Category: cussler

Do you want to be a writer? YES / NO

Continue to the next paragraph.

One thing I’ve mentioned here once or thrice before is flow. It’s one of those elements of writing that we’re all instinctively aware of but it rarely gets a consistent name put to it. I first heard it referred to as flow years back by a writing coach named Drusilla Campbell. It was such a perfect term I’ve used it myself ever since.

Flow is how well the reader can move through your writing. It’s the way every line of dialogue rolls off the tongue, how each paragraph and chapter draws the reader into the next one. Like the flow of a river or the flow of traffic on a freeway. When the flow of writing is going well, you love it.

We can also define what makes for bad flow. When the river or the freeway aren’t going so well you get rapids, bottlenecks, gridlock, and so on. More to the point, you get frustrated and angry. A story that makes you stumble a lot doesn’t flow well at all. Clumsy, wooden dialogue and poor characterization don’t work either. Whenever a reader pauses to scratch their head or roll their eyes over the latest “twist,” that’s another speedbump in the proverbial road. If you’ve ever tried a book and just couldn’t get into it, odds are the flow sucked. You’ll read, trip over a page or two, and put it back down.

Y’see, Timmy, it’s not a bad thing to shock the reader once or twice with a bit of unexpected action, a clever reveal, or something else that jars them out of complacency.. It’s important, though, to remember that those shocks are the exception, not the rule. If a story is nothing but flashbacks or “gotcha” moments one after another, it degenerates into nonsense and frustration.

Readers keep reading material with good flow because it’s easier to keep reading than to put it down. Stephen King writes books with great flow. So do Lee Child and Clive Cussler. They’re all famous for it, in fact. Shane Black’s screenplays are notoriously fun to read. It’s also a big part of the reason all these people keep selling their work for high sums of money.

Now, for the record, flow is another one of those things I believe you can’t easily work on and develop in your writing. It’s one of those X-factors, where you can manipulate each of the variables but still not affect the final outcome. You just have to keep writing and keep writing and eventually one day it will all come together.

For example, in Goju-ryu, one of the original three forms of karate developed on Okinawa, there’s a kata called senchin (no, trust me, this is another one of those brilliant metaphors). The moves for senchin are often taught to the white belt novices. The instructors know that by the time the novices become black belts, they’ll have an understanding of how all the moves go together and can start to work on the form itself. The Okinawan masters understand that working on parts doesn’t always help you master the whole. One day, it just all comes together.

I’ve mentioned most of these before (often in greater detail), but here are a few easy tips that can help the flow of a story. I’m not saying doing these guarantees great flow, but if you’re going out of your way not to do them… well…

Keep it interesting– Easiest way in the world to keep readers from getting bored is not to be boring. A story that drags on and on before getting to the point doesn’t have good flow. If you’re telling a story, get to the story. If it’s a murder mystery, give me a body. If it’s sci fi, show me something amazing. If it’s a love story, show me passion on some level.

Keep it honest– Nothing will kill a story’s flow faster than something that reads as inherently false. People don’t give long speeches about love, honor, or duty in real life. Most of us stopped with the silly, mushy, giggly, fluttering eyelids in ninth grade. And it takes a lot for someone to stay angry for days, let alone years. Fake emotions and actions comes from fake people. Fake people are boring. See above for tips on boring your reader.

Keep it simple— If a writer tries to cram fifteen supporting characters, eight subplots, and the setup for four sequels into a 110 page screenplay, there’s not going to be a lot of room for a coherent story. If said writer decides to alternate each chapter, scene, or spoken line of dialogue between one of ten different time frames it’s going to keep knocking the reader out of the story as they try to keep track of what’s happening where and when to who. Don’t forget the basic goal of writing is to make the reader go on to the next page, not to baffle and confuse them.

Keep it smooth — If you’re picking obscure, awkward, or overly-long words just to show off your vocabulary, there’s a good chance you’re disrupting the flow of your own writing. It’s very impressive that you can picture what a titian-haired female with atramentous works of muted ink inlaid in her flesh looks like, but it’s much smoother, easier, and just as visual to tell us she’s a tattoed redhead.

Keep it relevant–One thing that pretty much always causes a stumble is when the writer adds in something completely irrelevant. Not when this character makes an odd movie reference or a cat walks by for no reason. No, the stumbling point is when the writer spends a paragraph or a page or more on something that has no bearing on the story whatsoever. When there’s an exacting description of the bus driver, a monologue about the morality of Israel vs. Palestine, or a flashback to fourth grade art class, odds are the flow has just been dammed up for no reason.

Watch your dialogue– You can get away with one character who talks like a robot and uses all those obscure, overly-long words I was just talking about. Possibly another who keeps slipping into a foreign language. Too much unnatural, stylized, or just plain bad dialogue brings the story (and the reader) to a screeching halt, though. Mechanics talk like mechanics. Investment bankers talk like investment bankers. Heavily armored mutants from Skaros talk like heavily… well, you get the point.

Have characters act in character.— On the same panel where she talked about flow, Drusilla Campbell commented that when the nun viciously kills a gardener is also when most people remember they have laundry they should be folding. Master snipers who can’t hit what they’re aiming at. Genius investigators who miss obvious clues. High school students who talk and act like 35-year-old investment bankers. If you’re not very, very careful, these are the characters who get books and screenplays tossed in the big left-hand pile.

Take it seriously– So, everyone makes a joke now and then to break the tension. But you should never be winking at the audience. Even if you’re doing camp or comedy, you need to be approaching your material as a sincere and honest effort on your own part. If you’re not, the reader will know and they won’t take you seriously. Not being taken seriously gets your manuscript put down in the left hand pile. After all, if the reader thinks the events in your writing don’t mean all that much to you, why should they care about them?

Eight tips for all of us to follow. Especially you. Yeah, you.

Next week’s little rant comes with an important message, so please be here.

Until then, go write.

Wow, this is overdue, isn’t it? I blame my editor, who for some reason I can’t fathom refuses to process my invoices until I’ve turned in my assignments. And I also blame my landlord, who is so insistent about getting rent every month.

No, that’s not fair. My landlord’s a pretty cool guy.

So, anyway, have you ever read a book you just can’t put down? One where you start reading just after lunch and suddenly realize it’s two in the morning? I actually sat down to read the script for the new Witch Mountain movie last week and found myself completely engrossed. Almost missed a meeting because I was so into it.

There’s a term some gurus like to toss around called flow. I first heard it used by a woman named Drusilla Campbell, writing coach and self-proclaimed Simpsons addict. Put at its simplest, flow is the readability of your writing. It’s the way every line, paragraph, and chapter rolls into the next and carries you along for the ride. It means your writing is smooth, slick, and slides better than Bruce Springsteen at halftime. Readers can’t help but keep reading because it’s actually easier to keep reading than to put the book down. A friend of mine calls them “beach books”—the ones that are great to occupy your mind when you’re sitting on your towel between dips, because you also don’t care if they get a bit wet or sandy.

Another way to define flow is in the negative light. A story that makes you stumble a lot doesn’t flow well at all. Clumsy, wooden dialogue and poor characterization doesn’t work either. Whenever a reader pauses to scratch their head or roll their eyes, that’s another bump in the road. If you’ve ever tried a book and just couldn’t get into it, odds are the flow sucked. You’d read, trip over a page or two, and put it back down.

A story…

Many years back I arranged a weekend away with the woman I was dating. It was off-season, so we got a little cabin up in Big Bear, California, for a decent price. Balcony with a view, fireplace, king size bed, and jacuzzi right there in the main room. What more could a couple of healthy kids in their mid-twenties ask for, right? We spent the day wandering through town, hitting a few used book stores, and I ended up finding a copy of The Relic by Douglas Preston and Lincoln Child.

It’s not a great book, by any means. The story is a bit clumsy, the characters are stereotypes, and there are a few plot holes you could fit a small car into. However, it does have fantastic flow. You couldn’t ask for a quicker read. There’s nothing here but action and story, and the pace builds beautifully as the narrative cuts back and forth between different groups of survivors trying to avoid the monster. I started reading it at a little cafe and picked it up again back at the cabin. As the evening progressed, my girlfriend put her own book down and announced she was going to fill up the big bathtub and maybe open that complimentary bottle of wine that came with the room. I told her I wanted to read a little more, but I’d probably be in soon.

Yes, that’s right. I had a very pretty, very naked Italian girl not-so-subtly asking me to join her in the jacuzzi with a bottle of wine and my response was “Hang on– just let me finish this chapter…”

That is writing you can’t put down.

Clive Cussler, author of Raise the Titanic and Sahara among other novels, once talked about his “potato chip chapters” in an interview. He makes a point of always writing short chapters with compelling endings so people feel the need to read “just one more.” His books may never win the Nobel or a Pulitzer, but he’s also published about thirty more of them than all of us here put together and people are always asking for more.

Now, for the record, I don’t believe flow is something you can easily work on and develop in your writing. It’s one of those X-factors, where you can manipulate each of the variables but still not affect the final outcome. For example, in Goju-ryu, one of the original three forms of karate developed in Okinawa, there’s a kata called senchin (no, trust me, this is another one of those brilliant metaphors). The instructors would teach all the moves to the white belt novices with the vague hope that by the time they became black belts, they’d have a vague understanding of how all the moves go together and could start to work on the form itself. The Okinawan masters understood that working on parts doesn’t help you master the whole. One day, it just all clicks.

So, a few things you can do to help the flow of a story. The different parts of the form, if you will.

Be interesting. Easiest way in the world to keep readers from getting bored—don’t be boring. If you’re telling a story, get to the story. If it’s a murder mystery, give me a body. If it’s sci fi, show me something amazing. If it’s a love story, show me passion on some level.

Be honest. People don’t give long speeches about love, honor, or duty in real life (unless you just got inaugurated). Most of us stopped with the silly, mushy, giggly, fluttering eyelids in ninth grade. And it takes a lot for someone to stay angry for days, let alone years. Fake emotion comes from fake people. Fake people are boring.

Watch your word choice. If you’re picking obscure, awkward, or overly-long words just to show off your vocabulary and create flowery descriptions, there’s a good chance you’re disrupting the flow of your writing. It’s really cool that you can picture what a glabrous Caucasian male with atramentous works of muted ink inlaid in his flesh looks like, but it’s much faster, smoother, and just as visual to tell us he’s a bald man with black tattoos.

Watch your dialogue. You can get away with one character who talks like a robot. Maybe another who keeps slipping into a foreign language. Possibly one more who uses all those obscure, overly-long words I was just talking about. Too much stylized, unnatural, or just plain bad dialogue brings things to a grinding halt, though. People should talk like people, cats should talk like cats, and heavily armored mutants from Skaros should talk like… well, you get the point.

Have characters act in character. Drusilla once commented that when the nun viciously kills a gardener, that’s also when most people remember that laundry they have to fold. Doctors who constantly break medical protocol, sharpshooters who can’t hit when they’re aiming at the main character, and geniuses who miss obvious clues. They’re the people who get books and screenplays tossed in the big left-hand pile.

Take it seriously. Everyone makes a joke now and then to break the tension, but things need to carry the correct amount of gravity in your writing. Rape, death, and unrequited love should not be things you casually bring up and then toss aside. If you’re kicking puppies, slaughtering camp counselors, or unleashing deadly plagues, these acts should be getting a very specific emotional response. When the reader thinks you’re not taking the events in your book seriously, well… why should they?

Again, tweaking these things does not guarantee that your writing will now have beautiful, compelling flow. But if you keep at it and continue to work on them, one day it’ll all just click.

Hey, it took over three years before my sensei would call what I was doing senchin.

Next week I wanted to talk a bit about love for the holiday weekend, but I’m not sure I’ll have a rant formulated by then. I may just have to be critical about things.

Until then, go write.

So, we’ve all been at this for… what, a couple months now? Well over a year since I made that very first post, by my count. Of course, I took some time off so I can hardly point the finger if you did, too.

Anyway, let’s not nitpick. There’s not much time before the New Year and we’ve got important stuff to discuss.

What have you written so far?

I don’t want you to talk about what you’ve planned. Not interested in any great ideas you’ve had. Don’t care who you had lunch with, what clever software you bought, or what fascinating research you’ve done.

The question is, what have you written?

Easy question, right? How many words have you set down on paper? How many new Word documents or Final Draft files have been created on your computer since you first looked at this half-witted, rambling set of rants I call a blog?

At the end of the day, this is the first marker you have to pass if you want to be a writer. You have to write.

If you’re still getting around to it, playing with a few things, or trying to find the right time when you’re in the right mood—you’re not a writer. You’re one of those folks in the coffee shop who wears a beret, puts on a fake accent, and loves to tell anyone who’ll listen about how everything put out by Hollywood and the big publishers is complete crap and, oh, the fantastic work you would share with the world except there’s no one else as brilliant you to understand it.

Okay, you’re probably not that bad…

Stop and ask yourself, though. If you keep looking here and you haven’t written anything… why not? What’s been holding you back? What are you waiting for? Because believe me, it never gets any easier. If you can’t find the resolve to even get started, do you really think you’re going to be able to keep at it long enough to finish a novel? Or a screenplay? Heck, even just a short story?

Again, what it all comes down to is the writing. If you want to call yourself a writer, you have to write. That’s it. Not just talk about it. Not buy books or software to help you do it. It doesn’t even count if you read ranty blogs about writing.

The joy of this little failing, though, is it’s easy to fix. Just go sit down at your desk and write. That’s all it takes.

In the past year or so since I started taking this collection of rants somewhat seriously, I’ve paid the rent by writing a few dozen articles for Creative Screenwriting (including one about comic book movies I was pretty happy with). I got to interview a bunch of heavyweight filmmakers like David Goyer, Kevin Smith, and Zack Snyder. I also did a bunch of film and DVD reviews (and let me save you the trouble—Scorpion King 2 is just not worth it. Don’t sink to that level. You deserve better, seriously).

I’ve also written four short stories, two of which are being published next year in two separate anthologies. At the moment I’m working on two more which are both past the halfway mark.

I placed in three different screenwriting contests with my script Reality Check. It’s sort of a sci-fi, metafiction, comedy film. With giant monsters and spaceships. And enough genre references to make a geek’s head explode.

And there was the novel, Ex-Heroes, which was written in its entirety this year. It started out as a mild rant to a friend and then mixed with a few superheroes I’d made up back in high school. I got the contract from the publisher today, and if all goes well it’ll be on book shelves, Amazon, and Oprah’s reading list sometime next year.

Oh. And I managed to post here two or three times a month pretty faithfully. Well, until the eggnog showed up and productivity dropped to a crawl.

Now, granted, I’m in that lucky small percentage of folks who does this full time, but really there’s no real excuse for not writing. Stephen King wrote Carrie while he was teaching high school. David Goyer wrote his first screenplay while he was fetching coffee and making copies as an office PA. Clive Cussler started his long-running Dirk Pitt series (Raise the Titanic ring a bell?) while he was doing ad copy.

We must write.

Make that your New Year’s resolution. A page a day. Just one page. A mere two hundred and fifty words if you double-space. If you can write one page a day, you’ll have a short story by the end of January, a screenplay by the time May rolls around, or a solid novel this time next year. All that, out of just one measly page a day.

Happy New Year to all nine of you reading this.

Now go write that page.