Group Hug: Writing From the End

The Three and I had our last writing group of the school year last week, so it seemed appropriate to talk about The End and specifically getting past whatever blocks you have to get to the end of a story you're writing. And since we were talking about writing to the end, I thought it'd be fun to write from the end in our writing exercise.

First we warmed up by writing from the beginning. I offered The Three a set of opening dialogue options (from the random dialogue generator of my favorite random writing stuff generator):

• "You don't think that was just lemonade in your glass, do you?"
• "H-how long have you been standing there?"
• "She's old, and it's about time she died."
• "If you leave now, you lose everything."
• "I knew you wouldn't be able to see it through."
• "He was unconscious when I found him."

Be safe: Squeeze your own lemons.

The Three chose "You don't think that was just lemonade in your glass, do you?" and (after a lively discussion about the grammatical issues in that sentence—I totally la-la these girls) we spent 10 minutes writing the story that starts with that line. Amazing, there was not a death in every story written. Of course, some of the stories had more than one death, so it all averaged out in the end.

After we talked about Getting to the End of a story as a writer, it was time to write again. This time, The Three chose to write from "She's old, and it's about time she died." What I didn't tell them until after they had chosen it was that we weren't going to write from the beginning; we were going to write from the end. They had to write to the piece of dialogue instead of from it.

More death ensued. Of course.

Group Hug: Playing with Setting

In Rah's world, the word "tomorrow" doesn't always mean "tomorrow." Sometimes it means "I know I said on Thursday I'd post the next day about writing about setting with The Three, but on Friday I was too busy rock climbing and eating tacos (not at the same time), and on Saturday I was too busy rock climbing and eating a Proper Pie (ditto on not at the same time)." I think we can all agree that these are awesome reasons to not get around to posting.

Anyway, The Three and I did write about setting on Thursday. Since so many good things come in threes, our writing exercise about setting had three steps.

Step One: Get a Character

Start by choosing a character name from a random name generator. Spend five minutes writing a brief bio of the character. You can write anything you want about the character, but he or she must be contemporary. The character name we picked was Jude. The Three love an androgynous name.

After we wrote about Jude, we spent a few minutes talking about what The Three know about setting, which was pretty much what I talked about with The Further Four back in January.

Step Two: Get a Setting

Now, spend five to seven minutes writing about the carousel in the picture, in list or paragraph form, whatever rocks your world. Be sure to include as many of the five senses as you can, and don’t forget to include the carousel's surroundings (meaning if you're riding the carousel, you can see outside of it to what's going on around it).

I loved how a couple of The Three ended up giving the carousel a personality: ominous or lonely. Because that's where we were going next, with the discussion of setting having a personality.

Once we'd had that discussion, it was time to try out writing about setting as a character.

Step Three: Give the Setting Some Anima

(Not anime. Anima. Important distinction.)

Now we want to look at how setting can play a role in how your character behaves. We’re going to place him or her in the setting we wrote about earlier, but we want to give this setting a personality. When you write, you can add in as many other characters as you want—or none at all—but you must assume that there are a bunch of people in this setting, just like in the picture. Write for 10 minutes. Share.

This can be a little tricksy, so you can always assign a personality for the setting: You want the setting to annoy your character or confuse your character or protect your character. In fact, try it all three ways and see how each affects your character and the plot, because the harmony of the world digs things in threes. Like three tacos or three rock climbing partners or three really fabulous teen writers who let me experiment on them every month with writing prompts.

The Further Four: What Happens Next?

One of the things that seems to make writers weep is the question What Happens Next? I've seen this bring moderately well-adjusted adult writers to their knees. (Okay, okay, the phrase moderately well-adjusted contradicts the word writer; I know. Just go with me.) It's also one of the things I hear from both my writing groups. So when I got together yesterday with The Further Four to talk about plot (the What in our Five Ws of stories), I wanted to give them something concrete to work with in terms of What Happens Next?

We warmed up by randomly generating a character, using the incredibly cool but incredibly boringly named Writing Exercises website. (I used the Story Plot generator in the children's section.)

A lonely girl or mysterious boy?
You decide.

Our generated Character 1 was a lonely girl. We spent about five minutes each writing a very brief bio of our lonely girl, focusing on character only. We didn't want to start telling a story about her, not yet.

Once we had our lonely girl bioed out, we generated Character 2, a mysterious boy, and spent another five minutes each writing a bio for him.

We talked for a few minutes then about plot, about how what a story is is a bunch of things getting in the way of our character getting what she wants. But what are those things that get in the way?

It all depends on the story, of course. You generally won't have a unicorn show up and start miraculously healing people unless you're writing a story that involves unicorns.What happens in a story happens because your characters are certain people who live in a certain world and do certain things. Which is uncomfortably vague, I know.

Unfortunately, no one can tell you what happens next. Your characters and plot have to lead you there. But we can list a few of the types of things that can happen in a plot. Like this:

• Character is introduced or leaves/dies
• Character learns a skill
• Character gets hurt or sick
• Character faces her greatest fear
• Character's weakness gets in her way
• One character betrays another
• Something unexpected happens
• Character finds something hidden or learns something secret
• Character learns about her past
• Bad guy has a triumph
• Bad guy has a loss
• Good guy has a triumph
• Good guy has a loss
• A chase
• A race
• A fight
• A capture
• An escape
• A rescue
• A change
• Something funny happens
• A natural disaster
• Something important breaks

A little eye candy for my DM bud.

(A special shout out to the Dungeon Master for helping me populate this list.)

As we write, we want all these things we're throwing in our character's way to keep getting bigger, harder and more dangerous until she faces her biggest, hardest, most dangerous challenge. At that point, we find out whether she's up to the task, whether she finds what she's looking for and whether we have a happy or sad ending.

After talking through this list of plot point types, we generated a Place—in an aeroplane (it's a British website)—and an opening event—someone is wearing a disguise. So that's where we started our story: Our lonely girl and mysterious boy are in an aeroplane, and someone is wearing a disguise.

I asked the girls to keep the start of their story short, to just write enough that we get a sense of where we are. And once we had established that, the girls decided on what type of a plot point would come next. (I made these cards to spread out on the table.) They chose something important breaks, and we wrote. Then character finds something hidden or learns something secret, and we wrote. Then character is introduced or leaves/dies, and we wrote. (You get the picture, yeah?) Finally, before they picked the fourth plot point, I told them that we were going to wrap up with this one and that they should finish their story if they could. The final plot point? Something unexpected happens.

I didn't see that coming.
Do you think she checked her bags?

What was awesome is that every single one of them wrapped it up. It was a thing of beauty. We had orphans finding a home, mysterious boys finding someone to share their passion for anime with, a long-lost father being tossed out of an aeroplane (don't worry, he survived), and a very unexpected unicorn emerging from the cabin galley to heal a dead guy.

Cranky Rah is more than a wee bit embarrassed to admit the unicorn was hers. Talk about some deus ex machina. And we will, at some point. Oh, we will.

Group Hug: Playing with Point of View

The Three and I played around with point of view for a couple of hours the other day. We wrote a huge amount—more I think than we ever have during group before—and we didn't get done with everything I had planned. It was a good thing (for us, at least) that the moms all got caught in traffic.

The Warm Up

Start by choosing a character name from a random name generator. (This took us a while. The random name generator kept generating dumb names. Finally, L suggested Maple, and we went with it.) Spend five minutes writing a brief bio of the character. You can write anything you want about the character, but the character must be contemporary (living in the here and now), and you must include what kind of music the person likes. 

These are not the yummy cookies
M made. We ate all those.

No sharing yet! When the five minutes is up, choose a second randomly generated name. Spend five minutes writing a brief bio of that character, with the same restrictions as before. 

Once both characters are done, share. (This is also when we ate cookies and drank cocoa or tea and chatted for a while about point of view, which I covered in the last post.)

Third Person Limited

Once you have your two characters, it's time to put them together. Here’s the scenario: Your characters are in a car together, driving down the road. They’re arguing about what kind of music to listen to. Who wins and gets to listen to the kind of music he or she likes?

He like jazz; she likes Nine Inch Nails.
But they're going to be even more
incompatible when he wrecks the car.

Write the scene in third person limited. That means pick one character and write from his or her perspective using the pronoun he or she. Remember that limited means you only know what that character knows, but you have some flexibility in terms of what you can describe in the world. (You can write about what that character looks like, for instance, without having her look at herself in a mirror.)

Spend 10 minutes writing. Don't share yet!

First Person

Now, go back and write the scene again—the same scene, part of the scene or a continuation of the scene—but this time from the first person perspective of the other character. Remember that you can get closer in this time: How does she feel about what’s happening? What does she think about the music? What is she going to do once she gets out of the car—and how does all this affect her relationship with the other character?

You have 10 minutes. Don't share yet!

Third Person Omniscient

Okay, I'll admit it: We shared after writing in first person. We had totally run out of time. If you're doing this on your own, though, or you have more time than we did, you'll write one more time.

He can't believe the woman inside the
car just said that about the guy's
taste in music. 

This time, write the scene from the perspective of someone outside the action, either as a god-like narrator or as someone who hasn't been seen or mentioned before and who the other two characters don’t know. Keep the focus on the two characters in the front seat, not the emotions of this uninvolved observer. Ten minutes.

Group Hug: Building Characters From Apples

It was a long, dark summer without The Three (mainly because Cranky Rah's life kept getting in the way of us meeting up), but we had a lovely afternoon together yesterday. I bang my head on the floor in delight over L's pie cookies. Pie. Cookies. Two great things that go great together. And they were lemony, just like Cranky Rah.

We played with dialogue yesterday, which was great good fun. Before you play with dialogue, you need some characters. Otherwise, it's just you and the voices in your head—and while they might have some interesting things to say, it's probably best that you get away from them every once in a while.

So, first you need some characters. It's easiest to do this exercise (adapted from a newsletter on writing tips by Brave Writer) if you have the game Apples to Apples, but if you don't, you can just make a stack of cards with one adjective written on each.

Here's how it works: Each person takes three of the green Apples to Apples cards and uses the adjectives on them to write a brief character sketch of a person with all three traits. (You can up the crazy factor by drawing five cards instead of three.) 

We did this twice—and I did not, by the way, tell The Three what we were going to do with these characters when they were creating them. We did this first half of the exercise at the beginning of our afternoon, as a warm-up, and it wasn't until we were reading our character sketches to each other that I mentioned, oh-so innocently, that their characters would later be talking to each other.

Poor Matilda. It wasn't her fault.
Sometimes genetics are just
against a girl.

A note on this in practice: After I drew the adjectives long, furry and unhappy for my first character, I went through and took out all the adjectives that could only be used for physical traits so that when we drew a second set of adjectives, they would all be personality traits. But I'll be honest, at the end of the day, the fact that my first character, Matilda, was furry had a huge impact on her relationship with the difficult Francesca, so maybe it was a mistake to take out the physical traits. If Matilda hadn't been furry, she wouldn't have been carrying that duct tape around with her (for emergency hair removal, you know), and the vengeance she wreaked on Francesca would have taken a different path, perhaps one that left Francesca's perfect eyebrows intact.

So after we warmed up by creating characters, we talked a while about dialogue (more about dialogue in then next post). And then we went back to our characters, to have them talk to each other. There were three rules:

1. Each character's dialogue must reflect his or her personality.
2. You can use said or asked but no other dialogue tags. You have to express each character's attitude through the words they speak.
3. You can use some action narrative to keep things going, but limit it. The focus here is on dialogue.

The conversation between the two characters could be about anything, but the dominant emotion in the scene had to be anger. (This is technically not a fourth rule; it's really just the set-up. If we had had more time, we would've done different versions of this, wherein the dominant emotion was confusion, joy, etc.).

As you might expect, hilarity ensued. 

Seriously. Anyone else want to know
what these three are talking about?

Once you've built your characters, there are a lot of other dialogue exercises you can put them through. One idea I really liked (but that we also didn't get to; in 90 minutes there are, well, only 90 minutes) was to have those two characters talk to each other about one of them being really late for an appointment. The first time, the characters are dating each other (this would've been a problem with M's characters, one of whom was six). The second time, they're meeting for the first time, and one of them is more powerful than the other. 

All these exercises are about playing around with how a character's personality is reflected in how he or she speaks and how the way characters speak to each other shows their relationship, two of the most important roles of dialogue in a story.

What else does dialogue rock out? Find out in my next post. Right now, I have to go crawl around the couch and see if anyone dropped any pie cookie crumbs.

Group Hug: Pick a Name, Any Name

Generally Cranky Rah likes to write alone in her cave, but when The Three come for a visit, we all hang and do freewrites and writing exercises together. Let's call this one Pick a Name, Any Name.

1. Find a random name generator online (there are a bunch of them out there), and generate a name—or five or six. When we did this, we kept going until we found one we all liked (relatively speaking). If I remember correctly (and, honestly, the likelihood of that is pretty slim), we wrote from the name Paxton.

2. Spend about 10 minutes with everyone writing on her own, spinning a character based on the name. Everyone writes from the same name.

3. Squabble over who gets to read first, then share.

All of the characters we created were vastly different from each other. We were split 50-50 on gender, and we even each ended up with multiple spellings of the name: Paxton, Packston and Joe. (That would be L with the eclectic spelling.)

This is a fun exercise anytime, really, but it's also good for when you're in the doldrums of writer's block or if a character's not really working for you anymore. Not sure who someone in your story is or where he's going? Maybe he's not a Butch, he's a Kristof. Or maybe he's not a Kristof, he's just plain Chris. Even within one name, you often have a lot of options. Christopher, Kristof, Chrissy and Topher are all very different characters.

In fact, you could have fun doing a freewrite in which all of the characters' names are just variations of the same name. Hey, that sounds good. Take 10 minutes. Ready? Go.