Anyone who knows me will tell you that I love the television show LOST. Everything about the show was great, from the unique plot and storytelling elements to the dynamic characters. In fact, I even wrote a chapter for the book LOST Thought about how the writers of the show used the power of storytelling so well to accomplish this feat. It's a show I enjoy discussing, watching, thinking about, and writing about.
That's why I want to write about it some more. This time, instead of focusing on the Story elements of the show, I want to examine some of the spiritual themes it addressed. I began thinking about how some viewers were disappointed after viewing the final episode, expecting a sci-fi element to come into play, being shocked by the more "spiritual" elements. However, as Damon Lindelof and Carlton Cuse, the showrunners, would tell us, LOST is, at its heart, a very spiritual show. You can see these elements very clearly from the first season and can trace them through the entire series.
That's what I plan to do. Though the book will examine spiritual themes throughout the show, my plan is to write about them from a more objective point of view. I don't want to try and "fit" the show into any particular religious mold, as this was never the goal of the show itself. At the same time, I do not plan to examine every since instance of religion popping up in the show. Instead, I want to look at the big picture.
I've already outlined the basic elements of the show that I will write about. Ironically, there are sixteen different topics I will address. And now I need to start getting into the details, organizing them into clear, coherent, and captivating chapters.
Although I love writing fiction, I also love analyzing and discussing movies and television. I've done plenty of nonfiction writing before, and only a few projects with this scope. It's exciting to start, and I know it will be well-worth the journey.
Sunday, March 25, 2012
Thursday, March 22, 2012
The Muppets Meet The Blake Snyder Beat Sheet
Story structure is crucial. In fact, it doesn't really matter how many CGI effects there are in a film; if the structure is lacking, we walk away feeling cheated. All great films adhere to structure. And as I've written before, the structure that I have seen in all great films (and even novels) is from the Blake Snyder book Save the Cat! The Blake Snyder Beat Sheet helps break down stories in all genres, and it demonstrates why movies resonate with us the way they do. In fact, whenever I watch a movie now, my mind starts to subconsciously break it down.
Note: This blog post is not officially authorized by the folks at Blake Snyder Enterprises. To check out this fantastic book series, go to the official web site or to Amazon.com.
Opening Image: The movie opens with a montage of old, grainy family filmstrips. We meet Walter, the main character of the film, also a Muppet. He lives with his brother Gary, and the two are best friends. We learn through the filmstrip that Walter and Gary truly bonded after they discovered The Muppets and began watching that every night.
Theme Stated: Walter and Gary are very close and do everything together, and are eveb preparing to take a trip together with Mary, Gary's girlfriend, for their ten-year anniversary. As they walk down the street, they sing a song, the chorus of which declares, "Life's a happy song when there's someone by your side to sing along." This is what the movie is about, and what the characters will discover: who is important in our lives, and how are we incomplete without them?
Set-Up: We learn from the flashbacks that Walter has always struggled with his identity, and that Gary has always been there by his side. Living in Smallville, Kansas, Gary stays by Walter's side, even at the expense of his relationship with Mary. Mary doesn't mind it when Walter is invited to tag along on their trip to Hollywood, but secretly she wants some time with Gary where Walter won't be there. Even so, she cares about Walter and his obsession with the Muppets. As the three characters prepare to leave for Hollywood (finishing their musical number, of course), we learn a little bit about the small town they hail from. This is where Walter's journey begins... but will it end here?
Catalyst: While on a tour of the now-defunct Muppets studio, Walter sneaks into Kermit's old office. While there, he overhears Tex Richman's secret plan to tear down the Muppet theater. The oil baron knows there's oil under it... he can smell it (plus the geological survey confirmed it). Walter realizes that the stakes have just been raised on his vacation. He must find Kermit and try to save the theater.
Debate: Walter tells Gary and Mary about what he overheard, and they discuss what to do. Can they find Kermit in time? Will he listen? The three finally find his Bel-Air estate, and share the information with him. Kermit doesn't think he will be able to bring the gang back together, let alone raise the ten million dollars to keep the theater. Reminiscing about the past, Kermit decides that he will at least try. In a throwback to the first Muppet film, they go on a driving montage to try and convince the other Muppets to come back, joining together in an effort to save the Muppet Theater. We see the doubts of Fozzie, who has found a new career with the Moopets, and Gonzo, the reluctant plumbing magnate who owns a fantastic executive line of used toilets. Ultimately, though, they decide to join Kermit and the other characters.
Break Into Two: After a little effort and a lot of driving, we see that the Muppets are back together. Walter and his friends enter a world that is completely the opposite of his previous life. In the beginning of the story, we saw the thesis of his old world. This one is his antithesis, the "backwards" world for him.
B Story: Not everyone's back, though... there's still the touchy subject of Miss Piggy, Kermit's romantic interest. The gang finds her in Paris, and the flame is rekindled between Kermit and Piggy. However, there is some animosity there. Something's not right. She refuses to come back. At the same time, there is another B story that revolves around Mary and Gary's relationship. Mary wanted to go on a vacation to celebrate her anniversary with Gary, but instead, it has turned into helping Walter once again. Will she ever have Gary to herself?
Midpoint: Finally, though, Miss Piggy comes back, deciding to help the gang, even though there is still some animosity toward Kermit, who won't admit that he needs her to make it all work. It seems like a victory, though it's a "false victory," for we know that Tex Richman is not going to give up in his quest to get the property from the Muppets. The day for the telethon is closing in quickly, and a "time clock" appears that raise the stakes.
Bad Guys Close In: Rehearsals aren't going so well. They're short an act, Kermit can't seem to find a celebrity guest host, and everything seems to be closing in on them. The network executive appears and watches the show rehearsals, and says that if Kermit can't find a celebrity guest host, she will not air the telethon. Walter is unsure of where he fits in; Kermit asks him to do an act for the show, but he doesn't think he has any talents. Kermit is neglecting Piggy, who refuses to work with him, and Gary is so devoted to helping the Muppets that he doesn't do any of the sight-seeing with Mary that he had promised. Miss Piggy's and Mary's musical number "Me Party" sums up the BGCI section well. Unless something happens, all will be lost...
All is Lost: ... and it is. Unable to find a guest host, Kermit resigns to the fact that the theater can't be saved. He appeals to Tex Richman's softer side, finding that it doesn't exist. The theater is gone. To make matters worse, not only will Richman get the rights to the theater, but also to the Muppets' name. The "whiff of death" is in the air as Kermit and friends watch the death of their name and of their close-knit family. At the same time, Gary is so committed to helping Walter that he misses the anniversary dinner with Mary, who leaves him a note at the motel saying she is going home to Smallville. The A story of saving the theater crosses with the B story, and there is another "whiff of death" as Gary fears that his relationship with Mary is gone.
Dark Night of the Soul: Kermit resigns to the fact that his dreams are finished. He's depressed and has given up, and his friends can sense it. The "victory" at the Midpoint was indeed false. Walter and Gary also have a Dark Night of the Soul. Gary sings in response to Mary's note, "Am I a Man, or am I a Muppet?" Walter, too, searches for his own identity, joining Gary in the song. Both are questioning where they find themselves.
Break Into Three: Ultimately, at the end of the song, Walter and Gary make their decision. They have a sense of self-identity, and they know what they need to do. Miss Piggy also knows what she needs to do: at all costs, she must find a celebrity host for the telethon. Resolved in this endeavor, they kidnap Jack Black. The A story and the B story finally meet as Walter discovers his destiny, Gary goes to Smallville to reunite with Mary, and the Muppets try to save the theater.
Finale: With a celebrity guest host, the show can go on! The Muppets put on a show that seems like it will fail at first, but slowly gains more success, and the calls start to pour in. Kermit reconciles with Miss Piggy, finally admitting that he needs her, and together they perform a rendition of "The Rainbow Connection" involving all the Muppets. It looks like they may be able to save the theater after all! Walter even performs an act at the end, discovering his talent after some prompting by the newly-returned Gary (traveling by map, of course). Tex Richman tries to thwart their efforts, and succeeds as the Muppets do not make the goal. In the end, they lose the theater, as well as their name. As they leave, Kermit addresses the group, saying that as long as they're together, it doesn't matter that they failed; they failed together. As long as you're with those you love in life, that is all that matters.
Final Image: As they leave the theater, defeated, they are greeted by throngs of fans. The theme comes full circle as we achieve synthesis: they sing a reprise of "Life's a Happy Song," demonstrating that togetherness is what matters most.
After watching one of my favorite films of the year, The Muppets, I saw how even this family-fun film adheres to the principles of great storytelling. Perhaps this is why the film resonated with audiences so well. And so below, I have broken the film down according to the Blake Snyder Beat Sheet, which I feel is one of the most effective story structures I have ever come across. The funny thing I noticed is that many of the big "beats" were revealed through musical numbers. So read on, but beware, though, if you have not see the movie: there are spoilers ahead, and this is definitely a film to see on your own first to experience its magic.
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| All three of Blake Snyder's excellent books.. |
Opening Image: The movie opens with a montage of old, grainy family filmstrips. We meet Walter, the main character of the film, also a Muppet. He lives with his brother Gary, and the two are best friends. We learn through the filmstrip that Walter and Gary truly bonded after they discovered The Muppets and began watching that every night.
Theme Stated: Walter and Gary are very close and do everything together, and are eveb preparing to take a trip together with Mary, Gary's girlfriend, for their ten-year anniversary. As they walk down the street, they sing a song, the chorus of which declares, "Life's a happy song when there's someone by your side to sing along." This is what the movie is about, and what the characters will discover: who is important in our lives, and how are we incomplete without them?
Set-Up: We learn from the flashbacks that Walter has always struggled with his identity, and that Gary has always been there by his side. Living in Smallville, Kansas, Gary stays by Walter's side, even at the expense of his relationship with Mary. Mary doesn't mind it when Walter is invited to tag along on their trip to Hollywood, but secretly she wants some time with Gary where Walter won't be there. Even so, she cares about Walter and his obsession with the Muppets. As the three characters prepare to leave for Hollywood (finishing their musical number, of course), we learn a little bit about the small town they hail from. This is where Walter's journey begins... but will it end here?
Catalyst: While on a tour of the now-defunct Muppets studio, Walter sneaks into Kermit's old office. While there, he overhears Tex Richman's secret plan to tear down the Muppet theater. The oil baron knows there's oil under it... he can smell it (plus the geological survey confirmed it). Walter realizes that the stakes have just been raised on his vacation. He must find Kermit and try to save the theater.
Debate: Walter tells Gary and Mary about what he overheard, and they discuss what to do. Can they find Kermit in time? Will he listen? The three finally find his Bel-Air estate, and share the information with him. Kermit doesn't think he will be able to bring the gang back together, let alone raise the ten million dollars to keep the theater. Reminiscing about the past, Kermit decides that he will at least try. In a throwback to the first Muppet film, they go on a driving montage to try and convince the other Muppets to come back, joining together in an effort to save the Muppet Theater. We see the doubts of Fozzie, who has found a new career with the Moopets, and Gonzo, the reluctant plumbing magnate who owns a fantastic executive line of used toilets. Ultimately, though, they decide to join Kermit and the other characters.
Break Into Two: After a little effort and a lot of driving, we see that the Muppets are back together. Walter and his friends enter a world that is completely the opposite of his previous life. In the beginning of the story, we saw the thesis of his old world. This one is his antithesis, the "backwards" world for him.
B Story: Not everyone's back, though... there's still the touchy subject of Miss Piggy, Kermit's romantic interest. The gang finds her in Paris, and the flame is rekindled between Kermit and Piggy. However, there is some animosity there. Something's not right. She refuses to come back. At the same time, there is another B story that revolves around Mary and Gary's relationship. Mary wanted to go on a vacation to celebrate her anniversary with Gary, but instead, it has turned into helping Walter once again. Will she ever have Gary to herself?
Fun & Games: Now that the gang is back together, they need to find a
way to save the Muppet Theater. The fun and games begin with the "promise of the premise." This is a Muppet movie, so we expect to see a lot of fun antics, songs, and zaniness. And the film certainly doesn't disappoint. We watch them struggle to put their act together, to find a way to raise the money via a Muppet telethon, and indulge in a bit of nostalgia along the way. They even find a replacement for Miss Piggy, the Moopet Miss Poogy, though she seems a bit "rougher around the edges." But alas, as they plan and practice, it seems that they need more to make this work.
Midpoint: Finally, though, Miss Piggy comes back, deciding to help the gang, even though there is still some animosity toward Kermit, who won't admit that he needs her to make it all work. It seems like a victory, though it's a "false victory," for we know that Tex Richman is not going to give up in his quest to get the property from the Muppets. The day for the telethon is closing in quickly, and a "time clock" appears that raise the stakes.
Bad Guys Close In: Rehearsals aren't going so well. They're short an act, Kermit can't seem to find a celebrity guest host, and everything seems to be closing in on them. The network executive appears and watches the show rehearsals, and says that if Kermit can't find a celebrity guest host, she will not air the telethon. Walter is unsure of where he fits in; Kermit asks him to do an act for the show, but he doesn't think he has any talents. Kermit is neglecting Piggy, who refuses to work with him, and Gary is so devoted to helping the Muppets that he doesn't do any of the sight-seeing with Mary that he had promised. Miss Piggy's and Mary's musical number "Me Party" sums up the BGCI section well. Unless something happens, all will be lost...
All is Lost: ... and it is. Unable to find a guest host, Kermit resigns to the fact that the theater can't be saved. He appeals to Tex Richman's softer side, finding that it doesn't exist. The theater is gone. To make matters worse, not only will Richman get the rights to the theater, but also to the Muppets' name. The "whiff of death" is in the air as Kermit and friends watch the death of their name and of their close-knit family. At the same time, Gary is so committed to helping Walter that he misses the anniversary dinner with Mary, who leaves him a note at the motel saying she is going home to Smallville. The A story of saving the theater crosses with the B story, and there is another "whiff of death" as Gary fears that his relationship with Mary is gone.
Dark Night of the Soul: Kermit resigns to the fact that his dreams are finished. He's depressed and has given up, and his friends can sense it. The "victory" at the Midpoint was indeed false. Walter and Gary also have a Dark Night of the Soul. Gary sings in response to Mary's note, "Am I a Man, or am I a Muppet?" Walter, too, searches for his own identity, joining Gary in the song. Both are questioning where they find themselves.
Break Into Three: Ultimately, at the end of the song, Walter and Gary make their decision. They have a sense of self-identity, and they know what they need to do. Miss Piggy also knows what she needs to do: at all costs, she must find a celebrity host for the telethon. Resolved in this endeavor, they kidnap Jack Black. The A story and the B story finally meet as Walter discovers his destiny, Gary goes to Smallville to reunite with Mary, and the Muppets try to save the theater.
Finale: With a celebrity guest host, the show can go on! The Muppets put on a show that seems like it will fail at first, but slowly gains more success, and the calls start to pour in. Kermit reconciles with Miss Piggy, finally admitting that he needs her, and together they perform a rendition of "The Rainbow Connection" involving all the Muppets. It looks like they may be able to save the theater after all! Walter even performs an act at the end, discovering his talent after some prompting by the newly-returned Gary (traveling by map, of course). Tex Richman tries to thwart their efforts, and succeeds as the Muppets do not make the goal. In the end, they lose the theater, as well as their name. As they leave, Kermit addresses the group, saying that as long as they're together, it doesn't matter that they failed; they failed together. As long as you're with those you love in life, that is all that matters.
Final Image: As they leave the theater, defeated, they are greeted by throngs of fans. The theme comes full circle as we achieve synthesis: they sing a reprise of "Life's a Happy Song," demonstrating that togetherness is what matters most.
Thursday, March 15, 2012
The Hero's Journey: Rise of the Planet of the Apes
Can an ape be a Hero on a Journey, just like a human character? Is a chimpanzee capable of self-realization and a transformation like in the myths of old? For Caesar in the movie Rise of the Planet of the Apes, it can. Read on, but beware: if you haven't seen this movie, spoilers lie ahead.
1. Ordinary World: Caesar is living with his caretaker, Will. Because he was born in a laboratory, Caesar's Ordinary World is in a normal home, living with humans. Will and his father take care of Caesar, letting him have free reign of the house. They take him to the Redwoods, allowing him to experience climbing and running free and wild, but that is as close as it gets for him to being a chimpanzee. Caesar was born with the experimental virus that his mother was dosed with, so his intellectual capabilities outweigh those of normal chimpanzees. As a result, his identity is something he questions. Is he a pet? A person? Just another animal? Caesar's Journey will be one of self-discovery.
2. Call To Adventure: Caesar's Call to Adventure, one in which he is presented with a Special World, comes when he sees Will's father, Charles, being threatened by a hostile neighbor. Charles suffers from Alzheimer's, and in a confused attempt to drive a car, he damages the neighbor's car. Caesar watches from his attic window as the neighbor gets physically violent, and Caesar becomes defensive and aggressive, attacking the neighbor. Caesar is now sent to a primate facility. This is Caesar's Special World, one that is opposite of the life he once knew.
3. Refusal of the Call: Caesar does not want to live in the primate facility, nor does he understand why he cannot go home with Will. He pounds against the glass, despondent and sad. He knows this is not where he belongs. He belongs with humans, not other apes.
4. Meeting with the Mentor: At the facility, Caesar is frightened by the other apes that act different than he does. However, another ape, an orangutan named Maurice, was once part of a circus and learned some sign language. He communicates with Caesar, giving him advice about how to act and what to do.
5. Crossing the Threshold: Caesar is picked on at first and attacked by other apes, especially a chimpanzee named Rocket. However, he finally decides to accept his position at the primate facility. He refuses to be picked on and establishes dominance over Rocket and the others. Caesar begins to question his role and his identity as he witnesses a chimpanzee being tranquilized and taken to GenSys, the lab he was born in.
6. Tests, Allies, Enemies: As Caesar establishes himself as the dominant ape in the facility, he overcomes his enemy, Rocket, and earns the respect of the other apes. He becomes close friends with Maurice, and even gains a close ally in Buck, the gorilla who is locked up separately from the others. The human caretakers pose more of a threat to him, especially the sadistic Dodge. His tests are all focused on being accepted by the others, even though he is different. When Will comes to take Caesar back home, Caesar refuses. He realizes who and what he is.
7. Approach: Caesar slowly gains the respect of all the apes. He uses Rocket to befriend the other apes, handing out cookies. Caesar watches and learns, slowly figuring out how to escape, and crafts a master plan. Caesar breaks out one night and goes back to his home, stealing canisters with the virus in an aerosol form. Returning to the facility, Caesar uses the canisters to make the other apes super-intelligent like him. Caesar teaches them all sign language and prepares for his escape.
8. Ordeal: The ultimate Ordeal for Caesar comes when he must face his worst nemesis. The sadistic Dodge threatens Caesar, and he speaks, much to the shock of all around him. He stands up to Dodge in the Inmost Cave of the dilapidated ape sanctuary, and has passed the test.
9. Reward: Caesar and the apes are rewarded with their freedom. The revolution has begun.
10. The Road Back: The Road Back is where the hero tries to return to their old life, but they cannot, for they have been changed. In Caesar's case, he goes to the only place from his old life that he can now: the Redwoods. It is there that he most felt like an ape, where he most felt at home and at peace. And it is there that he will return. But first, they must make their way there. The chimpanzees escape, freeing apes at GenSys and the zoo. Caesar and the apes try to cross the Golden Gate Bridge and head to the Redwoods. The police try to stop the apes, but they fight back, repelling their enemy but avoiding true violence. Many apes are killed, including Buck, who sacrifices his life to protect Caesar.
11. Resurrection: Will arrives to try and control Caesar, but it's too late. Caesar has faced himself, and has learned who he is. He is a leader.The apes successfully make it over the bridge and past the police. They are now free!
12. Return with the Elixir: Will follows Caesar and finds him protected by his companions. He tries to convince Caesar to turn back, that he can put everything right. But Caesar speaks: "Caesar is home." Will realizes with these three words that the old Caesar is dead; the new Caesar, the one standing tall in front of him has been reborn and is resurrected. Caesar will never be able to go back to his old life, as heroes never truly are able to. The film closes as Caesar and the other apes scale the massive, towering trees. The "Elixir" that Caesar has given them is their freedom and the realization of who they are, distinct creatures that will shape the future of the world.
Note: this post was revised and updated on 8/28/12.
1. Ordinary World: Caesar is living with his caretaker, Will. Because he was born in a laboratory, Caesar's Ordinary World is in a normal home, living with humans. Will and his father take care of Caesar, letting him have free reign of the house. They take him to the Redwoods, allowing him to experience climbing and running free and wild, but that is as close as it gets for him to being a chimpanzee. Caesar was born with the experimental virus that his mother was dosed with, so his intellectual capabilities outweigh those of normal chimpanzees. As a result, his identity is something he questions. Is he a pet? A person? Just another animal? Caesar's Journey will be one of self-discovery.
2. Call To Adventure: Caesar's Call to Adventure, one in which he is presented with a Special World, comes when he sees Will's father, Charles, being threatened by a hostile neighbor. Charles suffers from Alzheimer's, and in a confused attempt to drive a car, he damages the neighbor's car. Caesar watches from his attic window as the neighbor gets physically violent, and Caesar becomes defensive and aggressive, attacking the neighbor. Caesar is now sent to a primate facility. This is Caesar's Special World, one that is opposite of the life he once knew.
3. Refusal of the Call: Caesar does not want to live in the primate facility, nor does he understand why he cannot go home with Will. He pounds against the glass, despondent and sad. He knows this is not where he belongs. He belongs with humans, not other apes.
4. Meeting with the Mentor: At the facility, Caesar is frightened by the other apes that act different than he does. However, another ape, an orangutan named Maurice, was once part of a circus and learned some sign language. He communicates with Caesar, giving him advice about how to act and what to do.
5. Crossing the Threshold: Caesar is picked on at first and attacked by other apes, especially a chimpanzee named Rocket. However, he finally decides to accept his position at the primate facility. He refuses to be picked on and establishes dominance over Rocket and the others. Caesar begins to question his role and his identity as he witnesses a chimpanzee being tranquilized and taken to GenSys, the lab he was born in.
6. Tests, Allies, Enemies: As Caesar establishes himself as the dominant ape in the facility, he overcomes his enemy, Rocket, and earns the respect of the other apes. He becomes close friends with Maurice, and even gains a close ally in Buck, the gorilla who is locked up separately from the others. The human caretakers pose more of a threat to him, especially the sadistic Dodge. His tests are all focused on being accepted by the others, even though he is different. When Will comes to take Caesar back home, Caesar refuses. He realizes who and what he is.
7. Approach: Caesar slowly gains the respect of all the apes. He uses Rocket to befriend the other apes, handing out cookies. Caesar watches and learns, slowly figuring out how to escape, and crafts a master plan. Caesar breaks out one night and goes back to his home, stealing canisters with the virus in an aerosol form. Returning to the facility, Caesar uses the canisters to make the other apes super-intelligent like him. Caesar teaches them all sign language and prepares for his escape.
8. Ordeal: The ultimate Ordeal for Caesar comes when he must face his worst nemesis. The sadistic Dodge threatens Caesar, and he speaks, much to the shock of all around him. He stands up to Dodge in the Inmost Cave of the dilapidated ape sanctuary, and has passed the test.
9. Reward: Caesar and the apes are rewarded with their freedom. The revolution has begun.
10. The Road Back: The Road Back is where the hero tries to return to their old life, but they cannot, for they have been changed. In Caesar's case, he goes to the only place from his old life that he can now: the Redwoods. It is there that he most felt like an ape, where he most felt at home and at peace. And it is there that he will return. But first, they must make their way there. The chimpanzees escape, freeing apes at GenSys and the zoo. Caesar and the apes try to cross the Golden Gate Bridge and head to the Redwoods. The police try to stop the apes, but they fight back, repelling their enemy but avoiding true violence. Many apes are killed, including Buck, who sacrifices his life to protect Caesar.
11. Resurrection: Will arrives to try and control Caesar, but it's too late. Caesar has faced himself, and has learned who he is. He is a leader.The apes successfully make it over the bridge and past the police. They are now free!
12. Return with the Elixir: Will follows Caesar and finds him protected by his companions. He tries to convince Caesar to turn back, that he can put everything right. But Caesar speaks: "Caesar is home." Will realizes with these three words that the old Caesar is dead; the new Caesar, the one standing tall in front of him has been reborn and is resurrected. Caesar will never be able to go back to his old life, as heroes never truly are able to. The film closes as Caesar and the other apes scale the massive, towering trees. The "Elixir" that Caesar has given them is their freedom and the realization of who they are, distinct creatures that will shape the future of the world.
Note: this post was revised and updated on 8/28/12.
Thursday, March 1, 2012
Introducing LOST Thought
I am pleased to announce that the book LOST Thought: Leading Thinkers Discuss LOST is now available both on Kindle and in paperback via Amazon.com, and at bookstores. The book features many authors, investigating topics as they apply to the television show LOST.
The chapter I wrote is called "The Power of Story," and focuses on the ways that the show transcended boundaries of storytelling, creating a unique narrative that has never been done before.
It is an honor to be featured in the book alongside other great authors, several of which I own books from. I especially recommend Nikki Stafford's episode guides and analyses on the show, as well as Sarah Clarke Stuart's Literary LOST and Into the Looking Glass: Exploring the Worlds of Fringe.
The chapter I wrote is called "The Power of Story," and focuses on the ways that the show transcended boundaries of storytelling, creating a unique narrative that has never been done before.
It is an honor to be featured in the book alongside other great authors, several of which I own books from. I especially recommend Nikki Stafford's episode guides and analyses on the show, as well as Sarah Clarke Stuart's Literary LOST and Into the Looking Glass: Exploring the Worlds of Fringe.
Tuesday, February 14, 2012
The Hero's Journey: X-Men-First Class
One of the most powerful story structures, in my opinion, is the Hero's Journey. In this and other blog posts, I plan to trace the Hero's Journey through different characters in film and literature. First up: Erik Lehnsherr, also known as Magneto. Of course, while Charles Xavier and other characters play a huge part, the story is really about the transformation of Lehnsherr. While he is not a "hero" in the traditional sense, he is the protagonist of the story. Warning: spoilers ahead.
1. Ordinary World: Erik is seeking out people who murdered his mom and his people during World War II. We are given a glimpse of his early life under the Nazi regime as Sebastian Shaw tries to get him to use his powers. Unable to do so, he watches as his mother is murdered. Now, he is a loner, his only aim in life the extermination of those who tried to exterminate his people.
2. Call To Adventure: After tracking down Shaw, Erik tries to kill him on Shaw's boat. Using his powers to manipulate magnetic materials, he is dragged under the water as Shaw escapes in a secret submarine. Meanwhile, Charles Xavier, a mutant who possesses the powers of telepathy, is present at the encounter and senses Erik drowning in the water and rescues him. This meeting will start their friendship, propelling Erik into the Special World of friendship and using his mutant abilities for the benefit of others.
3. Refusal of the Call: After an offer to join a special branch of the CIA, Erik chooses to leave. He has received all the information he needs to track Shaw and kill him; he does not feel that he needs to embrace this journey. Charles does not hold him back, and Erik leaves.
4. Meeting with the Mentor: Charles Xavier functions as Erik's mentor.
5. Crossing the Threshold: Erik returns the next day, teaming up with Charles to track down other mutants. However, it must be on their terms. As their friendship develops and grows, Charles functions as the mentor, guiding and pushing Erik in the direction of using his abilities for good and to bridge the gap between mutants and homo sapiens.
6. Tests, Allies, Enemies: Erik meets the rest of the team, the other mutants who will join the branch of the CIA. As he tries to help the government stop Sebastian Shaw, he is still distrustful of many of the non-mutants around him. While tracking Shaw to Russia, Erik ignores orders and rushes to confront Shaw, only to find Emma Frost in his place. Erik and Charles learn of Shaw's plans to cause a nuclear war and realize the seriousness of the situation. Meanwhile the other mutants are attacked by Shaw and some of his men at the CIA compound.
7. Approach: After the attack at the CIA compound, Erik and Charles go with the other mutants to train and live at Charles's mansion. It is here that they all train. Erik learns from Charles how to harness his powers and use them unlike he ever has before. As Shaw's plan falls into place, Erik and Charles discuss what they need to do. They decide that they must try and stop Shaw from causing the nuclear war.
8. Ordeal: The Ordeal for Erik is to try and stop Shaw, who is hiding aboard a nuclear submarine. First, they must find the sub.
9. Reward: Erik and the team of mutants find the sub and bring it ashore. However, not all is done. Erik must still help Charles find Shaw and stop him. As the other mutants fight Shaw's minions, Erik travels into a hidden part of the sub and confronts Shaw once and for all, killing him.
10. The Road Back: Now that the enemy is stopped and Erik has had his revenge, he must try to re-enter the Ordinary World. However, as with all heroes, this is not easy. They have changed, and can never go back to life as they knew it. In Erik Lehnsherr's case, this involves using his new confidence to rise to a status of greater power. He encourages the mutants to side with him against the humans, asking whose side they are on. As the ships fire their weapons on the mutants, Erik turns the tables and sends them back. A fight ensues, and Charles is injured in the fight.
11. Resurrection: Erik needs to demonstrate that he is a different person as a result of this Journey. Unfortunately for him, this change is one of bitterness, anger, and resentment. Where once he was simply out for revenge, going after those who murdered his mother, now the anger has fueled into something greater. A rift has formed between him and the rest of the world. He is now the leader of a group of mutants who do not seek to reconcile with humans, but to protect themselves. The old Erik Lehnsherr is dead; he has been resurrected as Magneto.
12. Return with the Elixir: The elixir for Erik/Magneto is his newfound confidence in his powers. He has brought together the mutants who seek a common goal, forming a new Brotherhood. His elixir is the idea of mutant power and supremacy, the notion that there is no need to back down or to fear others.
1. Ordinary World: Erik is seeking out people who murdered his mom and his people during World War II. We are given a glimpse of his early life under the Nazi regime as Sebastian Shaw tries to get him to use his powers. Unable to do so, he watches as his mother is murdered. Now, he is a loner, his only aim in life the extermination of those who tried to exterminate his people.
2. Call To Adventure: After tracking down Shaw, Erik tries to kill him on Shaw's boat. Using his powers to manipulate magnetic materials, he is dragged under the water as Shaw escapes in a secret submarine. Meanwhile, Charles Xavier, a mutant who possesses the powers of telepathy, is present at the encounter and senses Erik drowning in the water and rescues him. This meeting will start their friendship, propelling Erik into the Special World of friendship and using his mutant abilities for the benefit of others.
3. Refusal of the Call: After an offer to join a special branch of the CIA, Erik chooses to leave. He has received all the information he needs to track Shaw and kill him; he does not feel that he needs to embrace this journey. Charles does not hold him back, and Erik leaves.
4. Meeting with the Mentor: Charles Xavier functions as Erik's mentor.
5. Crossing the Threshold: Erik returns the next day, teaming up with Charles to track down other mutants. However, it must be on their terms. As their friendship develops and grows, Charles functions as the mentor, guiding and pushing Erik in the direction of using his abilities for good and to bridge the gap between mutants and homo sapiens.
6. Tests, Allies, Enemies: Erik meets the rest of the team, the other mutants who will join the branch of the CIA. As he tries to help the government stop Sebastian Shaw, he is still distrustful of many of the non-mutants around him. While tracking Shaw to Russia, Erik ignores orders and rushes to confront Shaw, only to find Emma Frost in his place. Erik and Charles learn of Shaw's plans to cause a nuclear war and realize the seriousness of the situation. Meanwhile the other mutants are attacked by Shaw and some of his men at the CIA compound.
7. Approach: After the attack at the CIA compound, Erik and Charles go with the other mutants to train and live at Charles's mansion. It is here that they all train. Erik learns from Charles how to harness his powers and use them unlike he ever has before. As Shaw's plan falls into place, Erik and Charles discuss what they need to do. They decide that they must try and stop Shaw from causing the nuclear war.
8. Ordeal: The Ordeal for Erik is to try and stop Shaw, who is hiding aboard a nuclear submarine. First, they must find the sub.
9. Reward: Erik and the team of mutants find the sub and bring it ashore. However, not all is done. Erik must still help Charles find Shaw and stop him. As the other mutants fight Shaw's minions, Erik travels into a hidden part of the sub and confronts Shaw once and for all, killing him.
10. The Road Back: Now that the enemy is stopped and Erik has had his revenge, he must try to re-enter the Ordinary World. However, as with all heroes, this is not easy. They have changed, and can never go back to life as they knew it. In Erik Lehnsherr's case, this involves using his new confidence to rise to a status of greater power. He encourages the mutants to side with him against the humans, asking whose side they are on. As the ships fire their weapons on the mutants, Erik turns the tables and sends them back. A fight ensues, and Charles is injured in the fight.
11. Resurrection: Erik needs to demonstrate that he is a different person as a result of this Journey. Unfortunately for him, this change is one of bitterness, anger, and resentment. Where once he was simply out for revenge, going after those who murdered his mother, now the anger has fueled into something greater. A rift has formed between him and the rest of the world. He is now the leader of a group of mutants who do not seek to reconcile with humans, but to protect themselves. The old Erik Lehnsherr is dead; he has been resurrected as Magneto.
12. Return with the Elixir: The elixir for Erik/Magneto is his newfound confidence in his powers. He has brought together the mutants who seek a common goal, forming a new Brotherhood. His elixir is the idea of mutant power and supremacy, the notion that there is no need to back down or to fear others.
Monday, January 30, 2012
Save the Cat! Meets Paradox
Recently, I finished the first draft for my fourth Young Adult novel, tentatively titled Paradox. The novel uses time travel to explore the questions of what we can really control in our lives. Are we destined to walk a certain path? Do we have a choice in what happens to us? Are some things just meant to be?
The idea for a YA novel on time travel came to me when I heard two words: "temporal justice." In an episode of the show Heroes, Hiro Nakamura, the character who can travel through space and time and even freeze it, at one point wants to correct a wrong from his past, and in so doing faces a sort of cosmic tribunal, one that holds him accountable for trying to change the past. This episode got the gears of my mind working, and over the course of the past year, I developed the story that was to become Paradox. Of course, it went through many changes in the initial planning phases. But it was extremely easy to plot once I learned about the Blake Snyder Beat Sheet, made popular by the book Save the Cat! by the late Blake Snyder.
The Blake Snyder Beat Sheet, hereafter referred to as BS2, lays out the way most films are structured in any genre. In fact, the more I've seen and read, the more ways I've seen how true the structure is.
Blake Snyder broke stories down into fifteen main components: Opening Image, Theme Stated, Set-Up, Catalyst, Debate, Break Into Two, B Story, Fun & Games, Midpoint, Bad Guys Close In, All Is Lost, Dark Night of the Soul, Break Into Three, Finale, and Final Image. To try and elaborate on these beats in one blog post would do the structure a disservice. If a reader wants to learn more about the structure, I highly recommend the books in the series and the accompanying website .
Needless to say, the BS2 helped me to learn just where my story needed work. I already knew how I wanted to start and end it, as well as many events I wanted to include. But arranging them into a clear, coherent, and captivating story was the challenge. How could I make sure to grab the reader's attention? How could I communicate the theme in the best way possible? How could I make it exciting? The BS2 was the answer.
For example, a large part of any story, as it builds toward its climax, is traditionally called the rising action. The beauty of the BS2 is that it breaks down the rising action into multiple sections, each one enhancing the overall story. As I worked on Paradox, I knew that something was missing in the rising action, but I wasn't sure what. Once I reviewed and restructured my plot, I realized I needed more in the Bad Guys Close In section. This would be crucial to raising the stakes for my protagonist and preparing him to face his greatest fears in the climax.
The BS2 helps me to write to my target audience, capturing the feel of a movie while guiding me in creating a quality story. This is the first novel I have written using the BS2, and I feel that it has the best "flow" of any I've written so far. I will definitely continue to use this in the future.
In fact, some of my middle school students plan to as well. I recently taught them the BS2 as a deeper look at story structure, and many of them saw the value in breaking a story into more meaningful beats than the general "exposition," "rising action," and "climax." Many of them commented that it helped them understand why certain parts of a story happen when they do, as well as why they do. I am excited that they want to use it in their own writing as well.
And now, I am one step closer to my favorite part of revising my novel: I get to share it with my target audience and get their genuine feedback.
Saturday, October 1, 2011
The Fusion of the Inciting Incident and the Climax
Last week I was discussing plot structure with my students. It was pretty obvious that they knew the basics of it all... the names of the different stages, the little plot structure diagram... Well, they thought they knew all about plot. I had a good handle on it, too, but it seems that every time I teach it, I learn something new.
To make it easier for students to understand, I tried giving my own names to the different stages to make it more student-friendly. Much of this comes from the various screenwriting books I've read, like Save the Cat! by Blake Snyder and Story by Robert McKee. For example, instead of calling the second stage the Rising Action, I call it "Adding Complications." Students find this easier because they sometimes read stories that don't have a lot of action, and fail to realize that action doesn't have to be a series of chase scenes.
I also have found it helpful to call the Inciting Incident the "Problem" and the Climax the "Solution." Basically, the Inciting Incident is the "problem" or event that changes the protagonist's life from what they knew it to be to something different, propelling them into a journey where there is no turning back. It's basically the "Call to Adventure" in the Hero's Journey.
For the first time, I started linking the Inciting Incident and the Climax more directly for the students. What many of them do not realize is that they are directly related to each other. One is the question, and the other is the answer. There is a direct relationship between the two. Many times, when stories seem to fall short, it's because the expectations we form because of the Inciting Incident are not met or addressed. The Climax should answer the question that is raised in the Inciting Incident; does the Hero solve the problem that was raised or not?
This is a key realization for understanding story structure. We cannot just say that the Climax is the highest point of interest or the part with the most action or suspense. The Climax is the answer to the question; it affirms our expectations for the story. If it does not do so in a satisfactory manner, we feel cheated. Looking at movies, we can see this relationship clearly:
To make it easier for students to understand, I tried giving my own names to the different stages to make it more student-friendly. Much of this comes from the various screenwriting books I've read, like Save the Cat! by Blake Snyder and Story by Robert McKee. For example, instead of calling the second stage the Rising Action, I call it "Adding Complications." Students find this easier because they sometimes read stories that don't have a lot of action, and fail to realize that action doesn't have to be a series of chase scenes.
I also have found it helpful to call the Inciting Incident the "Problem" and the Climax the "Solution." Basically, the Inciting Incident is the "problem" or event that changes the protagonist's life from what they knew it to be to something different, propelling them into a journey where there is no turning back. It's basically the "Call to Adventure" in the Hero's Journey.
For the first time, I started linking the Inciting Incident and the Climax more directly for the students. What many of them do not realize is that they are directly related to each other. One is the question, and the other is the answer. There is a direct relationship between the two. Many times, when stories seem to fall short, it's because the expectations we form because of the Inciting Incident are not met or addressed. The Climax should answer the question that is raised in the Inciting Incident; does the Hero solve the problem that was raised or not?
This is a key realization for understanding story structure. We cannot just say that the Climax is the highest point of interest or the part with the most action or suspense. The Climax is the answer to the question; it affirms our expectations for the story. If it does not do so in a satisfactory manner, we feel cheated. Looking at movies, we can see this relationship clearly:
- Spider-Man: Because Peter Parker received super powers in the inciting incident and later learns that "with great power comes great responsibility," during the climax we expect to see him use his powers responsibly to fight evil and yet triumph.
- Batman Begins: Because Bruce Wayne witnessed his parent's murder, he must prove in the climax that he can seek justice without resorting to murder himself.
- Iron Man: Because Tony Stark was kidnapped by insurgents at the beginning of the story, we expect him to face either the insurgents or the person who gave him over to the insurgents during the climax.
- Bruce Almighty: Because Bruce was given God's powers to show he could do a "better job," we have to see him confront God with his need for help with how to use them.
- X-Men: First Class: Because we saw Erik Lensherr (Magneto) forced to develop his powers under the cruelty of a doctor working for the Nazis, by the end of the film, we have to see him confront this doctor and make his own life-changing decision: revenge or forgiveness.
- District 9: Because Wikus was infected with a virus that causes him to mutate into an alien hybrid, we must see him struggle with his conflict between being part human and part alien, keeping in mind that earlier he viewed the aliens as nothing more than creatures corralled into the slums of District 9.
Thursday, September 15, 2011
The Hero's Journey
It always amazes me how deeply we are connected to stories that we see or read. Something enters our mind and sticks with us. We want to be that protagonist, to live through their experiences and see the world through their eyes. Why is this? What compels us to be so drawn to the hero of the story?
I remember as a kid, I loved watching movies and cartoons, and often pretended that I was the hero, the "good guy" of the story. I remember wanting to be Indiana Jones, to go on his adventures and discover the things that he did. Sure, he had to deal with snakes and melting Nazis difficult tests, but what an awesome hero! He got to find treasures like the Holy Grail or the Ark of the Covenant. He traveled the world. And best of all, he had a whip. While my parents didn't let me have a whip, I found the next best thing: a jump rope sans handle on one end. With my baseball-hat-as-fedora, I would run around using that whip, often with unfortunate consequences. But at the time, I was Indy.
Now, as a writer and a teacher, I understand why we gravitate toward heroes so much. I don't know how I discovered the Hero's Journey, but once I did, I saw how so many of our stories fall into that structure. I don't believe it is intentional, nor is it a cookie cutter method for molding a hero. But I believe there's a reason our heroes face the same kinds of struggles in their journey.
I've used the Hero's Journey as a guide to examining stories, and have not only examined my own writing in light of it, but I've also taught it to my students. It's fun to see the realization wash over them as they start discussing their own favorite films or books, seeing how the pieces all fit together.
Of course, Joseph Campbell is most famous for his The Hero with a Thousand Faces examination of the power of myth. But one book that has been instrumental to me as a writer has been Christopher Vogler's The Writer's Journey. In it, he details the stages a hero goes through, and while not all stories fit this exactly, they come pretty close.
Heroes often start out in the Ordinary World, receive a Call to Action through some life-changing event, and usually undergo a Refusal of that Call. They have a Mentor of some sort, and finally decide to take action, entering the Special World, signifying that life will never be the same for them. As they Cross the First Threshold, they gain Allies and make Enemies. They face Tests. They undergo training and go through more minor events as they Approach the result of their call to action. The preparation enables them to face an Ordeal, an event that will make them confront their fears and define who they are, often putting their journey into life-threatening jeopardy. They succeed, and earn a Reward of sorts for their actions, whether it be physical or not. But the reward is fleeting; the journey is not over. The hero must stay committed as they travel The Road Back to the Ordinary World. It is on this road that they will face their biggest challenge, dying in some form (sometimes physically, sometimes, emotionally, and other times spiritually), ultimately ending in their Resurrection as a new person, having demonstrated all that they've learned on the journey. Now, they can Return with the Elixir, some new knowledge or treasure that is the result of their journey.
If all this sounds familiar, that's because it's the way we tell stories. Writers don't sit down with a "Hero's Journey Outline" and plan their stories that way. But through the telling, the story comes from deep in our psyche and forms itself this way. It feels right. I think that's why so many stories are very similar at their innermost core.
I love the Hero's Journey. It's powerful. It resonates with us. In coming blog posts, I will apply this structure to books and films, not to show that stories conform to a pattern, but to demonstrate why these stories are so powerful. And while I still embrace new heroes, I don't try to swing around like Spider-Man or shoot webs. But as I watch Indiana Jones, even today, I often wonder what it would be like to be in his shoes.
I remember as a kid, I loved watching movies and cartoons, and often pretended that I was the hero, the "good guy" of the story. I remember wanting to be Indiana Jones, to go on his adventures and discover the things that he did. Sure, he had to deal with snakes and melting Nazis difficult tests, but what an awesome hero! He got to find treasures like the Holy Grail or the Ark of the Covenant. He traveled the world. And best of all, he had a whip. While my parents didn't let me have a whip, I found the next best thing: a jump rope sans handle on one end. With my baseball-hat-as-fedora, I would run around using that whip, often with unfortunate consequences. But at the time, I was Indy.
Now, as a writer and a teacher, I understand why we gravitate toward heroes so much. I don't know how I discovered the Hero's Journey, but once I did, I saw how so many of our stories fall into that structure. I don't believe it is intentional, nor is it a cookie cutter method for molding a hero. But I believe there's a reason our heroes face the same kinds of struggles in their journey.
I've used the Hero's Journey as a guide to examining stories, and have not only examined my own writing in light of it, but I've also taught it to my students. It's fun to see the realization wash over them as they start discussing their own favorite films or books, seeing how the pieces all fit together.
Of course, Joseph Campbell is most famous for his The Hero with a Thousand Faces examination of the power of myth. But one book that has been instrumental to me as a writer has been Christopher Vogler's The Writer's Journey. In it, he details the stages a hero goes through, and while not all stories fit this exactly, they come pretty close.
Heroes often start out in the Ordinary World, receive a Call to Action through some life-changing event, and usually undergo a Refusal of that Call. They have a Mentor of some sort, and finally decide to take action, entering the Special World, signifying that life will never be the same for them. As they Cross the First Threshold, they gain Allies and make Enemies. They face Tests. They undergo training and go through more minor events as they Approach the result of their call to action. The preparation enables them to face an Ordeal, an event that will make them confront their fears and define who they are, often putting their journey into life-threatening jeopardy. They succeed, and earn a Reward of sorts for their actions, whether it be physical or not. But the reward is fleeting; the journey is not over. The hero must stay committed as they travel The Road Back to the Ordinary World. It is on this road that they will face their biggest challenge, dying in some form (sometimes physically, sometimes, emotionally, and other times spiritually), ultimately ending in their Resurrection as a new person, having demonstrated all that they've learned on the journey. Now, they can Return with the Elixir, some new knowledge or treasure that is the result of their journey.
If all this sounds familiar, that's because it's the way we tell stories. Writers don't sit down with a "Hero's Journey Outline" and plan their stories that way. But through the telling, the story comes from deep in our psyche and forms itself this way. It feels right. I think that's why so many stories are very similar at their innermost core.
I love the Hero's Journey. It's powerful. It resonates with us. In coming blog posts, I will apply this structure to books and films, not to show that stories conform to a pattern, but to demonstrate why these stories are so powerful. And while I still embrace new heroes, I don't try to swing around like Spider-Man or shoot webs. But as I watch Indiana Jones, even today, I often wonder what it would be like to be in his shoes.
Wednesday, September 14, 2011
Why Another Writing Blog?
There are so many great writing blogs out there by authors, agents, and editors... so why am I adding my own voice into the vast ocean of online writing?
I have been thinking of writing a blog on my writing for a while. As I become a published author and my books enter the marketplace, I want to have a greater presence on the web where my readers can interact with me more. I want to be able to discuss what I am working on and where my ideas come from. But even more, I wanted to have a place where I can share what I am learning as a writer.
I believe that all great writers get better at their craft. I know that in the time that I have been developing ideas, nurturing them, and writing, I have grown in my knowledge and ability. Often I will have an insight and want to share it. That's one of the great things about teaching middle school Communication Arts. I have the privilege of working with students and showing them ways to make writing easier and more fun. I have seen many students go from having an apathetic or negative attitude toward writing to being excited about it. I explain to them that yes, writing is hard, but it's also very rewarding. To take that small, seed idea, maybe one sentence on a piece of paper or an image that flashes through your mind's eye, and then turn it into a fully-developed story to share with others is exciting.
That's why, after a lot of thought, I've decided to title this blog "Attacking Ideas 101." The title is both active and passive. You can attack the ideas as they come to you, but the ideas are also attacking you, and if you know how to harness them, the possibilities are endless.
Being a teacher has taught me that I am not the only one doing the teaching. I am also learning, as my students teach me. They are part of the Young Adult audience that I am writing for, and they have taught me what works and what doesn't. They've shown me where stories resonate and where they can fall flat. The Young Adult audience is one of the more difficult audiences to write for. To capture their voice, their interests, and their needs is not easy. But it is rewarding. One of my favorite memories is of a former student who read a draft of one of my novels. I had actually given it to her friend, but she stole it and read it. The thing is, I knew this student the year before, even though I never had her in my class. I do, however, remember that she didn't like to read, and could never find a book that resonated with her. I will never forget how she discussed my manuscript with me, and how her friends said she was reading it in class, crying at one point. Something resonated with her, and that is what I want to do with all of my writing.
And so here we are, at the beginning of this blog. As I attack the ideas that come flying at me, writing them down in my notebook or on index cards or any scrap of paper or napkin I have on hand, I plan to use this blog to discuss the techniques I have found to attack them. I'm not an expert; I'm a learner. And what I learn, I want to share.
I have been thinking of writing a blog on my writing for a while. As I become a published author and my books enter the marketplace, I want to have a greater presence on the web where my readers can interact with me more. I want to be able to discuss what I am working on and where my ideas come from. But even more, I wanted to have a place where I can share what I am learning as a writer.
I believe that all great writers get better at their craft. I know that in the time that I have been developing ideas, nurturing them, and writing, I have grown in my knowledge and ability. Often I will have an insight and want to share it. That's one of the great things about teaching middle school Communication Arts. I have the privilege of working with students and showing them ways to make writing easier and more fun. I have seen many students go from having an apathetic or negative attitude toward writing to being excited about it. I explain to them that yes, writing is hard, but it's also very rewarding. To take that small, seed idea, maybe one sentence on a piece of paper or an image that flashes through your mind's eye, and then turn it into a fully-developed story to share with others is exciting.
That's why, after a lot of thought, I've decided to title this blog "Attacking Ideas 101." The title is both active and passive. You can attack the ideas as they come to you, but the ideas are also attacking you, and if you know how to harness them, the possibilities are endless.
Being a teacher has taught me that I am not the only one doing the teaching. I am also learning, as my students teach me. They are part of the Young Adult audience that I am writing for, and they have taught me what works and what doesn't. They've shown me where stories resonate and where they can fall flat. The Young Adult audience is one of the more difficult audiences to write for. To capture their voice, their interests, and their needs is not easy. But it is rewarding. One of my favorite memories is of a former student who read a draft of one of my novels. I had actually given it to her friend, but she stole it and read it. The thing is, I knew this student the year before, even though I never had her in my class. I do, however, remember that she didn't like to read, and could never find a book that resonated with her. I will never forget how she discussed my manuscript with me, and how her friends said she was reading it in class, crying at one point. Something resonated with her, and that is what I want to do with all of my writing.
And so here we are, at the beginning of this blog. As I attack the ideas that come flying at me, writing them down in my notebook or on index cards or any scrap of paper or napkin I have on hand, I plan to use this blog to discuss the techniques I have found to attack them. I'm not an expert; I'm a learner. And what I learn, I want to share.
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