Read Online Write Great Fiction--Plot & Structure by James Scott Bell - Free Book Online
Authors: James Scott Bell
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to develop. It may be one you have in mind already, or it can be chosen at random. Write the word in the center of a blank sheet of paper and draw a circle around it.
[2] Fire.
Without much thought, allow your mind to jot down connections and associations. Donât worry about making sense of it at this stage. Just
go
. Allow your associations to spawn other associations. Fill up the paper.
[3] Aim. Soon, your pattern-mind will give you what Gabriele Lusser Rico calls a âtrial-web shift.â This is a new âsense of directionâ that comes to you out of the associations youâve made. (See Ricoâs
Writing the Natural Way
, chapter five. This is a superb book on mind mapping for writers.) This shift will provide you with a new sense of direction or focus in terms of your map. You will discern the message that your exploding mind wants to send you. You will have an idea.
For example, my word is
baseball
. Here I go:
As I pondered this web, it occurred to me that my youth, and the hopes that resided therein, are central. My memories of Dodger Stadium and Little League and Vin Scully on hot summer nights are a rich vein from which I can come up with dozens of possible story ideas.
I think I will.
18. Socko Ending
What is it that makes
Casablanca
more than just a good film? What gives it a lasting resonance that leaves you with a satisfied âAhâ? I believe it is the ending, with that great final line: âLouis, I think this is the start of a beautiful friendship.â
A socko ending.
Endings often make or break a story. If the ending is flat, we are unsatisfied, even if what has come before is compelling. Frank Capra said this is what happened with his film,
Meet John Doe
. The story setup was wonderful, but when they got to the ending, Capra and the writers didnât know what to do. The most logical outcome would have been for John Doe to jump from the building and kill himself. But that would have made the film depressing. The choice they finally made, having the common folk rush up to save him, didnât quite ring true. The filmmakers had painted themselves into a corner.
Since endings are so crucial, why not come up with a socko ending first? Try this:
[1] Visualize a climactic scene in the theater of your mind.
[2] Hear music to go with it.
[3] Let the full range of emotions burst forth.
[4] Add characters as you will to heighten conflict.
[5] Play around with variations on this theme until something unforgettable happens.
Then ask:
[6] Who are the characters?
[7] What circumstances brought them here?
[8] How can I trace back the story to its logical starting point?
Many writers feel that having a possible ending in mind is the best available narrative compass. At the very least, this socko ending exercise will give you some strong characters.
19. Occupations
Much of our self-image is tied up with our work â what we do and how well we do it. There is also a culture associated with individual occupations. So there is plenty of material inherent in the kind of work people do.
Try coming up with story ideas based on intriguing work. It will serve you well to keep a list of interesting occupations you come across as you read books, newspapers, and magazines.
One reference I treasure is
Dictionary of Occupational Titles
, published by the U.S. Department of Labor. This huge, two-volume compendium describes thousands of occupations in detail. Here is a sample listing:
378.363-010 Armor Reconnaissance Specialist (military serv.)
Drives military wheeled or tracked vehicle and observes area to gather information concerning terrain features, enemy strength, and location, serving as member of ground armored reconnaissance unit: Reports information to commander, using secure voice communication procedure. Writes field messages to report combat reconnaissance information. Drives armored, tracked, and wheeled vehicles in support of tactical operations to harass, delay,
[2] Fire.
Without much thought, allow your mind to jot down connections and associations. Donât worry about making sense of it at this stage. Just
go
. Allow your associations to spawn other associations. Fill up the paper.
[3] Aim. Soon, your pattern-mind will give you what Gabriele Lusser Rico calls a âtrial-web shift.â This is a new âsense of directionâ that comes to you out of the associations youâve made. (See Ricoâs
Writing the Natural Way
, chapter five. This is a superb book on mind mapping for writers.) This shift will provide you with a new sense of direction or focus in terms of your map. You will discern the message that your exploding mind wants to send you. You will have an idea.
For example, my word is
baseball
. Here I go:
As I pondered this web, it occurred to me that my youth, and the hopes that resided therein, are central. My memories of Dodger Stadium and Little League and Vin Scully on hot summer nights are a rich vein from which I can come up with dozens of possible story ideas.
I think I will.
18. Socko Ending
What is it that makes
Casablanca
more than just a good film? What gives it a lasting resonance that leaves you with a satisfied âAhâ? I believe it is the ending, with that great final line: âLouis, I think this is the start of a beautiful friendship.â
A socko ending.
Endings often make or break a story. If the ending is flat, we are unsatisfied, even if what has come before is compelling. Frank Capra said this is what happened with his film,
Meet John Doe
. The story setup was wonderful, but when they got to the ending, Capra and the writers didnât know what to do. The most logical outcome would have been for John Doe to jump from the building and kill himself. But that would have made the film depressing. The choice they finally made, having the common folk rush up to save him, didnât quite ring true. The filmmakers had painted themselves into a corner.
Since endings are so crucial, why not come up with a socko ending first? Try this:
[1] Visualize a climactic scene in the theater of your mind.
[2] Hear music to go with it.
[3] Let the full range of emotions burst forth.
[4] Add characters as you will to heighten conflict.
[5] Play around with variations on this theme until something unforgettable happens.
Then ask:
[6] Who are the characters?
[7] What circumstances brought them here?
[8] How can I trace back the story to its logical starting point?
Many writers feel that having a possible ending in mind is the best available narrative compass. At the very least, this socko ending exercise will give you some strong characters.
19. Occupations
Much of our self-image is tied up with our work â what we do and how well we do it. There is also a culture associated with individual occupations. So there is plenty of material inherent in the kind of work people do.
Try coming up with story ideas based on intriguing work. It will serve you well to keep a list of interesting occupations you come across as you read books, newspapers, and magazines.
One reference I treasure is
Dictionary of Occupational Titles
, published by the U.S. Department of Labor. This huge, two-volume compendium describes thousands of occupations in detail. Here is a sample listing:
378.363-010 Armor Reconnaissance Specialist (military serv.)
Drives military wheeled or tracked vehicle and observes area to gather information concerning terrain features, enemy strength, and location, serving as member of ground armored reconnaissance unit: Reports information to commander, using secure voice communication procedure. Writes field messages to report combat reconnaissance information. Drives armored, tracked, and wheeled vehicles in support of tactical operations to harass, delay,
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