On Writing

So how do writers use questions in their story development? Let’s hear first from Ian Creasey, whose short fiction has appeared in magazines such as Asimov’s, Realms of Fantasy and Weird Tales, and has been reprinted in several Year’s Best SF anthologies.  His excellent collection Maps of the Edge was published last year. 

Stories Are Made Of Scenes

 by Ian Creasey

I’d like to begin by thanking John for the opportunity to write a guest post about the technique of using questions to help create stories.  This is not a “where do you get your ideas?” post.  Rather, it assumes that you already have a basic idea, which you want to develop into a complete story.

I’ll use one of my own stories to illustrate how the question technique works in practice.  The questions themselves are sufficiently general that they can be applied across a whole range of stories.  What tends to change is the order in which they are asked.  I find that stories sometimes start from an idea for a specific detail, in which case the process involves working backwards to develop the appropriate context.  In other cases, the initial idea is rather abstract, and the task is to flesh out the premise with sufficient detail.

My example story is “The Report of a Doubtful Creature”, which was published in Orson Scott Card’s InterGalactic Medicine Show (November 2009).  I mention the publication date, because this was actually the seed for the story.  The year 2009 marked the bicentenary of Charles Darwin’s birth, and also the 150th anniversary of the publication of Origin of Species.  I live near the Yorkshire town of Ilkley, which Charles Darwin visited just before the first edition of Origin was published.  I therefore decided to write a story about Darwin’s visit to Ilkley, with the aim of getting it published in November 2009, exactly 150 years after the first edition of Origin of Species in November 1859. 

So I had a story I wanted to write, without any notion of what its plot might be.  The technique of asking questions helped me to shape the story, and I’ll list some of those questions here. 

Who is the story about?

For my particular story, the answer is already in the premise: it’s about Charles Darwin.  But other times, it’s not immediately obvious who a story might be about — for instance, if the initial idea is to explore a technological or social development, then there is a wide range of people who might be affected.  In this case the standard advice is to ask, “Who is the most hurt by this development?  Who has the most to lose?”  That person is often a suitable protagonist (or antagonist) for the story.

What is the story about?

In this example, it’s fairly obvious that the story has to be about evolution.  There’s not much point in writing a story targeted for the anniversary of the Origin of Species, if it’s not about evolution!

What is the conflict?

The Origin of Species is a famously controversial book, symbolising a clear conflict between science and faith.

Wow… so far it looks easy, doesn’t it?  It may appear that I’ve cheated by starting with several questions to which I already know the answer.  But in fact I’m illustrating the point that if you have the germ of an idea for a story, then there are already some questions and answers implicit in your premise, no matter how vague it may initially seem to be.  It can be useful to state these answers explicitly, to help crystallise the starting position.

What is the specific example?

This is what John calls a “power question”, a key question that can be widely applied, and which cuts right through to the essentials.  The question “what is the specific example?” can be asked in many contexts (e.g. in considering how to show characterisation), but I find it particularly useful when framed as, “How does the conflict manifest itself?”

This isn’t mathematics: there’s no right or wrong answer.  But you need some kind of answer.  It’s a classic beginner’s mistake to write a story entirely in abstract terms: telling the reader about the conflict, without showing it.  Stories are made of scenes.  There should be at least one scene which dramatises the overarching conflict by putting a specific example onstage.

A short story will typically hinge upon a single scene that illustrates the core of the conflict.  A novella or novel may require more instances, e.g. a small-scale scene near the beginning, and a large-scale scene toward the end.  But the principle of needing specific examples still applies.

If I say that I’m going to write a story about evolution, and the conflict between science and faith, I’m speaking in general terms.  I need a specific example.  The device I chose was to have Darwin encounter a strange creature, which might possibly be a fairy.

What are the stakes?

This is another “power question”.  It’s a way of saying, “Why does this story matter?  Why should the reader care?”

There are different ways of addressing the question, depending on whether you develop the story on a top-down or bottom-up basis.  If you start from specific details, then you may need to establish that those details represent important issues.  Conversely, if you start from the big issues, then you need to establish that your illustrative details are sufficiently representative.

For my story, the question of evolution (i.e. science vs. faith) is already a high-stakes issue.  So the crucial task was to establish that my specific example adequately represented the issue.  Basically, if fairies exist — so what?  Why would that affect evolution?

Here is the answer from the story, in Darwin’s words:

“My theory of natural selection requires that life proceeds by common descent.  All creatures are related, however distantly.  So any particular creature must possess living relatives, of some kind; and ancestral forms should be preserved as fossils.  Any beast, however unprecedented to man’s eyes, must fit somewhere within the Linnaean taxonomy.

“If fairies exist as material creatures, what genus do they occupy?  Where are their fossils?  (The fossiliferous strata contain an imperfect sample of past organisms, yet surely we could hope for one example to be retained from the entire fairy lineage.)  If the traditional description be correct — like a small man with wings — it is clear that fairies cannot fit anywhere within the existing genera of Mammalia.  We could only accommodate them within Animalia by supposing an entirely separate line of descent, one which has left no close relatives, no intermediate forms, and no fossils.  The evidence does not support it.

“It would be simpler, therefore, to suppose that fairies were a separate creation.  After all, why should we require all creatures to be related?

“We indeed require it, for if we allow that any creature may be a separate creation, then we must allow the possibility to all creatures.  How could I argue that a wolf must have descended from canid predecessors, if I cannot argue likewise for a fairy?  Any opponent could simply say, ‘The wolf was independently created in its current form, just like a fairy.’  I would have no refutation for such a critique.  Even those who accepted the Wolf might balk at the descent of Man from simpler progenitors, if given the excuse of the Fairy.

“My hypothesis must explain all creatures, or it explains none.  Everything, or nothing.  The thought burned in my mind: If this fairy truly exists, it will destroy my whole Theory.”

What choice does the protagonist face?

This is another “power question”.  A story tends to feel more meaningful if the protagonist faces a genuine choice — a difficult decision.  The nature of the choice obviously depends upon the overall conflict, but its onstage manifestation is determined by the specific example that illustrates the conflict.  So when deciding upon an example, it’s helpful to bear in mind the choice that the example implies.

In my story, what choice did Darwin face when he encountered the fairy?

“A thought struck me that it would be simple to let the creature escape, thus avoiding the revelation of what it might be, and what it might imply.  The temptation seemed to hang in the air before me, needing but a single step to reach out and grasp.”

Where does the encounter happen?

Once the specific example has been selected, and its importance has been established, our questions move to the realm of practicalities.  We must decide how the example is “staged”.

Stories are made of scenes.  The scene begins when the protagonist encounters the situation, whatever the situation is.  So the author’s task is to decide where and when that encounter takes place.

For my story, I needed Darwin to see a fairy.  How could that happen?  Maybe he goes out for a walk, and simply happens to see one.  But that feels rather coincidental: too obviously contrived by the author.  Also, at the time the story takes place, Darwin is ill: he’s in Ilkley to take the “water cure”.  So he’s not likely to be wandering very far.

I decided to introduce a secondary character: a woman who had captured the fairy.  She knew that Darwin was a famous naturalist, so she asked him to come and see it.

It’s important for a short story to remain focused, and not become cluttered with too many characters.  It’s dangerous to answer every question by introducing a new character.  But in this particular case, it was a useful solution.  I started off with only a protagonist, Darwin.  He didn’t have anyone to interact with.  By introducing a secondary character, I allowed myself scope for dialogue, interaction, and contrast.

Conclusion

I’ve deliberately ended this post on an anti-climactic note, because although stories conclude with a climax, this doesn’t mean that the climax is the last thing you work out when writing it.  Personally I find it easier to begin by shaping the overall structure of a story, including the ending, before I work out all the nitty-gritty staging details.

The questions that I’ve listed here are, obviously, not exhaustive.  But I hope they give an indication of how an abstract idea can be turned into a detailed narrative.  In my opinion the most important thing to remember is this: Stories are made of scenes.  The most useful questions are those which help you envisage a particular scene.  Once you can imagine the scene in your head, half the task of writing it is already done.

John sez . . .

So are you curious about his story yet?  If so, “The Report of a Doubtful Creature” is available to IGMS subscribers at http://www.intergalacticmedicineshow.com/cgi-bin/mag.cgi?do=issue&vol=i15&article=_003 . You can also learn more about Ian and his work at www.iancreasey.com.

I’d like to thank Ian for taking the time to write up his process on this story. I though he made a number of interesing points. Did you notice what he said about envisioning scenes? Did you see that at least one of his questions is particular to this story and might not be used on any other?

Understand the core principles. Get a list of core questions. But then realize you’ll need to use creative Q&A as you go with all sorts of questions, large and small.

For more in this series, see How to Get and Develop Story Ideas

I realized I needed to blather a bit more on this topic to warn you against something before I bring the other authors on.

You’re going to be tempted.  You’re going to be tempted to seek for some Holy Grail list of magic development questions.  Some of you are going to be tempted to compile some big old honking list of “the questions that will produce a killer story every time and all I have to do is ask them.”

That list doesn’t exist. If you seek for it, you’re going to waste a lot of time and end up having to fight killer rabbits and fetch shrubberies for weird knights.

Don’t fall for it.

But, John, didn’t you say there were core questions?

I did.  You need answers for those.  But you need to also understand that a writer will ask a great number of development questions when writing a specific novel, some of which he might only ask once.

Last year I was out on the forum at CodexWriters.com and one writer asked the rest of us how we approached developing our stories.  He was looking for some kind of development map, e.g. I have this piece of the story, now I need to develop the rest–how does one go about that? 

That discussion led directly to this series on getting and developing story ideas. My thoughts then were that you need to define and understand the basic elements of story.  Knowing the key story principles behind each element leads us to a handful of core development objectives and questions.  But–

I DO NOT think there’s a comprehensive must-do list. 

Why?

Because it’s been my experience that no two stories are exactly the same, and so no two stories require the exact same questions. And even if stories are similar, questions and techniques don’t always produce the same results each time. One question or technique might prove fruitful one time, but it might be unfruitful the next, or even unnecessary.  So the point of this is NOT to get a checklist of a hundred questions that will lead you to generate the whole story in your mind before you write.

The goal is to develop the six parts. Use the questions you need to develop those parts.

Look at the many setting and character profile question lists that float around. As I’ve used those, I always run out of steam because while some of those questions are interesting and helpful, quite a few of them just don’t apply to the project at hand. They bore me. Maybe I felt a spark of life with one question, but instead of following it as the way into the story, the whole checklist format suggests I need to move on to the next one and fill in the blanks.

But my goal isn’t to fill in blanks. My goal is to make the story come alive in my mind, to make the character come alive, to develop someone sympathetic, deserving, and interesting (if he’s the hero).

So while I think looking for productive questions is important, and I DO think there are some core questions that need to be answered every time, I think a person will be more productive if they step back and identify the key things they want in the story, the scene, the particular character.  This means we’ll have some standard questions and techniques based on how stories work, but it also means we’ll learn how to do the creative Q&A process on the fly, following the zing for the current project, coming up with questions that we could never predict we’d use. 

And we’ll use the objectives for the six core parts as the guide then build upon them.

For example, when finishing up my last draft of Curse of a Dark God, I wrote the opening to a big battle chapter. I know that for things to be clear to the reader, I need to set the stage, have a hook, give the what, why, where, etc. I need to transport them as best I can. Those are my objectives. The questions, while not formally stated, flowed from them–what are some options for a good hook, how do I want to set the scene, etc.

These are fairly standard objectives/questions. They’re story fundamentals. And there weren’t a lot of them. You can get overwhelmed with too many niggling objectives and criteria. I’ve found it’s best to focus on KEY things. To ask myself–what are the Pareto factors, the handful of things that really have the biggest effect in story with character, plot, scene? Once I identify those factors I can easily turn them into questions.

So I had those handful of objectives. But I had some others that were very specific to that scene that I probably won’t use in any other scene ever.  And I couldn’t have really even known about them until I got to the point where I was writing the scene.

For example, one was how to introduce the Dogman of Toth and his pack of maulers in a way that makes the reader say “ho-lee crap those guys are screwed!” Another one was how to introduce the kitemen in a cool way. Another was based on a feeling I was getting from my Spidey-sense that the scene I was writing was going to undercut a later one if I made the hero’s objective to kill one certain character. So I had to ask, what is the right progression of these scenes? Who should the hero attack here so it feels right, like a progression?  Another objective was to make this whole battle scene awesome, thrilling. That’s certainly something I’ll want to do with other battle scenes. But not on all scenes.

With the very next scene I was asking–how can I make this scene tender and heart-breaking? These ad hoc questions about the Dogman and kitemen and the story progression are all great questions flowing from objectives, but they were for that one particular scene.

So I think there are some core objectives or principles of how character, setting, problem, plot, and text work. These are based on key story factors. I listed those out in the last post and in my series on suspense. You can make a “standard” list of objectives and questions out of these. For example, one of those key objectives is for the reader to care about the hero. Another is to find him interesting. I can indeed translate these core objectives into some standard POWER QUESTIONS that might be put on a list.  Along with some core questions, there are favorite techniques (tools) we each use to help us work up what we need and get into a story, scene, character, problem, etc.

But I think a lot of writing is using the creative Q&A on the fly because it’s just impossible to think up all the objectives and questions you’ll encounter before you get into it. 

Have I said that about twenty times now in this post?

Let me suggest you not try to develop everything up front before you begin to draft.  Some development questions occur when you’re sketching or outlining. Others when you’re in details of draft mode. It’s a mistake to try to get it all up front in some list.

The key, I think, is to have our handful of CORE development objectives/questions and ALSO expect to use the QA process along the way. This allows us to move forward in the creation without needing to develop everything up front, which is impossible (no, it really is impossible), and then step back and formulate questions when the need arises, based on our objectives of the moment, and use any number of methods to generate the answers until we have something that rocks.

But John, how do you know when you’re ready to move forward?

For me I need to have generated the story concept–the basics of the character, setting, and problem.  When I have that, I’m usually beginning to “see” things, although certainly not everything.  Often I’ve envisioned a couple of moments or scenes.  Maybe some dialogue, etc.  When I get to this point, I’m able to write a Story Setup statement.  And then I generate a sketch of the plot with a working outline.  I DON’T have all the details, but the story’s alive enough in my mind to proceed. 

Sometimes I begin to draft what I sketched and find out it doesn’t work.  And sometimes I have to draft to get my story concept. Eloise McGraw (I love her book The Moorchild) usually found she had to draft seven chapters before she really knew what the story was about. That’s fine. The key isn’t to use a certain set of tools in a specific sequence. The key is to get to the point where you understand the story you’re telling. If I can do that with a bit of sketching and a little drafting, great.  If I need to do a bit more exploratory drafting to have the story come to life in my mind, that’s fine too.  The key is to know what I need to know about the story and work until I know it. This is writing that’s based on objectives, on principles, not on procedures.

So there ARE core questions you’ll need to answer for every story.  But it’s also true that you will be hunting mythical rabbits if you look for a secret magic question procedure that lists all the questions you need to ask, EVAR!  Having said that, I’ll now let these other authors finally get a few words in edgewise.

For more in this series, see How to Get and Develop Story Ideas

Filling up your mind with wonderful things by hunting zing is a writer’s bread and butter.  But guess what?  You can’t develop a killer story by waiting to stumble across great story ideas.  So while you must deploy your drag net and hunt with a purpose, you must also learn how to develop your own zing.  And I haven’t found anything more productive for helping me do that than the process of creative question and answer.

If you refer back to the Story Development Framework download, you’ll see that Creative Q&A is one of the key tools used to develop every part of story.  So how does it work?

Do you remember my first and second posts where I talked about Ed Smiley and the folks at NASA who helped save Apollo 13?  They used this technique.  Here’s how it went down.

They had a problem: the astronauts were running out of oxygen because the CO2 scrubbers weren’t working in the module they were in.

The problem led to an objective: figure out a way to get the CO2 scrubbers working.

The objective led to a question: what are some options for getting those CO2 scrubbers working?

Then they began to generate possible answers.  Two days later they had one that would work.  Ed and his team saved the three astronauts aboard.

This same thing happens over and over again in any situation that requires some new solution.  Do you remember all those redneck solutions I shared in the first post?  They were practicing creative Q&A.

You know all those accountants generating various ways to do your taxes?  They’re practicing creative Q&A.  Mine did that this year; he figured out one legal way do our taxes that saved us some money, then figured out another legal way to do our taxes that saved us more than $1,500.  I’m so glad he looked for that second, actually third, right answer.

You see all those mothers and fathers generating ways to make ends meet?  They’re practicing creative Q&A.

It happens all the time.  It’s a key tool when trying to develop a story, and I’ve found a couple of guidelines when using this technique that seem to help quite a bit:

1. Clearly identify the objective.
2. Turn the objective into a “what” question.  For example, “I need a more interesting character” becomes “What are some things that would make my character more interesting?”  Likewise, “This scene is stupid, nobody would do that” becomes  “What would make this scene more believable?” When I’m stuck with plot, “My character isn’t facing any real problems” becomes “What are some killer troubles the character can run into?”
3. Generate a list of good, dumb, and wacky options.  It seems the more ideas I generate, the better chance I have to come up with something really good, especially if I cherish the dumb and wacky ones by writing them down.
4. Don’t hesitate to steal other ideas I’ve seen and modify them to make them my own.  Or to go search for how others dealt with issue.
5. Try to generate more than one good or right answer.

 

I use creative Q&A to help me develop my key objectives all the time.  I state a question and use the principles to guide me in the options I generate.  For example, in the thriller I’m writing I started with a character, an ex-con trying to go straight.  I asked myself “What are some threats to his happiness?” and “What could go wrong?”  I started to generate options.  Some were mildly interesting; some were dumb.  One was that “some old associates come back, old prison buddies, and try to drag him back into the life he’s trying to escape.”  That one tingled my zing meter, and I started to generate more information about that.  “What would they drag him back into?”  “What kinds of crimes?”  “Who are they?” (Okay, not every objective can be turned into a “what” question.)

There are also ad hoc objectives, i.e. objectives that arise only in a particular situation that I can’t plan for.  I can use this with them as well.  For example, in Servant of a Dark God I wanted a henchman to have a cool weapon, something that I hadn’t seen before.  My question for that was “what are some cool new weapons for this henchman?”  I listed out some that were stupid and had been done before like “a big knife” and others that were wacky like “a chain.”  I generated a big old list.  As I generated options I suddenly generated the idea of “spikes.”  And then “spikes that were alive.”  That tickled my zing meter, and I followed that path and came up with the Ravelers, which I think are just awesome.

For more information about creative Q&A, I recommend you read Creative Problem Solving: An Introduction, Fourth Edition by Donald Treffinger.  It’s one of the most practical books on creativity around.

While you’re waiting for that to come in the mail or to get it from your library, I want you to watch something.  Dewitt Jones, a photographer for National Geographic, uses creative Q&A.  He made an incredible twenty-minute video explaining the principles of generating options.  Please watch Everyday Creativity .  It says “Preview,” but it’s the whole wonderful video.  Then go here and watch that same last bit plus some material not on the other one.  These are two versions of the same presentation.  Everyday Creativity is the commercial version used for training.  Clear Vision is the personal use one that includes some extra material.  Let me recommend you purchase the Clear Vision version. You will not regret the $45 dollars.  I promise you.

All of what he says applies to generating answers for our writing.

GO WATCH IT NOW.

Note what he says about these principles about generating options:

1. Try different perspectives for stating a problem.
2. Follow your zing, what you care about; figure out what’s exciting you about the thing.
3. Look for more than one right answer.  Believe there IS more than one right answer.
4. Don’t be afraid to make mistakes—you often must make them to get the good stuff!
5. Try breaking a pattern, do something different.
6. Train your technique.
7. Put yourself in the place of most potential.
8. Be patient, persevere.
9. Relax and goof around.

One last thought on creative Q&A.  There are certain questions that seem to be more productive than others.  I find that those focused on the key objectives are usually very productive for me.  So give those a try, but there are others.  Furthermore, what might work for me might not work so well for you.  Don’t get stuck on using a specific question because someone else does.  The goal is not to use a specific tool, which in this case is a specific question.  The goal is to make the different parts of the story come to life in your mind.  Whatever question helps YOU do that best is the one to use.

Because creative Q&A is such a powerful tool, I want to make sure you see plenty of examples of authors using it in their writing.  To start, read chapter 2 of Orson Card’s Characters & Viewpoint and see what questions he finds useful and an example of  how he uses them.  Then come back here.  I’ve asked some other published authors to share how they use questions to help them generate story.  I’m going to start with Ian Creasey whose short fiction has appeared in magazines such as Asimov’s, Realms of Fantasy and Weird Tales, and has been reprinted in several Year’s Best SF anthologies.  He’s written a wonderful essay that I’ll use for the next post in the series.

For more in this series, see How to Get and Develop Story Ideas

Folks, it’s been almost six months since I added anything to my series on how to get and develop killer story ideas.  There’s a reason it’s been so long—I’ve been heads-down trying to develop my own stories. 

I have allotted myself only so much time for writing each day, and when things have to give, unfortunately, it’s my blog that goes first.  Actually, the social media goes first, which is why I have such a lame Facebook and Twitter presence. Of course, if anyone contacts me directly using the link in the sidebar or comments on a post, I always respond promptly.

Anyway, I wish I had more time, but I do have a day job.  I also have wonderful wife and four daughters, and I simply can’t miss my opportunity to enjoy them while they’re here.  For example, we just did an eight-hour roundtrip trek out to Roosevelt, Utah to attend the commencement ceremonies of my daughter who is graduating with her Associates degree from one of the state universities one month before she receives her High School diploma.  Yes, you read that correctly.  It’s all part of the concurrent enrollment program we have that’s a godsend for those of us who live in rural areas.  That was also the day of my 23^rd wedding anniversary to a most excellent and wonderful wife and mom, who would like to think of herself as a large cat, something like a jaguar, but who is more like a horse—sleek, beautiful, and good for something.  Nellie’s a rock. 

So all that blather to say I haven’t had much time, but I am happy to announce I’ve got something for you today.  I think you will find quite helpful. 

The Framework

One of the problems new writers run into is that they don’t know where to start or how to proceed.  This is the same with any complex endeavor.  In my day job, I’ve been teaching some fairly complex things for a number of years, and I’ve found that when you give students a framework for learning, it makes everything SO MUCH EASIER.  Show them the forest first, then the trees.  When you give people a structure, a mental schema, it frees up their working memory so they don’t get overloaded. 

But it’s useful for more than learning about something.  When we try to do something complex, it’s so much easier when we break the task down into its parts and outline clear objectives, guidelines, and tools for each part.

I realized that I haven’t really done that here.  I’ve given the general framework for the three things you need to learn to write stories—(1) what stories do, (2) how they do it, and (3) how to develop them.  But I haven’t given one for development. So here it is.

There are three parts to the framework:

1. The development OBJECTIVES.
2. The development PRINCIPLES for each objective.
3. The development TOOLS you use to help you with each objective.

Each post I’ve made about writing stories and each post I will make in the future will explain some part of the framework.  For example, the 27-part series Key Conditions for Suspense that I wrote for SFWA explains key principles and concepts for character, problem, and plot.  The post in this series on the Story Setup explains a tool that can be used to help you develop your story’s problem. And so on. What the framework should give you is a map, a guide to help you know what to do and how to do it.

The Development Objectives

Let’s start with the objectives. A story is made up of just a few main parts.  I’ve found I’m most productive when I keep the objectives for those parts foremost in my mind and when I keep the list of objectives simple.  Having too many objectives makes it almost impossible to move forward. Here are the objectives I have when I’m developing a story.

 

Area	Development Objectives
GENERAL	Make the story come alive in my own mind
GENRE	Define the overall type of story I want to write
CHARACTER	Develop characters who move and delight me
SETTING	Develop a setting that interests me and feels real
PROBLEM	Develop a story problem that I find compelling
PLOT	Help the reader hope and fear for my character
TEXT	Evoke the story in the reader’s mind

 

Your job is to develop the story, making it come alive in your mind, then write it in a way that will evoke it in the reader’s mind. You do that by focusing on the objectives you see above.

Note that I do NOT develop these areas in any special order because ideas for any of the six parts could come at any time. And because I’m focused on the objectives, I don’t get trapped into activity for activity’s sake.  I don’t do character histories because a big name author said that’s what I should do.  I don’t do outlines because everyone I know does them.  I don’t do any activity just because it’s on some list.  I work to accomplish something.  And the things I want to accomplish are listed above.

Development Principles & Concepts

Once we know what we’re after, we need to understand the principles and concepts that will help us develop those things.  For example, what kinds of characters “move” and “delight”?  What makes a story problem “compelling”?  What makes readers hope and fear for a character?

If I don’t understand the principles and concepts that underlie each of the objectives, I’m going to have a difficult time meeting that objective.  So let’s add in the key principles and concepts I’ve found that help me meet those objectives.   

Area	Development Objectives	Development Principles & Concepts
GENERAL	Make the story come alive in my own mind	Focus on developing the 6 core parts of story (genre, character, setting, problem, plot, text) in no special sequence
		Gather zing: use a drag net and hunt with a purpose
		Generate my own zing
		Develop in iterations
		Practice farmer’s faith
		Write what you care about and believe in: listen to your personal Spidey-sense
		Make enough time
		Relax and have fun
GENRE	Define the overall type of story I want to write	Reader expectations
		Tropes and patterns
CHARACTER	Develop characters who move and delight me	Sympathy
		Deservingness
		Interest
		Types and roles
		Cast sizing
SETTING	Develop a setting that interests me and feels real	How things work
		Telling details
		What’s necessary
PROBLEM	Develop a story problem that I find compelling	Hope and fear
		The 3 main types of problems
		Character goals
		Opposition
		Problems that speak to the reader (theme)
PLOT	Help the reader hope and fear for my character	Suspense
		Surprise
		Curiosity
		The 3 phases of a story’s problem structure
		The story cycle
		Patterns
TEXT	Evoke the story in the reader’s mind	Telling to evoke
		Clarity
		Working memory limitations
		Stimulus-response order
		The story cycle
		Scenes and summary
		Point of view
		Beginnings & endings
		Poetic devices, Sound and rhythm
		Mechanics

 

Now let’s see how I’d use the framework.  Let’s say I want to work on developing character.  Sometimes my drag net pulls in great character ideas without much effort on my part at all.  But sometimes what I drag in needs some development.  And sometimes I don’t have anything in my net at all and need to generate something from scratch. 

When it’s time to develop character, I’ve found that if I focus on the key things that trigger my sympathy for someone, my feeling that they deserve reward or punishment, and my interest in them, it’s much easier to develop a character that rocks, one that moves and delights and thrills me.  It also helps me to think about the roles my characters play.  So I’ll apply the principles one way when developing a sidekick and another when developing a villain.  Finally, there are only so many words in a novel. I need to manage my stage time.  If I have too many characters, I might not have enough stage time to develop any story in a satisfactory way.  If I have too few, I might run into problems with structure and plot.

Let’s say I want to work on my story problem.  Well, I’d focus on the things that make readers hope and fear for my character.  I’d brainstorm options for the three main story problem types.  I’d make sure my I knew what the goals were for my protagonist and antagonist.

Do you see how this works?

Once you get enough material developed in each of the story categories (character, setting, problem, plot, and text), the story will come alive in your mind.  And then it’s just a matter of finishing the text so that it evokes the story in the reader’s mind. 

Some may wonder why I included text as part of development.  Don’t you develop the story first and then translate it to the text?  No.  A lot of development happens as you write the text.  For example, it’s hard for me to get my character’s voice and attitude without putting him or her on the page.  

If you go back and look at the list again, you’ll see that the principles and concepts supporting the objectives for genre, character, setting, problem, plot, and text have a lot to do with how story works.  On the other hand, the principles supporting the general objective of having the story come to life in my own mind focus on how we develop stories.

In this series, I’ve been focusing on the principles of how we develop stories.  But you’ll also want to continue to enlarge your understanding of how stories work.  For more on the principles for character, problem, and plot, see my 27-part series I wrote for SFWA on the Key Conditions for Suspense.

Development Tools

Now that we’ve identified what we’re supposed to develop and the principles that support those objectives, it’s helpful to see the different types of tools we can use to help us meet our objectives.

A tool is just that—something we use to accomplish some objective.  Chimps use sticks to help them fish termites out of holes. Bakers use beaters to help them mix batters. Mechanics have tools to help them turn screws and nuts. Writers have tools to help them do what they need to do.

I’ve listed the tools I’ve found useful. I know you may not know what a number of them are. That’s okay. In the series I’ll explain what each is and how to use it.  For now just look over the list.  And because I can’t figure out how to make my blankety-blank tables look snazzy with the WPress template and controls I have, I’ve provided a PDF of the framework here instead. Click on the link below to download it.

John Brown’s Story Development Framework v2012-05-12

Did you notice that for each set of tools I also list “Other . . .” That’s because there are many tools that authors find useful.  Try them.  Keep the ones you find productive and toss the rest.  This isn’t an exhaustive or mandatory list.

And remember that the key thing isn’t the tool.  The objective is.  The tool is simply a means to help you meet the objective.  And so you don’t have to use all the tools.  You don’t have to use any of them.  Because the goal is NOT to use a tool.  The goal is to develop the story.

For example, if you already have a rocking problem, there’s no need to use a tool to get one.  If you’re doing a character history and suddenly hit gold, you don’t have to finish all the prompts in your history document.  You don’t have to because this is NOT about filling out forms.  It’s about making the story come alive in your mind.  Sometimes you need only a little development to get the ideas, sometimes you need a lot.

Bottom line: focus on the objectives.  Keep developing material until you have enough in each of area that the story is bucking and kicking in your hands.

And, again, don’t worry about developing the objectives in a certain sequence because there isn’t a best sequence.  With one story you might start with a little character, then a bit of setting, then some text, then more character, then problem, then plot, the back to character, then setting again, then something else, a bit here, an idea there.  On another story you might start with a scrap of text or something somebody said and go to plot then character then genre and then back to each one again and again, building up line by line in some other way.

There is no golden development sequence!  Just keep the objectives in mind, and keep your eyes open for ideas that you can use to meet each objective.

Where to start

Having laid the framework out, I know some might be wondering where to start, especially after I told you it didn’t matter where you started.  You’re wondering this because the fact is that it IS nice to have some guidance.

And because it really doesn’t matter how you meet the objectives, and because most ideas come when you’re on the move, then there’s a great benefit in simply starting with any method you have at hand.  So let’s not fall prey to an attack of dithering brought on by option overload.  If you don’t know where to start, try this.

1.    Take Stock

First, identify a number of slots this week and next when you can work on your story. Try to get at least ten hours each week. You may find your slots in the morning, during breaks, at lunch, late at night.  Just find some times that work for you.

When that first time slot comes, take stock of the ideas you have right now, the zing you’ve gathered or generated to this point, and make a rough summary.  Do you have any bits of character, problem, or plot?  Have you delved into your setting?  Do you have an idea of the story genre?  Do you have any inkling about the type of story this will be, e.g. is this going to be a story about cyber security, love, friendship, vampires, spies, World War 2, two old fisherman and the mafia?

Summarize what you have in just one or two pages. Or maybe you only have one line. That’s okay too.  Write it down.

2.    200 Words

When you’ve finished step one, ask yourself what genre of story you’d like to write.  Maybe you have two or three genres you’re interested in.  Maybe you want to write some mix—a cowboy science fiction, an epic fantasy comedy, a romantic thriller.  Think about what kind of story you would like to read.  Think about the kind of characters, plots, and settings you enjoy.  The kind of experience you would love to have when reading.  Write two paragraphs summarizing your thoughts. 200 words or less.

3.    ID Some Patterns

Third, identify two or three other stories that are kind of like the one you think you might want to write.  Write the titles of these stories down even if they’re only vaguely in the ball park. Now answer these questions about them:

1. Size

• How many words or pages was in each book?
• How many chapters?

2. Characters

• How many main characters did each have?
• How many points of view?
• What did you like about the characters?
• What would you do different with the characters?

3. Problem & Plot

• What was the protagonist’s main problem?
• What did the antagonist want?
• What were the cool plot points or surprises?

4. What else was cool about the story?

Now go the extra mile and outline the plot in two pages or less.  Just do little bullet points.

Did you get any ideas for your story from this?  Anything you want to copy or twist?  If so, write it down.

4.    Go Zing Hunting

Fourth, identify the main character, setting, problem, or plot ideas that are drawing your interest.  Decide to go hunt some zing with a purpose.  Pick one of the ideas you think will be a big part of the story, go to the library, and get some books on that thing.  Start with books for juveniles if they have them, then work into more hefty tomes.  Identify some documentaries or films on the subject.  Check them out.  Or get them on Netflix.  Read and watch, keeping your eye out for ideas that might work for your six core story objectives.

Is there someone you can talk to who has first-hand experience with this thing?  If so, call or visit them and ask them some questions.

Can you go experience it first hand?  If so, do it.

Did you get any ideas for your story from this?  If so, big or small, write them down.

5.    Review

Fifth, review the zing you’ve captured to this point.  Note anything that pops out to you.  Can you write your story concept down yet (the character, the setting, the goal, and the main opposition and obstacle he or she will face)?  Give it a try.

If not, no biggie.  Review the seven development objectives to fix them in your mind.

6.    Generate Some Character and Problem

Sixth, flip a coin.  Heads you’ll start generating character.  Tails you’ll start generating story problems.  Review the principles for the part of story the coin toss determined you’d work on, then begin generating as many options as possible for that part of story.

If you’re generating character ideas, list all the types of characters commonly associated with the big idea you’ve been researching.  Try to get at least ten on the list.  Maybe you’ll include some specific people you ran across in your research.  Then list a bunch of types of characters not commonly associated.  Maybe throw in a few people you know who might be fun to base a character on.  Identify characters from each list you think might enjoy writing.  Generate a few more.  Let’s say three.  Don’t be afraid to be wacky.  If you have to, include Chuck Norris as the last one.

If you’re generating problem, list the threats, opportunities, and mysteries commonly associated with the topic you’ve been researching.  Get at least ten.  Make sure you include some big, significant ones that really speak to you.  If you’re going for comedy, add in some smaller ones.  Think of your favorite comedy show, e.g. Jerry Seinfeld, and ask the types of problems those characters might run into here.  Now list problems that are not commonly associated with this idea.  Try for at least ten.  Identify problems from both lists you think might be fun.  Generate three more.  Don’t afraid to be a bit wacky.

Now switch.  If you did characters first, do problems and vice versa.

Did you get any ideas for your story from this?  If so, write them down.

7.    Generate Some Plot

Finally, think about the type of problem your character is facing.  If you have a couple of problems you’re deciding between, or perhaps a story where a character has a couple of story lines (maybe an inner one and an external one), choose one to work with.  You can develop the others later.  

Write up the character’s goal in 50 words or less.  Now list out the steps people like your character would usually take to solve the type of problem you are working with.  Try to avoid having your character do dumb things.  Let them be smart.  If you have no idea how anyone would go about solving that type of problem, go do some research.  Talk to someone who might know.

Once you’ve sketched out those general steps, generate a list of at least 12 disadvantages, obstacles, conflicts, or surprises your character could run into that would make it really hard to solve the problem and reach his or her goal.  Some of the items on your list can be small; others might throw the character for a major loop.  Again, if you can’t think of any obstacles or quickly run out of ideas, go do some research.  Talk to someone who might know.

Now look at this from the antagonist’s point of view.  What’s his goal?  Write up the antagonist’s goal in 50 words or less.  What are some common steps a smart and determined (maybe ruthless) person like your antagonist would take to go about removing the problem the hero is causing? 

Did you get any ideas for your story from this?  If so, write them down.

And Now?

At this point, you should be well into the development of your story.  It’s up to you how to proceed.  Maybe you want to write an exploratory draft of a few chapters to get the character’s voice and start defining the setting.  Maybe you’ve discovered you need to research a bit about something specific like sharks or Cessna airplanes or the tactics of Napoleonic armies.  Or maybe you feel it’s time to sketch out a general outline of the plot.  Or maybe you want to review the principles and concepts of one of the story parts.  Or maybe it’s not that at all.  Maybe you want to watch or read some stories in your genre to see how they did it.  There are a lot of things you could do.

Pick something and do it.  There’s great power in simply getting to work.  Continue to develop the various parts of your story.  And if you feel ready to start writing a draft, then start writing the draft, even if you peter out after only one scene. 

Remember the objectives.  Keep working on them.  Sooner or later, I guarantee you, the story will open its eyes and look up at you.  It will not come to you fully fleshed out.  But you’ll have enough to switch your focus to drafting.

When I get to that point and my mind is juiced with some interesting characters in an interesting and compelling situation, I usually capture the essence of the story by writing some form of the Story Setup.  Then I write a simple working outline, which is nothing more than a bullet point sketch of how my character runs into his problem, his response, some of the obstacles he faces, and the results of that action, which leads to trouble, which leads to more action, etc.  It also includes the same for my antagonist.  This is story cycle stuff.  I might include a few key details I need for the scenes I’m listing out.  Or not.  Furthermore, I might be able to envision the whole thing at this point and write an outline that reflects that.  Or I might see only the first few scenes clearly and have to be satisfied with a general sketch of what happens later.  That’s not a big deal because development continues as you’re drafting.  The key is that the story is alive in my mind, and I know in general what it’s about and where I’m going.  It’s enough to begin.  And so I begin to write chapter one (if I haven’t written it already).

Good luck!

In the next post I’m going to explain how to generate your own zing using Creative Q&A.  Hopefully, I’ll get to it before another six months has passed :O

For more in this series, see How to Get and Develop Story Ideas