Wednesday, April 4, 2012

Interesting Beginnings: Old Man with Forked Stick

I don't know where this came from. I got in a mood one day and this beginning unrolled itself like a movie in my mind. I tried to come up with time references that didn't include a clock. I've decided since that the normal ways to address time are the best – they're less distracting.
=============================
The old man hung on his staff, leaning painfully against the forked top. The forked top had once been the point of focus for his magic, now it was simply a convenient holder for his armpit so he could walk on his own. His sister had attempted repeatedly to have him move in with her, but he refused. He knew that was the way to losing his independence, and he needed it badly. Very badly. He was old and fading but he still had much to do. And much he could do. He hadn't had an apprentice in half an age. Perhaps word was getting around or had got around about his lack of attentiveness. No matter. 

As he walked along the woodland path he reviewed the eager apprentices who had spent their years in service, learning the way of the mage. He could also lead them along the shamanic path. Only one apprentice had chosen that path. It was longer and more arduous and she had been eager and full of ideas and energy. She hadn't made it, but then that was the point of the shaman's path. To weed out those who were unsuited. He blinked back a few tears, remembering his own shamanic journey. He had squeaked by, he felt, with a lot of luck and the advice of, surprisingly, an old widow in a small village.

As the sun set, the noises in the woods surrounding him changed. He paused and looked up at the torn segment of sky he could see between the tree tops. Soon the leaves would be changing. Already there was a mild scent of rot from the undergrowth. No clouds. Moisture was collecting in the air and on the ground.

He sighed, wiped his eyes. Not seeing as good as he used to. Still able to read the book, though. Smiling vaguely at something that flickered in his mind, he straightened and pressed forward again clinging to his stick.

As he walked along, hobbling every so often and pausing to rest, other memories came and went, flitting through the vastness of his mind like the birds under the canopy.

Dark had arisen by the time he reached his sister's door. He knocked politely, and then waited, adjusting his hat so that it perched once again straight upon his head.

The door opened.

 "Wenzel!" his sister said as she wiped her hands on a cloth. Still clutching the rag in one hand she embraced him firmly. "Come in! come in!" she stood sideways and waited for him to pass. “You’re just in time for supper," she said as she closed the door behind them.

"Here, let me take that stick."

Wenzel stopped walking. "It's not a stick. It's my staff."

"Stick, staff, whatever."

"Well, I can't give it to you. It's holding me up at the moment."

"Wenzel! Have you walked all this way?"

Wenzel said nothing, continuing to make his way toward the kitchen and a bench in front of table he rightfully knew would soon be groaning with food. His sister followed him along the darkened passage.

"You have, haven't you?"

Wenzel sat with an expulsion of air that morphed into a relieved sigh. "Ahhhhh," he breathed. The staff he still held in his hands. He took in a deep breath full of yeasty and beefy fumes. 

"Here, give me that," said his sister take the staff.

"Careful!" he said raising his hands up in a cautionary gesture. "You don't know what you've got there. Place it some place out of the way. I don't want Ned falling over it again."

"No worries about Ned," the sister said, thinking about her husband. "He's got eyes twice as good as yours."

Wenzel muttered something inaudible which sounded like something between indignation and resignation. "Oofff!"he said in the next minute. "Arrgg, my feet."

"Serve you right," said his sister returning to the kitchen. "You shouldn't have walked. You should have sent for us to fetch you."

"And waited for weeks? No. Not when I can get here in under a day."

Priscilla, his sister, turned and looked hard at him. "Under a day. A walk that should be but a few inches of movement of shadow on a wall." Her face dissolved into concern and something that might have presaged tears in another woman, and then, abruptly, became hard.

"That's it. I'm not asking anymore. I'm telling. You're moving in with us." With a flounce she returned to the fire and the pots.

Wenzel sighed very deeply. "Can I get a mug of water?" he asked meekly.

It was fully dark when the threesome, Wenzel, Priscilla and Ned, finished the evening meal.

"Come along," said Ned. "Let's into something comfortable and have that mug of ale."

"Aye," agreed Wenzel.

Priscilla jumped up quickly and disappeared out the door, returning moments later with the staff. "Here you are, grandfather," she said gently.

Wenzel snatched the staff. "I'm no one's grandfather!"

"Well, you look like one." Her gaze softened. "Go on, have your drink and sit in front of the fire. The nights are drawing in and we have a bit of warming before we go to bed."

Wenzel groaned his way to his feet and plodded out the door into the passageway. He came upon Ned already seated in a rough, sturdy chair and the fire crackling as it fed on the dry sticks. Wenzel sank down gratefully in the companion chair, waiting for him. Ned jumped up and reached to the hearth to grab the ale mug warming there.

"Here you are," he said presenting Wenzel with the ale. Then he poked the fire a bit . He added a few medium logs from the hopper and sat down again.

"Going to be a bad fall, I fear. Too wet. Too much rain," Ned said.

"That shouldn't trouble you. You've got cows and goats."

"It will affect the trading and we're close to the bone as it is. Haven't recovered from the harsh winter. Lost three animals in that one."

"A three animal winter," said Wenzel almost to himself. Yes, he thought. Bad. However, he continued philosophically, it's been worse. "You'll recover," he said to Ned in a raised, firm tone. "The autumn will be long and you'll find the fields will give a extra spurt of yield before the winter closes in."

"How do you know these things?"

"Ah ha ha," said Wenzel mildly, "when you choose the path of magic I'll explain it to you." They both laughed at that and sipped their ale. They had been sitting in companionable silence and the fire had burned low when Priscilla looked in.

"I've warmed your bed," she said to Wenzel. "You can go up anytime." She paused. "Provided, of course, that you can get up the ladder."

"Oh yes, still do that. Lots of ladders at my place."

Priscilla sat on the simple, lighter chair that remained. "Perhaps we should add on a sleeping area down here." Priscilla looked at Ned. He pulled the pipe out of his mouth and blew gazing thoughtfully at the fire.

"Yes, we can do that. We've still time before the true winter closes in."

"Oh, no, no," Wenzel protested. "Don't go to any trouble for me. I'm not staying that long."

"Yes, you are and that's an end to it," said Priscilla firmly with a look in her eyes that softened the tone.

"Then you'll need to build more than a sleep area. I need room for my scrolls, books, implements and animals." Wenzel smiled to himself knowing this would be a difficult request. "Wait until next summer. I can get through one more winter on my own."

"You've been saying that for many slantings of the sun. No more. You're not safe there anymore. You won't be able to take care of your place when the winter hits. You can't make the repairs anymore and Ned and I can't be running over every day to check on you. What if something happens in the night?"

"Then it was meant to be. What is, is."

Priscilla stared into the fire, carefully keeping her face turned. A hand went up to her eyes. "No, Wenzel," she said more softly. "I can't leave you alone for one more winter. I could never forgive myself if something happened to you that could have been prevented by you living within these walls."

Wenzel said nothing. Ned rose and tapped his pipe out into the hearth. He kicked the remaining embers which had burned low. Sparks flew as he pushed the remaining hot pieces together with his hobnail boots. He stretched and made a deep noise in his chest. He yawned.

"Gotta get some sleep. I'll see you in bed, Prissy," he said. He turned and left the room. Priscilla and Wenzel rose together, Wenzel leaning on his staff. Priscilla took a last look at the fire, ascertaining that the embers were too low to cause any trouble in the night. Then she put her arm lightly around her brother's shoulders.

Wednesday, March 28, 2012

Interesting Beginnings: Peach

This is a bit of flash fiction I generated as a participant in a writer's group in Second Life. The word "peach" had to be included in the story.
* * * * * * * * * * * * * * * * 
It was a peach of a deal. He winked at her. She saluted – with her mind. He had a good rap. She could tell he was a helluva salesman, or thought he was anyway. She supposed that others had bought from him. It was likely. She wasn't buying anything.

She relaxed into her mind's eye and took another look. Yes. He was like most salesman, honest about what he told her and scrupulous about leaving out what might prevent her from buying. After all, he was trying to help her and he didn't want anything to get in the way.

She smiled back.

"Sorry, no," she said. "I don't really need one."

"Today?" he said.

"Ever. Undoubtedly." She added the last quickly to forestall further discussion.

"Can I buy you lunch?" he asked.

"Can you?" she said.

He laughed. "Well, of course. Would you allow me to treat you to lunch?"

There it was. That twinkle in his eye, that little light of merriment that said, We're all in this together why not enjoy it?

Why not indeed, she thought.

"No," she said. "I've got to get back."

He looked as if he was going to protest. She could almost hear him asking, "Back to what?" She was glad he didn't ask. She would not have been able to explain with anything like coherency.

"Okay, then," he said. He looked down at his feet. Then he looked up and raised his hand in salute. "Later!"

That was fast, she thought. But she merely turned, pulling her keys out of her pocket and heading for the parking lot. She meandered among the cars, finding her red Saturn after a couple of false positives. It needed a wash. The paint was scratched along the passenger side from too close a connection with shrubbery along the roadway. She sighed, turned the key, and got in. 

The car moved easily along the roadway. She thought of him in a sort of abstract way, wondering what he really had on his mind. There was some darkness lurking just behind his face, moving along the surface of his skin. Some dark thing that he held back, as if it were so huge it would overwhelm her.

She got that a lot. Men often wanted to confide in her. Usually all she had to do was wait. But this time it wasn't working. This time she might have to work at it. To make him tell her, some how. This would be rough. He would go on trying to sell her and she would go on refusing, waiting for the time when he would finally open up and let her have it.

She hoped it wouldn't take too much longer and she hoped he told her the whole truth the first time instead of drawing it out over weeks. She hated the bits and pieces.

She pushed on the brake pedal. Her purse and packages slid to the front of the car, stopped by the passenger side foot rest. The car reared up a bit on it's front end and settled back down. She would have to start paying attention. Construction up ahead.

Forward motion stopped. The car ahead of hers was just as dirty as hers. She could see the silhouette of a head bobbing rhythmically.

What was it? Why didn't he just tell her and come out with it?

Sunday, March 25, 2012

The Story Experience

Lots of books, articles, and story consultants get into the technical parts of story:
1. Beginning, Middle, End
2. Inciting incident, Crisis, Climax, Resolution
3. Act I, II, and III
4. Premise, Theme, Conclusion
etc.

That is what story looks like from an analytical view point. It's as if you wanted to know what an orange was and you put it under the microscope and analyzed the acidity and talked about the skin and rind. Nothing in there would tell you about the orange experience: how it tastes, the juiciness of it, the fresh smell from the broken skin.

I realized, after reading a lot of books and articles and listening to a lot of podcasts, that there's something else at work here. There's a flavor, a flow, an odor and a substance to story. It's not just about the bones or what you can see from the outside.

It's not even about some backwards process where you write the whole story and then decide what it's about. It's like having someone ask about your boyfriend and you say things like, "He wears a size 12 shoe, has  brown hair, likes to tango, and drives a 2002 Saturn." These little descriptors do not provide the experience of being with your boyfriend. It tells you what he's like on the outside.

Here are my four (so far) categories of the story experience.
  1. The Decision Tree. This is a story that goes from incident to incident like an adventure game with the protagonist making a choice at each crucial juncture. Examples are "Star Wars: A New Hope", "Hitch", "The Mask", and "High Fidelity (the movie)." The protagonist may have more than one choice at each juncture. This is a linear story going from A to B with pauses along the way. There is something nearly predetermined about this story. No matter how many twists and turns there are, you know things will work out, because each decision narrows the options for the next decision.
  2. Interwoven Arcs. In this story each person, animal, element, and item has an arc. Their arcs are independent of each other yet they interact. In "Notting Hill" the eyeglasses move around, get lost, get replaced by prescription goggles, and are found. Each character has it's own arc that interacts with each other characters. Even the seasons are involved as they move through their turns. The arcs show the passage of time, reveal the characters, move the plot along, all while interacting. You could remove each arc, like whole threads, and reweave them. The key in this is that the story is not linear. There are a lot of stories. Other examples are "Slaves of New York" and "A Midsummer Night's Dream."
  3. Interacting Systems. Unlike arcs, systems have energy centers. Energy moving out from the center causes events. The centers move around pinging off each other, causing other events, making the characters react. Systems can be people, events, or things – even energy itself. Disaster movies are often like this. Something blows up and that unbalances characters who blow up and then perhaps lots of tiny explosions happen until the energy dissipates. "Die Hard", "Independence Day", and "The Fifth Element" are examples of this. Comedies also do this, as in "The Pink Panther" with Inspector Clouseau bumbling around, exploding, and causing other explosions which then move the story into other directions. You could probably think of this as the triangular or pent-angular story depending on how may energy systems you have.
  4. Wormholes. If the decision tree is linear, then wormholes are fields. In this type of the story, the events and characters are avoiding. It's as if the story is walking on stepping stones across the field or moving through wormholes, dropping in one place and emerging in another. Much is unsaid and must be figured out as you watch the movie. A lot of mysteries are like this. Examples of this are "Amadeus", "Phantom of the Opera", "Premonition", and "Kate and Leopold."
Maybe I've just renamed categories already out there somewhere. Important for me is that these are descriptors of the experiential process of making the story, not the bare, dry bones of analysis.

I sure hope this helps. I hope, that when I'm doing my usual seat-of-the-pants writing, I can look at what's happening and say, "Hey! This is a Decision Tree or Interwoven Arcs (or whatever)" which will help me recognize what structure I've got so I can build a better story. Or at least get all the way to end of it, for a change.

Wednesday, March 21, 2012

Interesting Beginnings: Shotgun

Welcome to "Interesting Beginnings"! These are, as you might suspect, the beginnings of ideas. I wrote them at odd moments with no goal in mind. Although I find them interesting, they haven't been interesting enough (yet) to get me to create whole stories from them.

They are rough and minimally edited for clarity. About once a week I'll post a new beginning. Hope you find them as interesting as I have.
                             * * * * * * * * * * * * * * * * * *
Pod rode shotgun. He was young. But then they usually were young. You had to have good eyesight, quick reflexes, and lot of energy for the job.

Pod held the long gun up at the ready, sitting astride his framework on the roof as the car swung around the corner. He had a black sash around his forehead. His arms were brown and muscular; scarred, partially covered by rags and tokens and bandages. But he was clean. One of the first rules. Preserve your health by staying clean. Important in a job that required top health.

Shotgun was a young man's job. Some old men were Shotguns; a few—the hardy, the uncommonly physically gifted. Those with the physiology for it.

Pod knew his job was precarious. Knew he might die before he retired or got promoted. Didn't care. He was feeding his sister and her brood as well as his tired old mother. They depended on him. And he was avenging his father's death. Not to mention his brother who had been slain by the Shotgun of a rival gang.

And Pod had plans for the future. Plans to settle down and hire a Shotgun of his own one day. Pod wanted to be a gang boss.

Letitia had no such plans. Letitia was a librarian, for such libraries as still existed, and prided herself on her ability to find any scrap of information or data needed. She wore glasses, a pair she had recovered from a tip that seemed to be just right.

She sat in the old, ancient room with dusty shelves surrounding her. A bit of light entered through the long tall window. The panes were filthy and full of cobwebs.

Friday, January 20, 2012

Reluctant Endorsement of Horror

He looks nothing like Viggo! Excellent!
(not that Viggo's bad looking or anything ...)
One night (a couple weeks ago) I couldn't sleep. I reached over, unslept (unsleeped?) the iPhone, and dialed up the PBS app. There wasn't anything on Masterpiece I felt like watching, so I scrolled down to this program called Tavis Smiley. Turns out Tavis is a real man (as opposed to the main character in a show) and an excellent interviewer who talked to David Cronenberg about "A Dangerous Method."

Awhile back I gave up on the whole Cronenberg/Mortenson duo. "A History of Violence" followed by "Eastern Promises" was too much violence for me. However, I still have a solid respect for Cronenberg as director, so I watched the Tavis interview.

A bit of the slanted distorted face jiggle. And good job
getting a smoker to play a man with a cigar.
During the dialogue they showed clips from "A Dangerous Method." I knew Viggo was involved and yet as I watched the clip I didn't recognize him until he did that characteristic distorted face jiggle. And it was right in character! Not only was it in character, but he refined it to the point that you just know Freud had that mannerism. He did such a fine job in that clip that I am now looking for a volunteer to go to the movie with me. I need someone to  text me when the voyeuristic sex scene is over so I can enjoy the rest of the show. (I hope that's the only land mine.)

Another good interview with Cronenberg is the one with Elvis MItchell on KCRW's podcast The Treatment. Also, a nice companion interview (since we're into horror now) is Elvis's talk with John Landis about Monsters in the Movies. Which can take you (as it took me) to the book. And in the book is another interview with Cronenberg by John Landis. It's a good book full of pictures of monsters and interviews with horror's major creators.

Although I don't mind a touch of horror, like the way Neil Gaiman uses it, I don't like horror for horror's sake. After watching "Aliens" I swore off for good. Well, until Viggo came along. I'm still off horror and still into good acting, so if you'd like to volunteer to be my censor for Cronenberg's latest, leave a comment and we'll work something out.

Saturday, December 17, 2011

Winter Break

Clean kitchen! A sure sign that
National Novel Writing Month
is long past.
So here I am, at 70,213 words and the end of the story remains elusive. I might I have missed it, as I discovered when rereading my 2009 NaNo novel. However, I feel like the ending will show up in the next 2000 words. More or less. I thought I had an ending and I do have some background that hasn't made it into the novel—not that it has to. Background is always good for more story, whether in the current novel or one yet to be written. It all goes around and comes around, sort of like karma, and in a good way.

I have decided to keep to my promise to stop at 70K and take a break until after January first. Then I will start at the beginning with the swooping process, clearing up as I go. When I get to the end, there should be one. heh heh

Happy Holidays, ya'll!
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"Uncle Tauber's Trunk" A retired writer and a CIA profiler riddle out the secrets of the contents of an old German trunk.
Statistics
Total Words Written: 70,213
Daily Word Count Goal: 2000
Words written today: 0 (have reached goal of 70K)
Wearing my Santa hat while floating in an earlier version
of Inspire Space Park in Shinda in Second Life.

Saturday, December 10, 2011

Along the Road to the End ... of the Novel

No pirates are involved.
Yet another stopper/road block along the way to completed noveldom. I know what happens next. Yes, I have arrived at that point in the plot where the twistings and turnings have led to a rough ending. I could, if I chose, make more than one end—anyone with an imagination could. However, I have a favorite ending and I'll be writing that one, more or less.

This knowing—that I have things wrapped up and it's all done except for the scribbling and bibbling—is a stopper. Because I actually enjoy writing the story. Which is a little shocking when I look at my process and see all the effort that goes in to getting started.

That's deceiving, that effort. It leads me to believe I don't like writing when, in fact, I do which I confirm each time I start typing. I keep hoping one day sitting down to write will be effortless. Probably an unrealistic expectation. I thought that once I knew what would happen I would be drawn along and have a full day (or at least four to six hours) of mad writing to the exciting conclusion.

The excitement is at the beginning and middle. Not at the end. I like writing without knowing what's going to happen next. That's the adventure. That's the fun of it all.

I know I will write again. It's not like this is the last story I'll ever write. I am, however, attached to this story and want it to go on forever. At the same time, I'm eager for the story to end so I can wrap it up and let my friends read it. And perhaps get it published. And then have, like, a job or something.

So, back to writing. The whole 2k per day thing didn't work out as planned, so I am going with Plan B: writing to 70K. Let you know how that works out.
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"Uncle Tauber's Trunk" A retired writer and a CIA profiler riddle out the secrets of the contents of an old German trunk.
Statistics
Total Words Written: 61,519
Daily Word Count Goal: 2000
Words written today: 288 (so far)

Saturday, October 8, 2011

Our Stories

We all have stories that we tell our selves which define who we are and describe patterns in our lives. Your story might be that you are always left and your partner always takes the good stuff. Over and over again this story is enacted in your life. The truth may be that you get tired of your partner and then agitate the situation so that they leave you. Since you feel guilty about that you tell them to take whatever they want. Later, you only remember that they left and took the good stuff. And you do this because this is your story. While you might see a more complete picture while in the thick of things, after time passes, and that particular story ends, all you remember are the pieces that fit.

A lot of time can pass as you relive your story over and over again before it occurs to you that maybe you might have some volition in this story or that maybe you could have a better story, a nicer story. Although, not all stories are bad. Perhaps yours is that you are the compassionate one, the waiter, the kind one, the one who gives. You ignore the sort of pressure being the kind one puts on others and fail to see the manipulation in that. Or perhaps you do see it and are supported by thinking you are uplifting others by being a good example.

Having stories isn't necessarily a bad thing. They can help us feel secure and put some order to the chaos. Stories don't show us the entire truth – the entire objective truth. (Is there an entire objective truth? Since we can never experience it, we can't verify that.) So, we have these stories. They define us and order the world around us. They bring sanity to madness and chaos.

We get the story we ask for. There are a lot of stories. Choose well.

I never really chose and that's my story. I never had a firm answer to the question "What are you going to be when you grow up?" A lot of options flitted through my head. For one year in the fifth grade I was determined be a second grade teacher. As the years passed, the only firm answer I could come up with was, "Older."

There have been times when I've lived a story because it was convenient or the story of the moment. Sort of like wandering through a wood and finding odd paths and following them to the end to see where they come out. I've been to many of the usual and some of the not so usual places. It has been interesting – very interesting indeed.

Which is what I like about National Novel Writing Month. I get to dive into the woods and pick a path and follow it (or not) for an entire month. I get to make up the wood I'm in and the path and what happens when I get the end. Most of the time that's what I do. The rest of the time the wood takes over and paths appear and disappear for no apparent reason. Characters come and go and do pretty much what they feel like doing and I just follow. Perhaps that what I really like about stories, I can simply follow.

The point I thought I would be making about now is that the stories are merely stories. We can be outside of them. This is called buddhism or taoism. Or it might even be yoga. Letting go – letting it be. Seeing what is without trying to make sense or have everything fit into a story. It might even be a way to break a pattern and freely be who you are.

Wednesday, March 23, 2011

Movies I Love, explained

Shades of immortals!
To expand on my tweet about #moviesilove, here is what makes my favorite movies worthy of love.
  1. Slaves Of New York: Wondering what it's like to be an artist? Reminds me a lot of my art school days at Virginia Commonwealth University. And no wonder! Screenplay and book by Tama Janowitz who wrote about the world of Andy Warhol during the era when I was in art school. Heart warming in a satirical kind of way.
  2. Defending Your Life: Albert Brooks' subtle humor gets better with rewatching. Even the concept is funny: purgatory as resort. Meryl Streep balances Albert nicely. Eating all you want and never gaining any weight? Puh-leese!
  3. Galaxy Quest: I save this up to watch during the winter holidays every year.There's a parallel between the insanity of creating a universe based on fake science and families at Christmas. Everyone thinks they're doing the right thing but it all works out anyway. "... by Grabthar's hammer... by the Sons of Warvan..."
  4. The Princess Bride: A lovely fairy tale for adults. A funny one. Full of sweet silly innuendoes. Sending up the fairy tale genre with a noble pirate, a gutsy princess, and a pretty villain. "Do you think it will work?" "It would take a miracle."
  5. Star Wars: Do I really need to explain this? And, yes, I like them all in spite of "the phantom plot", other flung pejoratives, and JarJar Binks. I particularly enjoy seeing extra footage of Jabba the Hutt in the digital remake and being able to jump from III to VI to see Vader turn around. Although, it's kinda weird to see a young Hayden Christensen as the unmasked Darth Vader.
  6. Harry Potter: I was dragged kicking and screaming into reading Harry Potter by my daughter who agreed to read all of The Lord of the Rings if I read HP – a mutually beneficial exchange. This series brought me understanding of the differences in storytelling technique between books and movies. I like each in their own way as great stories. Movie 6 (... The Half-Blood Prince) is so incredibly artsy. It even got a Cinematography Oscar nomination. 
  7. Notting Hill: Most amazing long shot of changing seasons to the tune "Ain't No Sunshine." Lovely will-never-happen romance between a scuzzy book seller and famous actress. I hope Working Title won't flame me for telling you that I use this movie to go to sleep with every night. I watch it on my iPhone, enjoying all the little nuances that can only be noticed after 84 viewings. This title slid into seventh place because the number of tweet characters remaining precluded a lot of other favorites. Other options for 7th place: The Lord of the Rings, Who Framed Roger Rabbit, Bridget Jones' Diary, Amadeus, Phantom of the Opera.
With Script Frenzy coming up I thought this an appropriate post. I am in a mild panic because I can't settle on an idea or even characters. I'm the Municipal Liaison for Richmond this year so I have to finish. Nine days to figure it out. Wish me luck. Or a broken leg or something.

Sunday, February 7, 2010

mulling over my first novel: CCBFA

I suppose I should refer to my first novel by it's title, or at least the working title, which is Cosmic Control: Bronwen's First Age.I'm still in the exploratory stages even though I have written over 50,000 words, had a friend read the draft, talked about the process to everyone I know, written a second companion novel, and had a professional review the first 10 pages. It's still evolving, mainly because it's an epic fantasy/scifi educational transformative plot. So, rather huge. Sometimes I think I'd be better off working on one of the other two novels because they are smaller stories. Sometimes I think I'd be even better off writing a screenplay because that's even shorter.

In the meantime, I did receive excellent feedback from The Editorial Department. They liked the premise, said I had a certain flair, and pointed out that my syntax needs some work. So, skipping the reading aloud part before sending the sample off was not good. I feel encouraged and overwhelmed. So much to do and learn. They pointed me to their book, Self Editing for Fiction Writers, which I had perused — obviously not seriously enough.

I've been mulling over the novel plot points and character development in light of their suggestions. I suppose I should actually write some of those mulled thoughts down. I am not looking forward to improving my syntax nor to refreshing my grammar skills. Hence the mulling. Also, they recommended I axe the first chapter. I hear that's a typical criticism for most first time novelists. However, I feel there are a few points in the first chapter that are pertinent. What that suggestion really points to is that I haven't put enough of the main character into the beginning of the book. And the main protagonist ought to also figure a little more strongly as well. Hence the continued mulling.

Transformational Story
As part of this mulling I have looked at my three favorite stories, the ones I think should most definitely be movies (and when I win the lottery I'm going to make them). As I compared the plots I began to realize that all three are transformational or transformative stories. Oh, I know. All good stories are about some kind of transformation. What I'm referring to is what Robert McKee calls an "Education Plot" which focuses on "deep change within."* I suppose from one perspective that sort of path could be called education. I feel that if there is education going on there ought to be an educator involved. Without the educator there is only experience which offers learning opportunities and not so much education. I prefer transformative. And there's also something spiritual about that sort of deep change within.

Mulling over transformation has sent me on a tangent to discover just what makes a story transformational and what pieces and parts I need to have. Which has sent me back to books and research, as I continue to mull.

 *Story, Robert McKee, Harper Entertainment, New York, 1997, pg. 81.