The Marketplace of Technique: Open to All

Another example of characters coming alive is the play "Six Characters in Search of an Author." In it, six characters whom someone had made up for a play that was never completed appear to a different writer, asking him to come up with a satisfactory ending for their story. I once saw it done; in fact, my sister Ricki (the one who is now a certified swordfighting instructor) was in it. But I forget the real-life playwright's name.
 
PASTICHE: the fancy word for "Copycatting"

A 1980-ish author created a pastiche of "The Screwtape Letters," titled "Screwtape Writes Again." It had its good points, but it had a "forced" feel to it in my judgment--because the new author felt that Screwtape couldn't be Screwtape unless the recipient of his letters was Wormwood. This meant the author had to contrive a not-that-convincing rationale for why Wormwood was reprieved from "absorption" and sent back to work. There was no reason why he couldn't have simply given Screwtape a NEW trainee.

Here you will see a "Screwtape tribute" which I wrote without feeling that Screwtape himself even had to be the "viewpoint voice" in it:
_ _ _ _ _ _ _ _ _ _ _ _ _ _


An Infernal Interdepartmental Memo
....intercepted by JOSEPH "COPPERFOX" RAVITTS
========================================

Dear Gagsludge,

I applaud the excellent points you recently made in the demonic chatroom, concerning the use of moral distractors in society. Of course we wish that we could completely blind the humans to all injustices (except those that affect them directly, and thus produce resentment and self-pity); but since the Enemy Above won't allow all sense of ethics to vanish from the whole human race, it is indeed our best course to concede just a few evils which the little creatures can be allowed to notice. Then, with a bone thrown to their internal moral watchdogs, we can smuggle all other types of wrongdoing past them completely unopposed. If the distractor issue is racism or air pollution, for instance, a political agent of ours can get away with any amount of election- rigging, bribe-taking, etc.--provided he scores his brownie points by being against racism and air pollution.

All this favors us, as far as it goes. But remember: societies cannot be damned or saved eternally--only individual souls can. You should be paying more attention to using the distractor technique on individual souls. Naturally, a member of your far less organized department can't be expected to have thought things through as perfectly as I have done; but I don't mind helping you out a bit. A pair of examples may be sufficient.

What is an evil that Christian ministers ought to have no difficulty in recognizing? Greed for personal wealth and material possessions. Well, if we can get a minister to be satisfied that he is not unethically diverting church money to his own direct personal use, we can then prompt him to practice with a clear conscience what is only a more subtle form of the same greed. Make him believe that all Bible verses pertaining to tithes and giving are applicable only to filling the bank account of a denominational church--that missionary and charitable donations do not in any degree fulfill monetary obligations to the Enemy Above. Then you can get him half-hypnotized with his own endless chant of "Bring the tithe, bring the tithe, bring the tithe, tithe, tithe," till he ignores all other moral issues in his eagerness to make every member feel guilty about not giving enough. The church rakes in more money, which is used on building fancier facilities rather than on evangelism; the minister enjoys the intoxicating pride of his own success at fund-raising, but sees no sin in this because the excess money is not actually going into his pocket. These mortals are mostly too stupid to realize that there's more than one way to be foolishly laying up their treasures on Earth.

For my other example, what is an evil that Christian wives ought to have no difficulty in recognizing? Sexually flirtatious behavior, tending to provoke desire in men other than the woman's husband. Well, if we can get a good Christian wife congratulating herself for not being sinfully flirtatious, this can blind her to some other sins, even highly vicious ones. Consider this: a sexually chaste married woman, who really does not have any wish to arouse lustful desires in her male neighbors, may still have a strong wish to exert social power over other people. Now, let this woman meet some beautiful single girl, who wears her skirt an inch or two shorter than the married woman regards as proper. The single girl obviously possesses, in her physical attractiveness, a powerful weapon of social influence. The married woman does not for a minute wish to compete with this girl in sexual seductiveness, and therefore would furiously deny any suggestion that the girl made her jealous. But without letting herself be conscious of it, the married woman does resent the girl for having an advantage in social influence. Any half- trained tempter can then induce the envious patient to believe that the girl is wantonly promiscuous, although this may not be true at all. Once the girl is perceived as a tramp, all negative emotional reactions to her take on a nice, fake halo of holiness. Thus, the very fact that the older woman is morally pure in directly sexual matters, helps her to avoid admitting that, in a less sexual sense, she is guilty of gross, green-eyed, hissing alley-cat jealousy against that young girl.

The Anti-Scripture Department, slow-moving though it is with Mushvenom in charge, has in this century finally grown more alert about promoting just this kind of mental defectiveness. Most Biblical warnings against the strategy I am discussing are found in the Old Testament, as where Isaiah warns about people falling into a pit, climbing out of the pit, and then being caught in a snare. We have numerous Christians convinced that nothing in the Old Testament matters except the 23rd Psalm and the tithing references; as a result, they miss out on countless vital warnings from the Enemy. Being thus under-equipped, they fall for the distractors, think that their whole job is done when they reject the most obvious evils, and fail to understand that they must be on guard against multiple dangers.

You might be concerned that assigning more demons to exploit the moral- distractor phenomenon with individual patients will result in a neglect of efforts for the collective corruption of civilizations. If that's your worry, relax. Remember, civilizations are only as good as the mortals who make them. As long as the mass of humans are individually conditioned to self- deception and fragmented morality, this will always yield a payback in societal dishonesty and stupidity.

Your condescending colleague,

Viperspite
 
PLANNING AND IMPLEMENTING STORIES

If you want to write a story that runs along smoothly and has good balance and internal coherency, you need to plan it in advance.

When I write a story, such as my Byron on Wells stories, I come up with a general idea and then I think of ways to make it interesting and believable that go beyond the simple plot.

Chumley Hare in "Trouble Afoot" is about to break in to Lord Cutshaw's manor house in a desperate bid to make his payments to a couple of violent thugs. Contrast the language here with my finished stories:

The faces he saw when he opened the door were not Bruno's. He tried to shut it. The two wolves pushed in. They came by his place demanding payment. He gave them the silverware and what cash he had and said he’d have the rest. They gave him a deadline. The two had this sort of good cop bad cop routine. “You know, long ears, I witnessed a number of very unpleasant things in my life. We once had a deadbeat like you that wouldn’t tell us where he hid his gold.

Just so you know I never begin writing on a new chapter with something like "Swiftwind the Swallow, rapt with the golden kiss of dawn, swung giddily in the early morning zephyr before a heart stopping plunge after breakfast."

So anyone else care to share their rough notes here?
 
Last edited:
This is outlining, isn't it?

I've heard of some people that do such extensive outlines that they know, scene-by-scene what will happen. Thats too much for me. I get the basic idea for a chapter, check to make sure it flows with the rest of what i'm writing, and then sort of put the puzzle-pieces togethor as I write it. otherwise I feel squelched and I lose the muse.
 
At the very least, once you finish it, you should re-read it and adjust as necessary.

You don't have to write the outline to death, just look through your document for flow problems.

One of the worst offenders is when you're writing a story where you "know" something about a character and assume that somewhere, somehow you told your readers but you overlook it somehow.

Another thing that's bad is getting everything in somehow, but doing it in the wrong order. Look at this sentence....

"What a horrible turn of fate to cause regret to even the most stoic heart as, confronted with a gun he looked his death in the face, having just opened the door unsuspectingly moments before."

It's all there. But readers have to assemble the mental image the same way you assemble a bicycle...starting with the most logical bits first. Try this out for size....

"Unsuspecting he opened the door. There stood a man with a gun pointed right at his chest. He was staring death in the face."

John
 
Shared-universe writing

Fan fiction stories can contradict the original and contradict each other without a bit of guilt, since they are (or many of them are) just a form of play and practice. But sometimes it happens--indeed, this is the norm for TV series scripting--that two or more authors HAVE TO write consistently in the same reality. The "Stargate" programs would not work well if one week's program said that the Wraiths were so powerful that nothing but such-and-such super-weapon could kill them, and then the next episode said that they could be killed by having rubber bands shot at them.

Just as poetry is far more challenging to write if you DO use a defined form in rhyme and/or meter, so "shared-universe" writing is more challenging--but also more rewarding--if all writers faithfully stick to the small-b "bible" of their story-world. If the Lewis estate were ever suddenly to remember that Mr. Lewis encouraged people to write new Narnian stories, it would be unreasonable to ask them to accept stories in which Spider-Man visited Narnia; but a new book that was harmonious with the Lewis canon could be a real treat for fans.

I am trying, with my work in progress about the Talking Tigers, to stay compatible with all of the Lewisian reality. It has been a mighty gratification to have a few readers tell me that I am succeeding in this compatibility. And now, I have been paid a very great compliment (pardon me while I step outdoors before my swelled head bumps the ceiling), in the form of another forum member figuring that he can write a story harmonious with MINE, and that story will ALSO be harmonious with the originals.

As Anne McCaffrey's "Harper Hall" novels ran concurrently in time with her "main" Dragonrider books, this proposed new story would run concurrently in time with "Southward the Tigers." The writer may choose to say more here about his intended plotline. If his and my stories should at any point prove to contradict each other on something, the reader can always imagine that the two stories are independent historical documents still being debated.
 
Right-o, copper. You have stayed very true to Lewis's narnia (but for a few differences in opinion on good&evil ;) ) Did Lewis really encourage others to write narnian stories? Where did you hear that?
 
Look in the book "C.S. Lewis' Letters To Children." Admittedly he did not explicitly say that publishers should accept new _official_ books, but he did invite some of the children to try writing Narnian stories. Mr. Lewis, after all, would have been aware that it was nothing new for more than one author to take on the same set of fictional characters. There were even two opera composers who both wrote operas about the same fictional character, Figaro the Barber. The two operas were "The Barber of Seville" and "The Marriage of Figaro."
 
Not QUITE the good comparison, Copper... Both were operas based on books in a series by ONE AUTHOR, and that compares better to looking at LWW by Walden Media next to Prince Caspian by the BBC.

Lewis did intend people to internalize the stories about Narnia, and the way to do that is to personalize them, or as I say, to dance with them.

John
 
I seem to think that there is more than one opera by the name of 'The Barber of Seville'.

I am the one writing the parallel story to Copperfox's 'Southward the Tigers'. This story will deal with the story from the perspective of the talking lions. The two stories will run closely in parallel until the time of the tigers's rebellion. the rebellion will be described in more detail in my story. After that, the tigers move south, and many of the lions will head west into really unknown lands past the western mountains.

This story will also briefly look at the roles of all the talking big cats in Narnia. Leopards and cheetahs aredescribed as being part of the Narnian army,a nd are also seen in the film. I am also adding a new quasi-fantastical talking creature to Narnia-- a pair of talking ligers, who have a big mission in the northernmost part of the inhabited world.

I like to outline what I write, but not maybe as rigorously as was discussed in a previous post. I have been driving Joseph nuts trying to make sure that the details between our stories fit exactly, so a future reader will be able to move seamlessly between them, or any other future stories we or someone else would care to write. However, I have the outline built out only to a point not far after the lions and tigers part ways. At that point I will have more freedom to create a compelling storyline.

Some immediate projects have prevented me from doing any writing on this story.But now that these are more or less done, I hope to present the first installments in a couple of days.
 
I seem to think that there is more than one opera by the name of 'The Barber of Seville'.

I am the one writing the parallel story to Copperfox's 'Southward the Tigers'. This story will deal with the story from the perspective of the talking lions. The two stories will run closely in parallel until the time of the tigers's rebellion. the rebellion will be described in more detail in my story. After that, the tigers move south, and many of the lions will head west into really unknown lands past the western mountains.

This story will also briefly look at the roles of all the talking big cats in Narnia. Leopards and cheetahs aredescribed as being part of the Narnian army,a nd are also seen in the film. I am also adding a new quasi-fantastical talking creature to Narnia-- a pair of talking ligers, who have a big mission in the northernmost part of the inhabited world.

I like to outline what I write, but not maybe as rigorously as was discussed in a previous post. I have been driving Joseph nuts trying to make sure that the details between our stories fit exactly, so a future reader will be able to move seamlessly between them, or any other future stories we or someone else would care to write. However, I have the outline built out only to a point not far after the lions and tigers part ways. At that point I will have more freedom to create a compelling storyline.

Some immediate projects have prevented me from doing any writing on this story.But now that these are more or less done, I hope to present the first installments in a couple of days.
 
The biggest issue Tim and I have wrangled over is how beast-like the Talking Beasts are: how much of their behavior should be based on their animal roots, and how much of it on their human-like awareness of God's moral standards. Because I focussed on the tigers, leaving animal-expert Tim to stake out the lions, you can expect to see the lions in his new story acting a bit less like humans than my tigers do.
 
PRETEXTS AND SOCIAL CONVENTIONS

Too many stories have their characters saying the hard things in life by either directly blurting them out or pausing a moment and then saying them quietly.

In real life people don't do that all the time. Some people rarely do. They APPROACH topics and usually indirectly.

Here are a few notes for a story I'm working on. It's a talking badger and her sister meeting at a market. This story is about ANYTHING but how to choose a good melon....

====

Jasmine sees her sister Rose and goes over. "Sis!"

"Jasmine!" They embrace, obviously glad to see one another. Eventually after opening pleasantries they resume marketing but together.

Jasmine thumps a melon.

"Oh no, no!" Rose says, "That's the usual way, but not the best way." She holds up a melon and asks Jas to smell where the stem was cut. "Sounds may be deceptive, but odor never is. If you smell where the stem was cut ... like that .... and now try THIS one..."

Jasmine compares the two. "Oh, that one smells stronger, more fruity."

"That's because it's not dried out. Fresh ones are always more fragrant." Rose says, "So how is the family?"

"Oakley has been very busy. This is his busiest time of the year."

"And little Buckthorn?"

"Bucky is not little anymore. He's taller than I am. He's even taller than his father."

"I know. And is he still seeing Sophie?"

"Seeing her? You could say that. They've set the date, actually."

"Oh congratulations! I expect an invitation of course! Splendid, splendid the way things are going! You'll be a grandmother before you even know it!"

"I'm sure," Jasmine said abruptly, turning to look at a bin of Calormene cane sugar while she struggled to keep her composure. "I'm happy for him. Truly."

"Did I hit a sore spot?" Rose asked. "I'm sorry. I know it's never easy. When one of my twins was off and married, I cried for two whole days."

"Yes, but you still have a girl at home. Bucky is my only child. Well, my only son. He's not a child anymore. But I..."

"I understand," Rose said, resting a paw on Jasmine's shoulder and giving it a little pat. "Thing is, your Oakley will miss him too. The two of you can sulk and mope, or you can turn to one another for comfort." Rose drew closer and added quietly, "You might be surprised how attentive he is, and how much comfort you can give one another."

"Really?"

"Oh absolutely," Rose said with a wink. "A little sympathy properly given can work wonders. If you don't have much more than the furlings, it can be a lonely time. But I see how he still looks at you. It won't take much to get those embers burning bright."

Jasmine took a melon from the stack and sniffed it, a dreamy smile spreading across her face and not from the fragrance. "I have a fresh one."

Rose nodded. "You sure do."
 
Last edited:
Authors themselves often do well to build up to things likewise.

I routinely read books aloud to my wife Janalee because her old head injury (in an accident, years before we got together) causes her to get headaches if she reads for long. Right now I'm reading a Christian romance book to her. The hero is a widowed cowboy in Colorado, and the heroine is a wedding planner, also widowed. In the opening scene, the author doesn't instantly give all the information I have just given. Instead, at the reception of a wedding which the heroine supervised, the hero talks with her--not knowing who she is--about things he DIDN'T like in the ceremony, setting himself up to be embarrassed when the heroine good-naturedly reveals to him and the reader that she was the wedding planner.
 
Ha ha. That books sounds funny.
Thanks for the excpert, John. It was a good example. Thats one of the hard parts when writing...how to add the simple, the mundane, and when to add it. It makes it feel real. Thanks for pointing that out.

mAndy
 
About narrating concurrent or parallel events

Imagine, in our modern world, a spoiled, selfish young man called Norman. He comes to a dinner party at which three women with whom he was involved in the past are attending. Guests at the party are moving back and forth among three places: the dining room of the house, its living room, and the garden area just outside.

Norman arrives at, say, 6:00 p.m., getting into a conversation with one former girlfriend and her husband in the living room. At 6:20, Norman goes out into the garden and speaks with the second former girlfriend; at the same time, the first former girlfriend goes into the dining room to talk with the third former girlfriend about Norman. At 6:45, Norman comes into the dining room and speaks with the third ex-girlfriend, another male character also joining the dialogue, while the first ex joins the second ex in the garden. At 7:00, the additional man from the 6:45 scene goes into the living room to greet a late-arriving guest, informing this guest that Norman is already here. So the evening goes, with people moving back and forth in different combinations. The very last actions of any importance by Norman happen at 9:30 p.m. in the dining room.

Now, imagine that you decide to write a trilogy of plays about that evening; but instead of dividing them by sequence in time, you divide them by PLACE. Because Norman first shows up in the living room, your play which takes place in the living room is the first one that is performed for audiences. Then you let them see the one with events in the garden, its action beginning twenty minutes after the first one began. Last, you show the one set in the dining room, since the very last scene in this one is chronogically later than the last scenes of the other two.

The foregoing is a very sketchy description, based on decades-old memories, of a theatrical comedy work titled "THE NORMAN CONQUESTS," each segment having a title of its own besides. My Mary and I saw it long ago; you had to buy tickets for three nights, to see the plays in succession. It was very effectively done, each play shedding more light on the events in the one before it.

The reason I have gone to the trouble of describing this work is to illustrate parallel storytelling. This was also done by Anne McCaffrey with her "Harper Hall Trilogy": the Harper stories were happening concurrently in time with some of the adventures of the Dragonriders.

And this is what Timbalionguy is doing with his forthcoming story that anchors to my Talking Tiger story. I shared with him a few ideas about what I thought might have happened at the _very_ start of Narnia, just after Digory and Polly went home; and with many ambitious ideas of his own, Tim is beginning his story back in those first days, as King Frank was just getting settled into his kingship. Then it will move ahead in time to come up even with my story, after which there will be some back-and-forth of characters between the two stories, like the way actors in "THE NORMAN CONQUESTS" entered in one play just where they had exited from another.

My own story, when finished, will have a few "epilogue" scenes, briefly wrapping up the lives of my characters; if you don't count these, my story can be considered to end chronologically before Tim's will end. I have portrayed some characters and events in depth and detail--whereas, going by what he tells me, Tim will cover a longer range of Narnian history, not stopping to dwell on any one time as long as I have done. Hopefully, the two stories will dovetail together so well that, if they were cut-and-pasted together in strict order of time, they could be read as one story without awkwardness.
 
Authors' biographies

Does anyone read the biographies that books offer about their authors? I do; and I sometimes wonder how the writers find any time TO write when they're always doing so much skydiving, ballet, painting, karate, sculpting, horse-breeding, gardening, archaeology, tai chi, computer programming, photography, cooking, scuba diving, origami, jazz dancing, bungee jumping, skating, architecture, and coin collecting.
 
Yes, I often read the bio's--and i've wondered that myself. However, most of the people with alot of extra activities seem to take a long time writing thier book--2-3 years, or something like that, against, say, one year. So they pay for thier fun.
 
PURPLE PROSE

Can you write purple prose? Not just writing about something you love, but writing in a loving way that by its very flow conveys your feeling? This came out quickly as I listened to "Vienna, City of my Dreams"....it appears here in unedited form, approximately two minutes work.

NOCTURNE

Skyward flies my prayer
Great golden bird ascending on the wind
Sunset hushes her child, the day
Sleep my darling, night has come

Stars with kindly interest
Like a mother watch over us
Midnight, draw your cape about
Let me lose myself in you
 
Last edited:
Back
Top