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

[haute ecole rider]

Character introduction. That's the fun part of writing, I think. The most common trap most writers fall into is failing to see their characters as real people. Look at yourself. As you go through your day, do you constantly think about yourself like this: I'm eighteen years old, but look sixteen. I'm medium height, with average looks. I dress average - for a modern-day student, that is. But I know things most eighteen-year old students don't know. I can swing a sword, face down a clannfear, and cast a Silence spell with a wide area of effect. I'm the Nerevarine. No one can beat me in a fair match. Of course you don't think of yourself like that. Your mind is on other things.

What I do is imagine that character going about his/her day-to-day business. I start by describing that character's actions, his thoughts, the environment that character is moving through. I hoard personal descriptions and dole it out very frugally.

How do you get to know someone in real life? If you're a student, what happens when you notice another student? Or how does your teacher introduce himself on the first day of class? If you're a working stiff, how does your first day on the job go? Or what happens when someone new starts working in your office/place of employment? When you see someone interesting on the street, what's the first thing you see? Wild hairdo? Crazy tats? Weird clothes? Or maybe it's strange behavior that attracts your attention.

Once you've done the initial introduction, what's next? I introduce bits and pieces of my characters' personalities and histories through action, through conversation (dialogue), and inner thoughts. I build them up slowly, layer by layer. That's how I avoid an info-dump.

Here's how I introduced a character in a story I wrote some time ago:

Lauren Montague handed her holo-passport to the customs official. He swiped the card through the reader, then glanced at the screen. Although she could not see the display, Lauren knew it showed her hologram, the retinal scan and voice print.

“Please state your name, your employment, your citizenship and your destination,” the official said in German. Lauren’s lips twitched.

“Lauren Montague, Corporate Security, Nuevo Star Trading Corporation, Pan American Union, the Province of Arkady,” she replied in English. “Would you like me to repeat that in Spanish, sir?”

Right off the bat, we know the protagonist is a woman, who works security for a corporation, and she speaks at least three languages - English, German, and Spanish. There is also a hint of impatience with people who don't pay attention to details, such as this official speaking German to an American/Latin national. Her character is developed pretty much over the next several chapters, as she travels to her destination and her purpose for going there. That's pretty much how I write my characters, as if I'm getting to know them in real life.

Introductions. That's the hard part -where to start? Sometimes I start right in with the action:

The four assault teams gathered at the stern of the cargo ship, crouching behind the stacked containers. Three of the team leaders watched Bogart, who as Alpha Prime ran the mission. He surveyed the rear of the bridge forward of their position. All clear. He glanced at Charlie and Delta leaders and gave them the nod. Delta Team, Davison and Cutler, moved forward, using the ranks of stacked containers as cover. They swiftly located the top deck guard and took him out. Their gunfire, though quiet, attracted the attention of three other guards, two of whom appeared along the gangways on either side of the bridge, the third appearing from within the structure. Before they could locate the interlopers, they fell before Delta Team’s accurate fire. After a few moments’ wait, during which no additional guards appeared, Delta Team moved to the starboard gangway, sweeping along the side of the ship. As their forms disappeared around the front of the bridge, Davison’s voice crackled over the comm. “All clear forward,” he reported. Pappas and Gibson, comprising Charlie Team, moved to the stairs leading up to the bridge deck from the rear.

That was the first paragraph of a different story I wrote about nine or ten years ago. The story starts with the mission. Character development is going on concurrently with the action, and by the time the mission is finished, we have a sense of who some of these people are.

Other times, I start with something a little more low-key:

The subtle change in the earth’s song roused Saná from a dreamless slumber. She huddled within the furs, hiding from the cold air. Strong arms tightened around her, drawing her into the warmth along her back. His face nuzzled into her loose hair, stirring the fine strands at the nape of her neck with his warm breath. With a smile, she squirmed her way out of Chigan’s embrace and emerged from the furs. Shivering beneath the thin woolen tunic, she moved to the chest where her felted gown lay draped across its carved surface. She slipped it over her head and secured the worn braided leather belt around her waist. She slipped her stockinged feet into leather-soled suede boots. Her fingers quickly braided her smooth hair into a single plait that fell down her back to her waist.

The furs shifted with a grumble as Chigan searched sleepily for her. He gave up without wakening and drew the pelts up over his head. Saná drew back the curtain that separated their sleeping quarters from the rest of the yurt and stepped into the common room. Near the brazier, its coals dark, two small children huddled under their own covers. She knelt beside them, her gaze on their faces. Sturdy, chubby-cheeked, they seemed serene in their slumber. But Saná knew all too well once they woke, they would be little dervishes. Let them sleep a little longer. It’s going to be a long day.

This is the story I'm writing for NaNoWriMo (see my post on the General Discussion). I just started it this morning and already I'm nearly halfway toward my daily goal of 2000 words. So here we have two things going on: I've created a setting - it's cold, and they live in a yurt heated by a brazier. Today is going to be a long day. We'll find out why in a few paragraphs. I've also introduced four characters, a woman, her man, and two children. We don't know much about them yet, but we know we're looking at a family unit.

And that's how I work! Do you have a book you absolutely love? Pick it up and look at the first page. Does it grab you right away? Why and how does it do so? Or if you're more a movie person, put your favorite movie in the VCR or DVD player and watch the first five minutes. Ask yourself the same questions. That's how you work on your introductions and character development. It takes practice to read or watch actively, instead of passively. But it's possible to learn from your favorites.