Category: start

I know I said I was going to talk about creepy clowns this week, but I couldn’t get the idea to gel quite right in my head. Plus then I got the social media question and had to deal with some other stuff. Anyway, I figured I’d backburner the clowns for now and talk about something more exciting for a minute.

Prologues.

Sorry, not prologues. Everyone knows prologues are awful and you should never, ever use them. Except, y’know, when they work. What I meant to say was Bond.

James Bond.

Let’s talk about James Bond and prologues.

If you think about it, prologues are kind of baked into the Bond film formula, especially the classic films. We’d always begin with James off on some little side mission, or maybe just finishing up a larger one, and then the opening credits would roll and we’d begin the actual movie. You know what I’m talking about, yes? It was the standard structure for decades, and even the new films kind of hold to it (although not quite as rigidly).

So why were these prologues so amazing that they were used through over twenty movies?

Three reasons…

First, it’s starting with action. By dropping us into the story right as a mission’s being brought to a close, it’s a perfect time for face-punching, explosions, gunfire, and bigger explosions. So not only are we starting with action, it’s action that has a clear purpose, a reason for its existence.

Second, the prologues always directly involve Bond. We don’t get long prologues about what other agents are doing, it’s about what our hero is doing. Right now. He’s part of the action, and usually the driving force behind it.

Third, and maybe most importantly, the Bond prologues always end up tying back to the main plot. Often directly to it. We get far enough in and learn that guy’s not dead after all, she was related to that other guy, or that other person got away with the goober that’ll let them do the thing in act three. So the prologues also serve as a bit of worldbuilding for the overall story and maybe some character introductions, too.

Three solid reasons the Bond prologues always worked.

And it’s not just Bond. This structure became so popular dozens of other action movies followed it. Hell, they’re still following it. Look at Thor: Ragnarok. Drops us right into the action with Thor winding up a mission to get Surtur’s crown, which ultimately ties back and becomes a key part of resolving the movie’s main plot.

So don’t be scared of doing prologues. Just make sure they follow Bond’s three simple rules. And if they don’t, well…

I was going to make some sort of “licensed to kill” joke here but everything I came up with was pathetic. Just pretend I said something fantastic. And accept there’s a good chance I’ll need to get rid of a prologue that doesn’t follow these guidelines.

Next time… I may double-post again next week. So there could be multiple topics.

Until then, go write.

Look, taking all the requests and granting wishes in the holiday season.

A few weeks back a friend of mine from the Burbank Writers Coffeehouse (and hey, have you bought anything from Dark Delicacies during this rough time?) asked me about when you begin a story. To use his example, if 98% of my story takes place on Mars, but we need to know just how our protagonist got to Mars… what do we do? Do we start on Mars and do flashbacks? Do we start on Earth and have a slow burn to our main story on Mars? Where does the story actually begin?

I’d been mulling over how to answer this for a few days when I sat down with my partner to watch a Christmas movie or three. And one of them had…a lot of beginnings. It had a frame story. Then an introductory story. Then we jumped ahead a couple years to (I guess) the main story. And each new beginning forced us to ask is this when the story starts…? And if so, what was all that earlier stuff for?

So, hey… let’s talk about beginnings.

First and foremost, this is all going to be kind of vague and loose. Not in a hand-wavey “don’t think about it” way, but just acknowledging the fact that every story is going to have different needs. If I (or anyone else) tried to set down a hard rule for “always begin here” we could all come up with a dozen or more well-known examples that break that rule. Every story (and every writer) is unique, which means every starting point is unique.

That said…

One of the first things we should be clear about is that “where to begin” is a structure question. We have the linear structure of the story—A to B to C to D—but we also have the narrative structure, the order I’m choosing to tell this story to my audience. A lot of the time A is an acceptable starting point, but it’s not uncommon to start at B or maybe even D. It depends on what I’m trying to do as the writer, and being able to recognize that telling a story in a different way creates a different story.

Second, there’s one or two things we can say with a lot of certainty shouldn’t be my starting point. I talked a while back about the problems a lot of prologues have, one of the big ones being that describe-and-die thing that tends to show up in a lot of B-movies. Not saying these things will never, ever work as beginnings but… wow, it’s going to be a tough hill to climb, y’know?

Third, I should really be clear when things happen in a story has a lot of bearing on how we receive those things. Doing this now looks brave, while doing it then just highlights my cowardice. Putting this here is somewhat interesting, putting it there makes people shriek with excitement. There’s probably a whole post’s worth of stuff in that to discuss, but for now I just need to consider what this starting point is (or isn’t) doing to some of these first bytes of information I’m giving my reader.

Fourth is kind of the unspoken one under all of these. I can’t really figure out  a good starting point until I’ve got a story more or less assembled. It might not be written out in full, but I should have at least a rough sense of my plot and story. Maybe it’s a rough outline or just a good set of character ideas and plot points in my head. I can’t decide where to start telling my story if I don’t have a story, right?

I think this step trips some folks up. They come up with a cool opening, or they want to mimic the structure of a cool opening they saw somewhere else, but ultimately this opening doesn’t work for the story they’re trying to tell. It might be the coolest hat ever, but it just doesn’t go with this outfit. And if I keep insisting it does, I won’t notice that my little Kangol cap would go perfectly with that tie and really help bring out some subtle colors in the jacket.

(writing tips and fashion tips!)

But all of this still leaves us trying to figure out what makes a good starting point. Again, it’s tough because our stories are all going to be unique to us. I can’t really say “do this” and think it’s going to work for… well, maybe for any of you.

So here’s two thing to try.

Thing One—look at that rough draft or outline or framework and just lop off the first chapter (or its equivalent). Whatever you were thinking of using as a starting point, go past it and start there instead. As I mentioned above, a lot of us develop bad storytelling habits because we got hit too many times with the “start with action” stick. So our gut reaction is to create an artificial starting point that has a boxing match or a car chase or a two-headed shark attack.

And a lot of the time, if I snip off that artificial opening, what I’m left with is still a very solid opening—usually a better one. It gets me right to my characters. It gives me a stronger dramatic structure. It works better for reveals. Does it always work this way? Not always, but a surprising amount of the time… maybe 83%…

Thing Two—I’ve mentioned the idea of an elevator pitch before. Lucky me, I’ve just ended up in an elevator with a high-powered Big Five (is it Big Four now?) editor. So I’ve got one, maybe two sentences tops, to tell them my story and get them interested. No run-ons or rambling. I’m going to get three breaths, tops.

Do that right now—how would you pitch me your story in one sentence? Yes, now I’m the high-powered editor. Surprise twist!

Where did you start your pitch? Did you skip over anything? And if something wasn’t important enough to mention in the big sales speech… does it need to be there? 

And in both of these, please keep in mind I’m not saying I won’t ever need these bits I’m cutting loose in my story. They might be things to come out in backstory or flashbacks. I’m just saying maybe I don’t need to start my story with them.

 So go forth and find new beginnings! Or confirm the old ones are solid. That’s cool, too. Just as long as you’ve got a great opening.

Next time…

Holy crap. Next time is Christmas Eve. I’ve got to get these last few cards in the mail. And wrap stuff.

But maybe next week, as we’re all settling down for our long winter’s nap, we could talk about something seasonal. 

Like Die Hard.

Until then, go write.

How’s everyone’s week been? Anything interesting going on in the world?

Today I’d like to dissect one of those chestnuts of bad advice that keeps floating around the internet and showing up in different writing-related groups. Well, it’s not so much bad as really misunderstood. Which is what happens when a lot of these things get distilled down to quick little buzzphrases instead of, y’know… explained.

So, an explanation.

The advice in question is start with action. I’m sure you’ve heard it once or thrice before. I’ve mentioned it here a couple of times and why it isn’t the best rule to follow.

Because starting my story with action doesn’t mean explosions and automatic weapons firing.  We don’t need to have dinosaurs in mech suits fighting vampire kaiju while SEAL team sixteen  (the best of the best of the best) blows up the Washington Monumentto take out the ninja lizard men trying to steal the Declaration of Independence. No boxing matches, no car chases, none of whatever other type of wild action scene might grab the reader immediately.

Just to be clear, there’s nothing inherently wrong with any of those things. But it should be clear there’s a lot of genres they won’t work in (although I do think a lot of Hallmark’s Christmas rom-coms could be improved by introducing kaiju). Heck, even in genres where this kind of high energy intro could work, they might not fit in the particular story I’m telling.

Trying to force these high-action openings into every story is the misunderstanding I mentioned up above. It makes for a lot of clumsy openings that often don’t match up with the tone or plot of the actual narrative. When we say a story should start with action, what we’re really saying is that characters should be active from the beginning. A story should start with something happening.

But… and this is why I’m revisiting this…

I’ve had a few people point out to me (with a few different tones to their voices) that lots of things count as something happening. Right now I’m typing. And pausing to re-read a bit as I go. And digesting lunch. And breathing. I mean, technically, sleeping is me “doing something.” So is walking from room to room. Taking a shower. Lying in bed staring at the ceiling, deep in thought. Yeah, those are all actions, no question. But none of these make for really compelling openings. They’re not exactly what I’d use to kick off a book.

So we don’t need to begin with gigantic, all-caps ACTION, but we also don’t want to begin with a light breeze making a few strands of my character’s hair drift side to side while she naps. 

I’ve been trying to think of a simple way to explain this better, that level of action that falls between explosions and mundane. And the other day I came up with what I think is a pretty solid one. With two small provisos.

So here’s your new rule to replace start with action.

Start with someone’s life changing.

This sounds big, but hear me out. It doesn’t need to be a permanent, scarring change. It doesn’t need to be gigantic. It just needs to disrupt the flow of their life to some level. It should be something that they notice happening if it’s going to be worth us using it as a starting point for the story.

Wakko finding out he’s got a flat tire when he’s heading into work is a change to his life—it’s going to affect his whole day. Same with Dot spilling her coffee and having to stop and clean it up. Phoebe finding out her ex thought she was “comfortably dull” (yes, no matter what they were doing) is going to change her life. And to use an example I’ve mentioned before, Sam Wilson realizing the guy he’s trying to run laps against is Captain Americais definitely going to make some ripples in his life.

Keep in mind—the big change in Sam’s life comes much later, when Steve and Natasha show up at his place looking for a place to hide and learn Sam has some skills of his own. But the action of that opening scene… Sam’s just met an actual living legend and had a moment of bonding over their experience as returning combat vets. If nothing else ever happened, if Sam and Steve never saw each other again, we still know this moment would’ve had some effect on Sam, for the rest of that day if nothing else.

Simple enough, yes?

Okay, here are my two little additions/provisos to this rule.

One is that this life changing event doesn’t need to be connected to my main plot in any way. Or even a subplot. It can be, sure, but it doesn’t have to be. It’s more about giving us a first impression of the character. Wakko’s flat tire doesn’t need to lead to the bigger overall story. The opinions of Phoebe’s ex don’t have to tie into a larger arc about relationships. And honestly, if you snipped that morning jog scene off The Winter Soldier and just began with Cap rescuing the ship at sea… what would really change, plot-wise? 

Two is a little trickier, but… it’s definitely worth keeping in mind. I’ve blathered on a couple times about the idea that characters should be used to things in their world. To the point that what would be amazing to us might be almost boring to them. With that in mind, I can start with something that might not be life-changing for the character as long as it would definitely be for the reader. Taking a gravity elevator-shuttle to the Moon is normal for Caliand Kurt, maybe even boring, but we can still appreciate the idea of kids bouncing around the cabin as people glide through the aisles and over seats. It’s nothing to them, but it’s something to us.

And one more time, just to be clear, there’s nothing wrong with explosions, car chases, and vampire kaiju. There’s absolutely nothing wrong with dinosaurs in mech suits. But these big action pieces need to work with my story as a whole. They shouldn’t be something I just wrestled into place so I can say my story starts with action.

Look at the opening of your book. Does it change somebody’s life? Because that’s the big goal here, right…?

Next time, I’d like to hit you with a rock.

Until then… go write.