Your Writing Process, And/Or Problems with Same Options

[treydog]

As we seem to have achieved a "critical mass" of writers here, I thought I would begin a thread regarding how it is we do this thing called "writing." The idea of this discussion is to maybe help each other with the creative process and also talk about how we deal with "writer's block."

Here is my process- please note that I do not believe that everyone (or anyone else has to write this way. It is simply what works for me.

Before I ever wrote the first word of Trey, I had made up my mind as to who he was, how he felt about certain things, what his "values" were. He dislikes Imperials and the Empire, hates slavery, isn't very good with authority figures, is perfectly willing to steal (although not from the poor or weak), etc.

I keep a spiral notebook in which I write dialogue, scenes, etc. in longhand. Even though I have been using a computer for (mumble-mumble) years, the act of actually writing in pen and on paper helps me connect with the material. Although I try to maintain a certain flow (chronological in the case of Trey), I have learned from bitter experience to write down EVERYTHING right when I think of it, even if it won't show up in the story until much later. To assist with finding those orphan ideas, I use different colored pens and assign them numbers. Then, when it is time, I just make a note to myself, thus "Insert 15." I usually do not write every word that appears in the final, just as much as I need to get going. Sometimes it's more, sometimes it's less.

Because I am doing a straight MQ story, I depend heavily on the Construction Set to get the in-game dialogue right. On the other hand, I consider how Trey will react to certain characters and situations and "create" conversations are needed if things are to make sense

Once I have enough (usually 3-6 pages) manuscript, I go to Word and begin turning my scribbling into real story. A lot of composing and creating takes place at the keyboard. The manuscript may simply say "Temple Informant." I will take actual dialogue, plus maybe some additional conversation to show the interaction between Trey and the NPC and develop the scene. A quick spell check (Word hates ES names), and I am ready for the next step.

The most important part of the process is the read-through. This is the place where I read the installment out loud to the talented and patient Mrs. Treydog. The purpose of this is to ensure that the writing "flows." If something I am reading "clunks" when read out loud, it needs to be fixed. I also find typos or missing words during the read-through. Additionally, Mrs. Treydog may ask questions or provide other suggestions.

Example- in the scene with Delitian she asked me, "How does the captain know who Trey is?"

So I wrote in the "I am Trey of High Rock" bit. Interestingly, the "... I've heard the name" response is already in-game.

Once I have fixed whatever did not work on read-through, I post the installment.

If this thread survives, I will talk later about dealing with writer's block.

Edited to fix typo and to add:

One of the hardest things for some writers to do is to decide when is "it" finished. The read-through also helps with that question. Bottom line- you have to let it go sometime. If you polish the story long enough, you will be left with nothing- particularly not the enjoyment.

This post has been edited by treydog: Mar 17 2006, 04:41 PM

[SubRosa]

1- Planning. I plan very far ahead. For the TF, I have outlines going out as far as chapter 42. Then I have some basic ideas for things beyond that. When I outline a chapter, it can be very simple. Sometimes just two paragraphs stating what needs to happen, highlighting important points. The outline helps me keep the plotting tight, and tie things together over multiple chapters.

For example Vilverin started things that did not come to fruition until the last chapter. Teresa's armor was destroyed, so she needed a new set, and got a magic one from Morcant that would be just what she needed during the Daedra attack on the IC. Likewise, she got all that bandit gear which Jensine, Simplicia, and others were able to use in the battle. etc... Without thinking ahead, I would not be able to pull things together like that.

On the other hand I am not completely rigid in my execution. My outlines are just basic ideas. Directions I want to follow. When I actually sit down and write a chapter things often come out that I had not planned on. For example, Teresa having learned to read by Simplicia teaching her with the Black Horse Courier was completely off the cuff. Methredhel's comment about her, Teresa, and Adanrel being a gang is another. Teresa's pining over Dervera Romalen was another thing that was totally unplanned, as was her feelings of loneliness on the road afterward.

Here is an example of my outline for Chapter 11

Chapter 11 - Knight of Swords - June 28
Teresa enters the IC by the Market gate, carrying several bags filled with armor and weapons from Vilverin. She sees Simplicia in the street, and stops to talk with her. Martin and an entrouge of Blades including Julian, Baurus, and Jauffre enter on horses, making their way toward the Palace. There is a big hubub and Teresa and Simplica are part of the crowd that watches him pass. Simplicia remarks that Emperors do not mean anything to people like them. But Teresa is nearly ecstatic, as is the rest of the crowd. She notices that now he wears the amulet of kings, and realizes he had not worn it at Bruma.

Simplicia tells Teresa that the Best Defense has gotten in a bunch of new armor, so instead they go to Jensine's shop to sell off the loot. Inside are Jensine, Gelephor, and an unnamed Redguard. That is when the Daedra open gates all throughout the city, including one right outside the door. Before they realize what is going on the door flies open to a Deadroth ripping apart a passerby. As they all stand stunned, Volsinius storms in behind it and nearly lops its head off in a single blow from his sword. A desperate battle begins to stay alive in the shop as daedra continue to pour in from the gate. Teresa's newly enchanted armor protects her from the worst of it, but in the end is destroyed by lightning from a Spider Daedra and Dremora mage. They retreat to the second floor. Jensine is incapacitated and only saved by the last of Teresa's healing potions. Then Volsinius goes down, his helmet destroyed and face burned from a Flame Atronach. Dremora are now starting to surge in. Teresa's bow is destroyed when she uses it to block a dreomra sword. Simplicia then uses her Summon Grizzly scroll, and the bear rips the daedra apart.

Finally the tide of daedra stop and all goes quiet. Teresa creeps downstairs and looks outside to find the gate gone. A khajiit rides by saying that the daedra are defeated..

Note that things came out slightly different. There was never a Spider Daedra. Nor any mention of hearing Martin's voice. Nor making that healing potion for Vols. etc...


2- Characters. It is hard for me to really explain how I do it. I often start with a stereotype, because they are things people can identify with, and then add layers of depth on from there. Volsinius is a good example here. He is your stereotypical male hero. Physically strong and imposing, not showing much emotion or any signs of weakness or vulnerability, an excellent fighter, decisive in action. A staple character in sword/sorcery fiction. I have no doubt that one of the reasons he is so well loved by readers is precisely because he is a character people are so familiar with.

Once I have that basic concept from the stereotype, I start adding layers. First I look at their past and start adding a history. That in turn either changes some of my original ideas, or reinforces them. Back to Vols, he was a hick from Skyrim who went to the IC at 18. He had never seen the big city before, and was just blown away by it. Most especially by a prostitute named Simplicia, who did things to him he never imagined were possible. He fell in love with her, and when she was maimed it destroyed him as much as it did her. Because he could not protect the woman he loved. Because of that he has never allowed himself to love anyone again. He is too afraid of a repeat. So he became a very hard, closed-up person, afraid to feel anything. His only outlets were drink and violence. His violent tendencies increased because it alleviated his feelings of powerlessness over what happened to Simplicia. That is why he was so quick to knock Teresa's teeth out when she was a child. It is also why the other soldiers were so surprised to find out he had a girlfriend (well not really, but it looked that way). He still loves Simplicia too. That is why he took that firebolt in the face for her after all. But he is so tightly wound that he can never tell her.

So he is still a stereotype, but now one with a tremendous amount of backstory, all of which confirm who and what he is. I think that really makes him come alive as a real person, rather than just as the cardboard cutout he started as.

This post has been edited by SubRosa: Jul 23 2010, 11:58 PM