Sunday, 19 March 2017

Antagonism - Connect With Your Dark Side...

If there’s one thing novice writers get wrong more than anything else, it’s the bad side of their story. Why? Because we are good people. We don't like or relate to the murderers, rapists and manipulative psychopaths that we end up writing about. I would go further: as writers, we are probably even more pacific and sensitive than the average person and even less capable of handling confrontation. We are advised to write from the heart, so we do. Which means we naturally side with our good guys and give our bad guys a hard time from the start. The result is that from page one, we are starving our bad guys of the oxygen they need for success... and instantly consigning our stories to the bin as the forces of antagonism are reduced to nought in the eyes of our readers.
Unless you have suffered yourself, doing justice to the negative side of your story is not going to come naturally and you will need to work ten times harder to bring the antagonism to life in your work. So you must use all your energy and imagination to make your forces of antagonism convincing, and your bad guy bad. Get right into him and let him take you over (I'm assuming it's a 'him'...). Somewhere in your pure heart is a little black spot. The bastard you could have been if your life had been different. Try to connect with it. Be honest - you have been resentful. You have been jealous. You don’t like to admit it, but you have manipulated. You’ve felt hatred. You know someone you felt you could have murdered, even if only in your darkest moments. Try to scare yourself with your own characters. They all reflect you in some small way, so you must battle with your subconscious to imbue them with evil that has the same levels of integrity you will happily give your good guys. If you don’t, your story will be weak.
Why put myself through that?
Not all stories have antagonism or bad guys or even conflict (that is for another blog another day). Assuming your story does have forces of antagonism, as a writer, look how hard you make life for yourself if these forces are weak. Your hero can only be as heroic as the effort it takes him to defeat the bad guys, so you must give your bad guys all the power they need to appear unassailable, and from there you must make them even more powerful – apparently beyond defeat – and weaken your good guys to the point where it seems impossible for the bad guys to lose. From there, your protagonist is going to have to be pretty damn special to win out – and I for one would like to see how he’s going to do it.
Every cinema goer knows, from the moment they see the poster, who is going to win and who is going to lose. They’ve seen enough movies to take their seat feeling pretty confident, deep down, that things will end up fine for the hero. When things get a little tense for my children in the cinema, I whisper to them that everything is going to be fine. I promise them that the good guy will win in the end. And I am always right. Your job, as a screenwriter, is to make me squirm. Make me fear that on top of the amazing plot you are about to deliver, I’ve also just lied to my children, because maybe – just maybe – this is the time when the good guy isn’t actually going to make it. And achieving that is totally dependent upon your ability to deliver powerful, believable, convincing and (almost) unassailable forces of antagonism. 
Now, get out there, and be very, VERY BAD!!
PS. My turn to be bad - shamelessly advertising my humorous travel book. 
This is the latest review comment: "You really are a very special writer and Ocean Boulevard is probably the best read I’ve ever had on holiday... truly excellent.
More amazing reviews at amazon: 
If you've enjoyed my blog, why not read about my personal true life badness travelling the world working on ships?! AND see if a story consultant can actually tell a good story! 

Monday, 16 January 2017

Top Ten Tips for Writing Stories that Grip

Over time, I have been fortunate to work with some famous people who have made their money from stories (for details, see the In Conversation With... section of The Story Book). 

From the insights of these luminaries, from my own experiences getting published, from my work as a story consultant, from working on films and from undertaking my PhD in narrative theory, and of course from writing The Story Bookhere - in no particular order - are my top ten tips for awesome stories!

1) Don't try to learn 'how to write'. No course or method or guru can tell you how to write. There's only one person who can tell your story your way, and that's YOU! Those who make it have self-confidence in writing what THEY think is great. Yes, learn the primary colours of story - where the power comes from, how they work, why they exist, how they resonate with the human mind, what factors are present in all great stories - then use that understanding to get the most you possibly can out of the story ideas your heart gives you. Specifically...

2) ...understand story structure, because it is part of the craft, but structure is NOT a starting point for story development, so don't let it drive you. Let your creative brilliance run wild and free and write from the heart in creating your story, then later, use your understanding of structure in problem-solving, tightening and optimising the story. Never use one of those formulaic structural methods as a starting point or a rule-base for development. 

3) Write every day. Make it a priority, build it into your schedule and discipline yourself to it. I KNOW that is hard - believe me, I've been there - so set yourself a manageable word count and make sure you achieve that. Just 500 words a day - that's a single side of A4 - will get you 100,000 words in 7 months (and that is with Sundays off. Luxury!). Follow that with five months of editing and polishing - that's a book in a year, no problem. Self-discipline, folks. Yes, being a writer is glamorous to talk about and a romantic place for dreamers, but the ones who make it tend to work very hard, are professional and productive. Don't wait for that mythical year off you're promising yourself. Don't wait for that writers' retreat or the day you'll be ready. Every successful writer gets their head down, and writes every day. 

4) Sadly, if you want commercial success, you must also understand GENRE. It's far more important than it should be and it's critical you understand why. I wish it wasn't true - but it is. Of course, if you don't care about commercial success and simply want to be true to your art - brilliant. Ignore genre. But if you want to sell your material, it's a big factor. See my blog on Why Genre is Important to Success .

5) Most of all, understand SUBTEXT. And understand the creative behaviours that embed subtext. Subtext is the substance of story. If you have no subtext you have no story. The more subtext there is, the better the story is perceived to be by the audience. Fact. See my blog on Subtext - the Most Critical Tool in the Story Teller's Box .

6) Don't think about 'plot' and 'character' as separate things. What a character does when they take action will define their true character and what a character does when they take action will also provide the action. Think more in terms of character behaviours as these define both plot and character. Get this unity of plot and character, and your story telling will be tight, cohesive and dimensional. See my blog post on Character and Plot - One and the Same Thing.

7) Understand Character Growth. All the greatest stories show us a character learning and changing and growing through the experiences of the story events (or failing to learn and grow, but the lessons are still evident to us as readers/viewer). Try to ensure that at least one character is offered the opportunity to climb the ladder of life. You will find that this growth is actually the true power of your real story, and this is what resonates with your  audience and elevates your story. Character growth - the story element that defines every great story. See my blogpost on The Subtext of Character Growth. Coupled with this...

8) ...true character only emerges when you put your protagonists under pressure to make difficult decisions. For a mountaineer to climb a mountain might be a huge challenge, but  he'd be delighted to do it, so the conflict is not meaningful and therefore the story is not meaningful. However, for a mountaineer to climb a mountain to save a stranded friend... risking his own life whilst his children are begging him not to go and his wife says she’s leaving if he does... that is a story. Pressure comes from dilemma, not odds. A choice of evils is more story-powerful than the most spectacular of massive intergalactic battles. Conflict is often found more in the moral stance and the fight for that moral position than from fielding a billion storm-troopers or a psychotic Dr Evil. See my post on Morality in Stories for more. 

9) Be professional and unemotional in marketing your book. It's really important to learn to handle rejection (there WILL be rejection...) otherwise you will never send anything off. I know many, many writers who develop their stories... then develop and develop some more... and the real reason they never finish is because they are so scared of the Judgement Day that comes the moment they admit it’s done. There's no easy way. You have to grasp the nettle and get on with it. Put your ego to one side (the vast majority of rejections are nothing to do with your ability or the literary merit of your story); dig deep, be strong, and put it out there. When I asked John Sullivan for his advice for aspiring writers he gave me this series of steps that should define a writer’s life:

    A) Write the best stuff you can.
    B) Send it off.
    C) Go to A.

It ain't rocket science! But you do need to be brave, or you won't get anywhere. And once it's gone, the worst thing you can do is sit wringing your hands by the letterbox, desperate for a response. Send it off and move on! Fire and forget! Get busy with the next one, and when rejection comes it won't bother you so much; you'll be deeply involved in the new stuff and that makes handling rejection OR success that much easier. 

As soon as your material is good enough, you WILL get a deal. The commercial world is *desperate* for great stories. Do something better than most and it will find a home. Are you productive? Are YOU sending stuff off? Or are you procrastinating and trying to wait until everything is perfect?  

9.a.) I know I said 10 things, but I have one more important point here. if you want to make films and be a scriptwriter... you could barely be making life harder for yourself. Don't do it. Write books or plays first. The film industry is a walled garden, and the investment in a film is so large, they much prefer it if the stories they are considering have been validated by other media first. Memento and The Shawshank Redemption were both short stories published in magazines before they became mega-movies. The Hitchiker's Guide and War of the Worlds were radio plays. Andy Weir's The Martian was self-published on his website before it became a Ridley Scott classic. The vast majority of movies are books first. Getting published or getting a radio play broadcast or a theatre play on a town stage is far, far easier than trying to get a script away. 

10) All these things are addressed in detail in The Story Book, of course. Oh, before I go, I think there might be just one more tip we could all benefit from...

...Get off the internet and go do some writing!

Seriously... why are you still here?! Turn off the wifi! Go do some work!

Very best of luck with your stories. Oh, and call me when you get a film deal! 😉