Monday, 3 February 2014
Thursday, 3 October 2013
We cut through light
As we leave the harbour.
It dances beneath the keel,
The throb and pull of the engine,
The invisible sky.
We set course, choosing
To cross from loss to
From regret to hope.
Once outside, once we leave,
The boat broaches swell
And spray dashes above the prow, while,
Behind us, the lights recede and
Across the black water, there is
Now nothing but night.
[after 'Night tide' by David Hodges]
Thursday, 30 May 2013
(For Part 1 see previous post.)
This is what I'm aiming at: I want to develop a rich story but I want to achieve economy of style. Richness and economy. It's the Holy Grail for writers. Richness in content but economy of means. What do other people think? Here is a quick bit of research (Part Two).
Economy of styleItem 1. Rutgers University is brief and to the point. (Jack Lynch)
- Using no more words than necessary
- Eliminate wordiness
- Dump introductory words
- Avoid prepositional phrases
- Cut vague nouns
- Do not repeat yourself (This is my besetting sin! Arrgh!)
- Don't keep saying the same thing in different ways (See what I mean.)
- Use one word where three will do
- Write in active voice
- Only let the tip of the story show. Keep the rest below the waterline.
- Avoid wordy phrases
- Omit modifiers
- Use action verbs
Tuesday, 28 May 2013
Richness of storyItem 1. A theory:
Media Richness Theory; see Wikipedia
- aka Information Richness Theory
- seems to be as much about style as content:
Media richness theory states that the more ambiguous and uncertain a task is, the richer the format of media that suits it.
Cultivating Story Richness. Terrence Gargiuloon on Scribd.
[Note: Website fraught with pop ups and adverts. Difficult to read.]
It’s easy to deprive ourselves the deep richness of stories [by] striving for the Holy Grail of clarity.
- Story is a cloud chamber revealing the tracks of meaning in a fog of words.
- Story lends itself to less structured forms with non-linear threads
- In story, information is packaged in memorable nuggets
- It is meant to trigger personal responses
- It expects people to generate their own meaning
A path to writing: Reaching into the richness of the world. Let's Write This
[Rendering] the invisible ink of the world legible.
Wednesday, 8 May 2013
Saturday, 20 April 2013
The next step was to fill in the missing events, that is, events that do not primarily involve the protagonist. I have to admit that at this stage I did refer to a previously compiled list of chapter headings just to make sure I was not missing anything and there were a few things that needed to be added in.
I am pleased with the result. It gives me a check list against which I can measure my progress in compiling and rewriting the chapters.
I have a busy week coming up and so this will be my last blog post for a few days but I will be back and continuing with the rewrite asap. Have a good week!
PS I listened to CD Review on BBC Radio 3 while I worked on the plot grid: a perfect Saturday morning.
Friday, 19 April 2013
- Gillian Clarke. A Recipe for Water. Carcanet, 2009.
- Carol Ann Duffy. The Bees. Picador, 2011.
- Paul Waters. Cast not the day. Pan, 2009.
- Joseph Wambaugh. Nocturne. Head of Zeus, 2012.
- Rebecca Tope. Shadows in the Cotswolds. Allison & Busby, 2013.
I have been reworking the chapter list of the novel in the sense that I have been annotating it under the following categories: Action, Intention, Outcome and Reveal.
Intention refers to the protagonist, Broderick Arnold and what he intends to get out of the situation.
It is surprising, or maybe not, how often the Outcome is other than the expected and contrary to the Protagonist's intention.
Under Reveal, I note what kind of revelation is given in the chapter. It may be obvious. It may be a surprise.