Scene by Scene Story Building with Scrivener


Scene by Scene Story Building with Scrivener
Natalie Bright
An author’s process is fascinating to me. Some writers stay in a perfectly synchronized flow writing the same time every day, powering through that first draft until the end before editing. Some writers edit as they go, refusing to move on to the next chapter until the current chapter is perfect. And then the rest of us fall somewhere in between using a host of ideas about creativity, I think. For me, it’s a combination of all of the above. I don’t think there is a right or wrong way.
Take my current WIP for example, I knew the ending would be a snowstorm and that something will happen on Christmas Eve before I even knew the opening scene. So I wrote the ending first because it was hot on my mind and I couldn’t work on anything else until I got that scene out of my head. Only then did I begin to think about Chapter 1. I like having character profiles completed with an understanding of how the minor characters will relate to my main characters and why.
This book is coming together so fast, but it’s a scramble in my head. Characters are jumping out of nowhere. The only way I can keep things straight is to use Scrivener.
Each folder of text is labeled as a day of the week because I know that by week’s end my main character will be trapped in a barn in the middle of a Texas Panhandle norther. I just have to get her to that barn, and make her life as miserable as possible until then. The folders are labeled accordingly: Monday, Monday noon (a lunch scene), Monday late afternoon, Tuesday morning, and so forth. The title of each section of text is a chronological order with day of the week and location and notes about the action on that day, but that’s where any order of writing ends.
If I wake up with a specific scene in my head, I write that scene. I am three scenes into the snowstorm, but have no middle to my story. Seems crazy, right? Scrivener makes it so easy. If I wrote that action for a Tuesday but decide it should be happening on a Thursday, I can move that folder up in the order. And I can look at the corkboard view to determine the basic outline of my story and what is lacking. I try not to think about how crazy this book is coming together because in my day job everything is numbers, exact, and deadlines. The creative process is so far removed from anything I’ve ever done before.
Does anyone else write in a frenzy of chaos, where the story is coming so fast in your brain your fingers can’t type fast enough? Just wondering.
Stay safe and stay sane. Have a happy, productive week!

The Perfect Story


The Perfect Story

Natalie Bright

Generations of parents passed down bits of wisdom to their offspring in the form of stories before he could write those stories down. “Tell Me a Story” gave way to “Read Me A Story”; a long-held family tradition.

The story holds our attention because of conflict. At the core of every story are three basic plots for conflict.

Man against Man

Man against Nature

Man against Himself

The story that holds our attention whether it’s a blockbuster movie or bestselling book, contains a form of all three.

 

 

Designing a Compelling Synopsis


Designing a Compelling Synopsis

The following outline was a handout at a class by author DeWanna Pace, who was an amazing teacher. Not only can this be used to write a synopsis, but I’ve found it helpful to provide a big picture view of your story and plot line. This will keep you on track and help you reach the end with your main characters goals and motivation still in mind. It’s so easy to lose the overall structure of a story sometimes and get lost in words that are going nowhere. The story has to keep moving onward with every scene and every section of dialogue pushing the reader to the end.

The opening hook/logline:

Who is the main character:

Ordinary world for the main character:

Trigger event/inciting incident:

Motivation:

Conflict:

Goal:

Conflict:

Genre consideration:

What she learns:

Goal:

Outcome:

Motivation for her:

Conflict/resolution/ending/results:

DeWanna provided these additional tips for romance writers: beginning/jolt into action; complication/conflict; work place/historical setting; kiss; fight; realization of being in love; love scene; self-knowledge/changes in character; and HAPPY ENDING.
If you are writing romance use basic fiction matrix and overlay the romance/love story plotline.

CREATIVE NONFICTION


CREATIVE NONFICTION

By Natalie Bright

Real life stories seem to be everywhere, from reality television to magazines covering genuine people overcoming life’s obstacles. When you recount your life or if you have ever talked to someone about their life experiences, things are remembered in segments or scenes. Creative nonfiction takes those scenes, fills in the background, and introduces the characters in a narrative form.

“Creative nonfiction is the fastest growing genre,” says Lee Gutkind, award winning author and professor at the University of Pittsburgh and speaker at Frontiers in Writing in Amarillo.* He sites proof as evidenced by the decrease of fiction in popular magazines.  “More and more publications have cut back straight fiction into stories based on real life experiences.” he says. “Five years ago the adventure nonfictions were popular. Today we are in the middle of an information explosion and readers want more serious topics such as science, technology, and economics.”

When crafting creative nonfiction, story must come first. The substance of the information is important, but the story has to come before the factual information. It is the people and the story that will hook the reader.  Gutkind stresses that the writer must find the true scene. It’s got to be real and true with accurate information.

Once the real life story is uncovered, the first three paragraphs formulate your hook. “Your beginning must be fast, soon, now, best and strongest,” he says. “Sixty percent of the readers are lost at this point.  Your goal is to engage the reader at the very beginning and keep them turning pages.”

Gutkind recommends crafting your creative nonfiction story around a frame and focus. The frame is the container or overall narrative structure of your story. Your narrative should be presented in an interesting and orderly manner, the simplest being the chronological beginning to end scenario.

The next essential part of your article or book is the focus, or overall theme. What is the primary point that ties the elements of your story together? Another way to determine the focus is to ask yourself why you are writing this particular story. As the author, what do you want to say about this topic? The focus will also help you to determine which facts are essential to the story and to identify details that may need to be excluded.

One cannot forget an important building block of the creative nonfiction story which is the story itself, or the facts. Gutkind explains, “The story determines the research the writer must do.”

As you work on the ending, always keep your overall story structure in mind or frame. “Guide your reader’s to what it is you want them to believe but use evidence,” explains Gutkind. He says don’t worry about endings, as the perfect ending may only come after completion of the entire book.  “Lead the reader through your story. Don’t tell people what they want to know until you’re ready to dispense with them.”

Natalie Bright

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 For more information, The Art of Creative Nonfiction by Lee Gutkind

*Frontiers in Writing is a summer writing program sponsored by Panhandle Professional Writers. Mark your calendar and join us in Amarillo, June 29-30, 2012!