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Speculative Reminiscences: Weekly Recap for 2/9/2014

If you enjoyed "Tortoiseshell Cats Are Not Refundable" and are interested in finding out more about my online classes, click here!
If you enjoyed "Tortoiseshell Cats Are Not Refundable" and are interested in finding out more about my online classes, click here!
There’s plenty of room left in my upcoming online classes.

The first part of my Asimov’s story, All the Pretty Little Mermaids, is up online.
Kate Baker does a beautiful job with the audio version of “Tortoiseshell Cats are Not Refundable”

For Writers:

Books I talked about these books for You Should Read This:

Things of Note:

Timewasters!:

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"(On the writing F&SF workshop) Wanted to crow and say thanks: the first story I wrote after taking your class was my very first sale. Coincidence? nah….thanks so much."

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More From Moving from Idea to Draft

Photograph of a discarded dolphin toy.
Discovered in San Francisco on morning.
Having finished up the big April projects, one of the main things I want to get accomplished this month is getting the on-demand version of the Moving From Idea to Draft online writing class up along with the existing on-demand classes.

This has proven a somewhat monumental task, because the needs of the on-demand version are very different than those of the live class. In the live workshops, which are limited to eight students, everyone comes in with a two-three sentence description of their idea, and we work from there, adapting the material to what they’ve brought into class.

For the on-demand version, I started by trying to identify all the different ways there are into a story, a number that fluctuates in the realm of two dozen, depending on how finely I want to draw distinctions.

What I’ve done with each possible path is identify what it is, what it gives you as a starting point, things you will want to consider, possible pitfalls, next steps for fleshing it out, and a set of exercises (with basic and overachievers’ versions) to help explore the starting point. I finish, in what I am still worried may be an excessively egotistic move, by providing a story of mine that started in that way and some notes on its development from the starting point.

Here’s a recently finished example from the section on beginning with various fragments, specifically where to go when all you have is a scene and you’re not sure where it goes in the story (as opposed to knowing the beginning or ending of the story, which I cover separately).

What it is:

A scene is usually a moment in time that has come to you. It usually has strong visual elements, and something is usually happening, such as a battle, or has just happened in it (a battlefield after the fighting is done). It is probably something that would appear at a significant moment of a story and not be peripheral to it.

What it gives you:

  • Everything but the plot. But actually, that’s not true. What is the main source of tension in the scene, what is the conflict that is driving things? That is probably a version of the overall plot.
  • A scene gives you a strong slice of the world and all that is implicit in that, including history and culture.
  • If characters are included in your scene, they are usually doing or have just done something more purposeful than just milling about. You have some sense of their occupation, their economic circumstances, and often some nuances of their relationship.

What you need to think about:

  • Why would this scene matter? As noted earlier, it’s something that is significant to the story. Does it appear near the beginning and spark things into motion, or does it appear at the end and sum up the action of the story?
  • What are the circumstances behind the scene? If it’s a visual splendor, there is usually some technology or magic underlying it and creating it.
  • What is the context in which it’s being viewed? Who is seeing it and why are they there?
  • What is striking about the image to you and how can you best convey that to a reader?

photo of a beachPossible pitfalls:

  • Is your scene just some sort of natural vista? That’s going to be hard to develop something from. In that case, think about what might make that vista unusual or unexpected.
  • Make it more than just a pretty picture. Something has to happen in a story and moments where there is just description slow narrative down drastically. If the camera is lingering on something, make it something riveting. Use interesting and lively verbs as well as paying attention to sentence length and paragraphing in order to counteract the slowing of the motion.

Possible next steps:

  • Consider the viewpoint. Who is seeing the scene? What is their relationship to it? What do they know about it and what questions do they have about it?
  • Write the accompanying dialogue. What’s being said in the scene, and why does it matter? Who is speaking and why?
  • The moment may be brief or extended; generally the longer it lasts, the more it gives you. Think about what happens immediately before and after the scene that you have; should some of that be included in the story?

Exercises:

  1. Sometimes it’s helpful to expand the idea of the visual. How might you convey this scene in a graphic novel? Write it out as though it were a script. Overachievers: Write the entire story this way.
  2. Describe same scene with two different moods, preferably ones as different from each other as they can be, such as a joyous description of the scene versus a saddened or enraged one. Overachievers: Expand to 3-4 moods and/or combine several moods in a single description.
  3. Construct a mirror scene, a second scene in which many elements of the first are repeated, but different actions take place. Overachievers: Figure out where in the story your scene takes place and put your scene in a spot that would balance it in the story. For example, if your story is at the beginning, create one at the end, or vice versa. (If it falls in the middle, create something at either the beginning or end, but contemplate making the task even more complicated by doing both.)

Case study: Magnificent Pigs

For me the story “Magnificent Pigs” began with an image of its final scene, with the pigs flying away bearing Jilly’s bed into the night. Once I had that, I knew she was important, but also that she was not the protagonist. That would be whoever was watching her fly away into the night, which turned out to be her brother.

“Magnificent Pigs” is a good example of how, once you have a scene, you can begin to accrete details that flesh the story out. I had read about a recent art project that involved tattooing pigs; this became the way that they acquire their wings. A trip to the tattoo parlor with my friend Kris, who was getting a tattoo, lent some details for verisimilitude, and on the way back as we were discussing the story, she told me the anecdote about her mother telling her Charlotte was always alive in the book in order to console her (and gave me permission to use it in the story). To me, that’s a lovely little note, because of course it has a parallel — Jilly will also always be alive in the story.

This is an early story, which appeared in Strange Horizons, and was one of my SFWA qualifying sales. It appeared in audio form on Podcastle and inspired one of my favorite reviews, in which the reviewer talks about driving along with tears streaming down their face because they were listening to this story. That’s a heady thing for a writer and remains something I cherish.

Later edit: the class is now done and available online! Find it here.

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Clans in a Roleplaying World

by Cat Rambo (Sanvean of Armageddon and Krrx
This article originally appeared in the March 2000 issue of Imaginary Realities.

Lately, I have been contemplating how clans fit into role playing muds–particularly in getting players acclimated to the mud and helping them survive in that environment. The following conversation takes place between myself and a staff member of Armageddon mud who revamped a defunct clan, the T’zai Byn, and transformed it into an active and well-loved clan. The Byn is perhaps one of the best clans for new players, as well as an experience praised by the vast majority of its participants. (This is the first of three musings on the nature of clans, and what being in/running one means to a player/immortal, with the second discussing a cultural clan, where players begin the game having been born into the clan, and the third outlining some conclusions and problems with clans on role playing muds.)

Sanvean: First off, why were you interested in reviving the Byn, and what sort of clan did you want it to be?

Krrx: Probably the key thing is that I have a passion for the concept. It started when I played in the T’zai Byn a few years ago. I enjoyed playing in a fighting unit where you and your comrades faced death regularly, and had to work together to survive. While I have had very enjoyable times in other clans, I would still rate the Byn as the highlight.

Sanvean: What was the first step in getting them restarted?

Krrx: I outlined what the clan would be–what role and ‘flavor’ it would have. Of course, this was all documented. As the concept developed, the documentation changed. The documents today are quite different from how they were at first. I had ideas about what I wanted the clan to be like, but they didn’t ‘fit in’ as well as they could have with the game world. Nessalin had a big influence on how the clan turned out. The Byn are a lot more low class than I first planned, and the documents reflect that.

Sanvean: How did Nessalin change your intentions?

Krrx: My original vision was of an elite mercenary unit, with a lot of ‘high class’ things. Nessalin encouraged me towards a low class, gritty, down-and-dirty vision of the clan, which fit in better with Armageddon’s overall flavor.

Sanvean: As I recall, you were worried at first that they would not take off.

Krrx: Yes. When restarting the clan, it struck me that to achieve its goals effectively, the clan would have to have strict rules, and that people might not be able to handle it. One example is the regulation where members are not allowed into the ‘rinth, and are not allowed to leave Allanak unless certain criteria are met. The ‘rinth and the wilderness are two areas where a lot of new player characters die, because they insist on wandering in dangerous places alone. It thus makes sense, both in character and out of character, to have rules that limit going to those places.

Sanvean: Speaking of rules, one of the things you have done very well is making the Byn self-regulating. Did you plan on that?

Krrx: To an extent, yes. There are two points here. The first is that I have recruited clan leaders very, very carefully. The second is that because they are trustworthy players, they will help enforce the rules anyway.

Sanvean: When you are looking for players who will make good player character leaders, what do you look for, then?

Krrx: The key things I look for are: (1) out of character trustworthiness, (2) a very high standard of role playing, and (3) regular playing. Of course, it must be appropriate in character that the player character move into leadership. I can elaborate on those points if you like.

Sanvean: Please do!

Krrx: First, out of character trustworthiness. I have put a lot of work into this clan, and I will not put in leadership anyone who does not respect the work I put in, and is not willing to do likewise themselves. Another reason for this criterion is because I am not on-line 24 hours a day. If something happens, I need an honest, trustworthy viewpoint to rely on.

Sanvean: How do you know you can trust them?

Krrx: Trust is not something that can be guaranteed, but I do my best to screen players. I look at past player characters that the player has played. I chat to other staff members about them, particularly if the player played a player character in their clan. If someone is trustworthy, they tend to show it in the way they play the game.

Onto the second point–a very high standard of role playing. Armageddon is a role play intensive mud, with a very high overall standard of role playing. While many players entering the clan do not have this standard, it is a requirement for leadership. If people see leaders role playing well, they will tend to do likewise.

Sanvean: Good role playing seems to mean different things to different people. What is your definition?

Krrx: Good role playing? Thinking and acting in character. Immersing yourself in the role of your player character, and not just playing it like a robot in some shoot-em-up.

Onto the third point–regular playing. This does not mean leaders have to play Armageddon for 6 hours every day. I do, however, expect them to appear in the game fairly regularly. You can not lead if you are not around to lead. Common sense, really.

To sum up, one theme is that I have set limitations on the clan, with the idea that playing within those limitations actually gives players more freedom. It is why we have the law in real life. The law prevents idiots from ruining life for the rest of us. At face value, the law seems restrictive–you are not allowed to drive if you have drunk too much alcohol, for instance. But it is restrictive because: (1) it is logical and sensible, and (2) it protects the greater good–people generally do not like to get killed by drunk drivers.

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