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I thought I’d take a break from the serious writing stuff and share something I wrote nearly a year ago (2/1/2020) about delight, and crying. The good kind.

Background: OPB*, “The Show of Delights”

So, I’m getting ready to get out of my car at Starbucks, but I can’t seem to stop listening to the radio. It’s OPB, airing a This American Life segment about Delight. It is oddly delightful, beginning with the story of a poet who wrote a book about deliberately finding delight in his life every day for a year and what he learned about that.

Turns out, it had a lot to do with curiosity and being open to finding new things that bring delight. It’s also about embracing your inner child, who sees everything as new–not the jaded way we adults look at things. Like when a kid runs in telling all the adults in the room that there’s a rainbow outside–a fairly common occurrence–and everyone runs outside and “shares a gasp” with each other.

There’s another act where a daughter tells the story of her aging mother who decides one day she has just so much time left, so she’s going to dedicate it to finding delights. This adventure annoys her daughter, who has to help her out doing “whatever she wants,” involving a lot of spontaneity that her daughter seems too adult to put up with. Then one day, while interviewing her mom about this thing she’s doing, the daughter finally “gets it” and seems transformed.

This is followed by another segment following a girl who works at a zoo, at night, putting the animals to bed. I won’t go into everything that happens there, but it’s my favorite part. She sounds so young and (dare I say) cute. The narrator following her on her rounds does also. But that’s not the reason I can’t get out of my car on a cold night, despite coffee and warmth nearby urging me to vacate my rapidly chilling car on a January night.

Instead, I was enthralled by this girl who has what seems to me to be a dream job, where she’s finding delight in caring for all of these animals who frankly could be in a better place (nature), but it’s her job to make them happy anyway. And it’s obvious that the animals appreciate her for it.

For some reason, by the end of this segment, tears are running down my face and I’m truly moved… but I’m honestly not sure why. Perhaps it’s the happy young voices and my inner child wishing I could have gone into a more fun career when I was younger. Perhaps I’m suffering an onset of hypothermia.

Whatever the explanation, I suddenly get the feeling that when I cry this way it means something. Something important.

What’s Happy Crying For

Okay, so I’m finally indoors ordering my coffee at the counter, all the while distracted thinking about happy crying and what it means … To me; perhaps to everyone. If only we knew. When we cry like that, quietly, delightedly, movedly**… doesn’t it feel like a reward of some kind? A gift from life?

When things feel so unexplainably, primally good, could this be something evolution built in a long time ago to say, “Yes. This.”

At this moment, I want this to be true so much that I force myself to sit down and write this note you’re now reading, because I know from experience that when you have these feelings, once you stray away from them, they fade. Like a dream, leaving a vague notion of Epiphanies Lost.

When I don’t write things down I spend the rest of the day feeling sad about losing something I don’t remember. I can almost hear the Universe in those moments, in the background softly murmur, “Okay, maybe next time.”

But it’s a sad murmur, because I think if there’s this complex thing called life, there must actually be a wonderful purpose to it, because we Keep Doing It for so long, all of us Animals of Earth. And the Universe is sincerely trying to tell us this, or our own DNA, or whatever it is that gives us that little nudge in our hearts when we do something right. Like crying at the good bits of life.

Or perhaps it’s some giant metaphysical machine churning away, like the mice in Hitchhiker’s Guide to the Galaxy. Who knows how stuff really works.

To go to all this trouble of being born, learning how to walk, talk, think, make friends, learn complex algebra, and become creators of whatever our own reality and hearts desire… there really must be a deeper purpose to all that.

And how else will we know which way to go with our own purpose in life than to pay attention when life rewards us, like it does when we do sex right (I mean truly, mutually right). Or make someone smile. Or cry, happily, like there’s too much loveliness inside we can’t quite contain it.

A Happy Mission

So, like that early OPB segment, about the poet who spent a year recognizing and writing about Delights, I’m having this sudden urge to spend a year (or more) keeping track of the things that make me happy cry, and seeing where that attention leads me.

Because I get the feeling that the Universe really is trying to help us find our happiness, even if it does have all of these nasty obstructions ready for us to climb over. But then without things to overcome, how will we find the joy of accomplishment?

So, Cry #1 is this: Noticing the magic of crying at stuff. Yay!

* OPB: Oregon Public Broadcasting (the local affiliate of National Public Radio).

** Yes, I am horribly guilty of inventing my own adjectives. Sue me. Or give me a cupcake! ^_^

the eight-sequence method for novels and screenplays

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The third in a series about finding your writing process, continuing with borrowing wisdom from the big screen to write your novel, using the 8-Sequence Method.

The 8-Sequence Method is nothing new. In fact, it began when cinema began, when movies were only as long as film reels could hold, about 15 minutes of rolled plastic. When they figured out how to quickly change reels in the projection room, the movies we know now were born; and even today when reels are rare, they are designed to give us an interesting turn of the plot every fifteen minutes or so. (If you write screenplays, you might want to check out Screenwriting: The Sequence Approach.)

It just works. Fifteen minutes is just long enough to give us some fun with the current state of affairs, but about the time we’re looking for something new to happen. Boom, the main character falls down and must reassess and set out on a new plan.

Why eight sequences? The diplomatic answer is that two hours (8 times 15 minutes) is as long as the average viewer can sit focusing on one thing, while I think it has more to do with the size of the human bladder (have you seen the size of drinks in cinemas?). It does seem to be the perfect length though.

Using the 8-Sequence Method to write novels isn’t new either, with more than one writing book seeming to claim the idea. One such book, by Alexandra Sokoloff, (the first I found on this method) is so comprehensive on the subject, it is a veritable reference book on novel writing. It includes some great exercises along the way, too, but the best part for me is how she breaks down the plot into its most powerful components to make a great story. She does so using the same sequence structure used in film.

As expected, these sequences once more dovetail with the ubiquitous 3-Act Structure, where every other sequence begins on an Act boundary (Act II breaking at the Midpoint).

This is the version of the 8-Sequence Method I derived from reading the book (yours might be slightly different). Each sequence is a set of scenes propelling your main character in some inevitable direction, only to hit a new challenge at the end of the sequence, propelling them in a new direction. Every sequence is a little story of it’s own, with a minor climax at the end–the ones at the Act breaks more life-changing for the character.

Note the pair of numbers in the brackets beneath the sequence’s purpose. These denote how far into the story we are at this point:

  • The hour:minutes through the movie,
  • The pages in a novel.

(It’s important to get close to these marks, because the audience or reader will be getting edgy to see something happen here, whether they know it or not.)

the eight-sequence method for novels and screenplays
The 8-Sequence Method for Novels (and screenplays)

Sokoloff not only breaks down the importance of these sequences and how to set them up for those of us who like using index cards to plot our scenes, but also delves deeply into the dramatic “elements” that usually appear in each sequence, elements audiences have grown to expect from reading and viewing the mass of work that came before; things that make a story satisfying. She defines these elements not just for the plot, but for character development, setting, theme, plants and reveals, and a bunch more stuff too numerous to mention here.

I suggest getting her book, Story Structure Basics: How to write better books by learning from the movies* to see for yourself. I keep mine handy as a checklist for revising my own drafts.

*affiliated link

Oh, wow… I just noticed she now has a series of writing books out on the same subject–and they’re very inexpensive for what you get.

I guess I know what I’ll be reading for a bit.

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The second in a series about finding your writing process, continuing with evolving your story ideas from one powerful sentence to a completed novel, using the Snowflake Method.

Here’s a writing process we used in just about every intermediate and advanced writing class I attended in college (and I must have taken them all), from creating fiction to essays to screenplays, and it really did the trick to get us writing.

We never named it out loud in class, but it is the practice of evolving ideas by expanding them outward, like a snowflake. And it’s lovely. In fact there’s a wonderful Snowflake Metaphor, where the simplest evolution of a triangle (triangles again!) becomes the most complex structure of nature itself . . . in the form of a Fractal: a creature with a finite area, but an infinitely large perimeter. Much the way your own brain makes space for new ideas on its rippling surface, you can use those ideas for your story by expanding the perimeter of one simple story idea.

So many of the writing books on my shelf also seem to use this technique in some form or another, I presume because it simply makes sense. Stick with me Pantsers, you’ll probably like this. Like in class, most of the time we just did it without going into the how or why of it.

But one veteran author, Randy Ingermason, did, and he calls it–appropriately enough–the Snowflake Method. Ingermason came up with 10 steps he himself goes through to evolve an idea for a book into the actual book, by building outward.

Basically these steps are:

  1. Start with a one-sentence description of the story – what screenwriters call the Logline. Many of them swear this is the most important sentence you will ever write. There are whole books about Loglines.
  2. Expand Step 1 into a paragraph – Ingermason writes 4 sentences here: 3 disasters and the ending. They conform, once more, with the 3 Act structure mentioned before.
  3. Write a one-page summary of characters in the story.
  4. Expand each sentence in Step 2 into a paragraph.
  5. Expand each character in Step 3 into a one-page synopsis.
  6. Expand each paragraph in Step 4 into a full page.
  7. Expand Step 5 into separate Character Charts, which he describes in more detail in his book.
  8. Expand Step 6 into a list of scenes.
  9. (Optional) Expand Step 8 into a Chapter Outline.
  10. Write the First Draft!

Ingermason describes the form and purpose of these steps with a lot more detail, as well as how they build that ever-present triangular plot structure, but hopefully I’ve given you the gist of it. Notice how he alternates between plotting and character development here, which makes a lot of sense to me on a few levels:

  • Character development (character arc) is the backbone and heart of every good story.
  • Shifting back and forth between story and characters gives you a break and a little distance, which
  • Gives your subconscious room to come up with even more awesome ideas!

Throughout this entire process, Ingermason makes it very clear that the material you generate here is mutable and fluid. In fact, one major benefit of doing it this way is to identify the holes and logic-bloopers that typically only become evident after the First Draft; an ugly mess to revise after the fact. But here you can catch them early and fix them as you go, quickly adjusting backwards through the steps–all the way back to the Logline, if need be.

For Pantsers and Outliners

The Snowflake Method isn’t an outlining structure meant to constrict you, though it ends up creating a lovely map in the end. Instead it is a liberating idea-generating house party, where the beer cans and bottles somehow end up in the right recycling bin by themselves. Uhm… okay, not my best metaphor, but it is cool to have so many ideas grow on each other and be able to know exactly where to put them, rather than that big ugly pile of notes you have to bribe yourself with chocolates just to get through.

And here’s another cool benefit: when you do get to Step 10, make sure you sit down next to a NaNoRiMo person when you start, because:

  • You are going to write FAST!! A Snowflaker already knows exactly where they are going, with all the details of every scene. You’ll have to get a water cooled keyboard to keep up with you.
  • The resulting draft is going to be TIGHT, unlike the meandering monster the NaNo writer will have to deal with at the end. (I’m not dissing NaNo-writers at all–I respect that they are at least writing, unlike a few “writers” I’ve met. Including me at times…)
  • Writers Block will be scared to death of you, since you will be too busy to be impressed by it. Poor thing.

Hopefully this gives you a tantalizing taste of the Snowflake Method. If you’d like to learn more about it, check out Randy Ingermason’s book, How to Write a Novel Using the Snowflake Method (Advanced Fiction Writing Book 1)*.

*affiliated link.

Next Week: Alexandra Sokoloff’s 8-Sequence Structure.

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The first in a series about finding your writing process, starting with writing toward the basic shape of all successful stories, the Basic Plot Structure.

I thought I’d start simple and work outward to the more complex, since that’s the most sane way to write stories themselves. In fact, it is the basis of one popular process I’ll go into later called the Snowflake Method. But first, let’s look at one underlying process or structure that seems to be common to all successful stories: the plot structure.

Whether you’re a Pantser or an Outliner, eventually a story must be honed into the right shape that is recognizable as a satisfying story. Any writer will already know this shape, resembling a triangle or a mountain, which our hero must climb to find their Inner Hero. It involves a Setup to get us up to speed on our fictional world, an Inciting Incident to rip our main character out of their comfort zone, a long series of ever-increasing obstructions for them to climb over, a Climax where they figure out what they needed to do from the start, and a Resolution where they find their new life.

archplot structure chart
The Archplot Structure

Whether you support the whole idea of writing to a structure or form, thanks to all the movies and books your audience has watched and read already, this is the form of story they are already expecting to see. If we deviate too far from it, we run the risk of our work hitting the wall (literally) or a trash can before they finish reading it. Luckily it’s a pretty open and forgiving structure.

Note the Three-Act structure laid out beneath that triangle. This is also a pretty common part of an audience’s expectations, though they may not consciously register the passing of each Act. The Acts are more a measure of turning points that should (some say “must”) happen for the hero in a successful story (and just about every movie you’ve ever watched and enjoyed). We can talk about Acts later on.

This shape doesn’t just happen–it must be designed. Outliners start out with this shape in mind and plan their scenes to “rise to the challenge” their heroes will have to face. Pantsers, like their fellow audience members, already “feel” this shape and roughly write toward it, only to later revise and nudge things into the right places. Neither way is better than the other, of course, except for the writers using it.

Whatever works for you is the way to go. That one thing we must remember, or nothing that follows will seem wondrous … oops–I slipped into Scrooge territory there. Sorry.

It is interesting to note that the triangle above used to be drawn more like an isosceles triangle, before the Internet and a million action movies jaded us to the plodding pace old movies and books now must seem to younger audiences (well, to me, too, anymore). Especially the beginnings and endings.

The Freytag structure

Back then, as you can see in this Freytag graph, beginning setups were much longer, and resolutions more gradual. Nowadays, we’re clever enough to do the Setup as part of the Inciting Incident and the Resolution is practically melded into the Climax itself. It’s elegant and makes a lot of sense, especially when dinosaurs are roaming about eating everyone.

As far as processes go, this is pretty basic stuff, almost to the point of being subconscious anymore to the practiced writer. But it is upon this model that most other processes are built, or at least target, so I thought it best to put it out there for those just starting out.

For a much more in-depth exploration of the importance of story structure, I recommend reading Super Structure* by James Scott Bell. This book is not only friendly and fun to read, but immediately breaks the myth that writing to structure confines your process; instead freeing you to write your story faster and in a way that will connect more solidly and emotionally with your audience.

(*affiliated link)

Next week: The Snowflake Method.