Writing Prompt: Music Hath Charms

 Writing Prompt: Music Hath Charms

 

These exercises were written by IWW members and administrators to provide structured practice opportunities for its members. You are welcome to use them for practice as well. Please mention that you found them at the Internet Writers Workshop. 

 

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Exercise: In 400 words or less, create a scene in which you describe some kind of music and the effect it has on a listener or listeners.

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In William Congreve's 1697 play, The Mourning Bride, a character says, Music hath charms to soothe the savage breast. (often misquoted as 'savage beast') It's still true. We play a lullaby to put a baby to sleep and a suitor woos his beloved with a serenade. But music can also wake the savage beast within us. Soldiers march off to war to stirring patriotic music. Somber music is played at a traditional funeral, but in New Orleans, a dixieland jazz band sets a lively pace returning from the cemetery. Acid rock, house, hip hop, reggae, or rap can turn an arena into a writhing sea of sweaty bodies. Opera buffs swoon over an aria. Swinging big bands were the sound track to the heartaches and homecomings of WWII.

Music mirrors our culture and society and is a way to travel back in time. Listen to Mozart or Bach, and you are in a different world for a while. Show us a character appreciating, or hating, or being stirred by music, and describe that music so that we will know why the character reacts as he does. The music can be from any place or anywhere—harpsichord, jungle drums, a
shepherd's flute, or a one-stringed Chinese banjo.

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In your critique, consider whether the description of the music will help the reader to 'hear' it. Does the author's description make us understand why the character reacts as he/she does? What tools of the writing craft does the author use to evoke the sounds of music—language, pacing, repetition, rhythm, or perhaps comparison to senses other than hearing.

 Some more writing prompts for you to try.

 

Good Versus Good by Randy Ingermanson | Advanced Fiction Writing

 

Good Versus Good

 

by Randy Ingermanson 

 

Advanced Fiction Writing

Many stories have as their main plot a conflict between “the good guys” and “the bad guys.”

You can think of any number of examples. The Harry Potter series. The Hunger Games series. Just about any mystery or suspense novel. And on and on.

“Good guys” against “bad guys” makes a good story, no doubt about it. But there’s a way to make it better without much effort. Throw in a bit of dissension among the good guys.

So a secondary plot of the story is “good guys” against the other “good guys.”

This makes your story stronger for a couple of reasons:

• Now your “good guys” have an even tougher problem. They not only have to defeat the “bad guys,” but they’ve first got to also settle the differences among themselves.
• It introduces the possibility of a genuine moral dilemma in your story. Because the competing groups of “good guys” may have different values that drive them. And now you have to wrestle with which of those competing values is most important.

Just as an example, consider the case of the Harry Potter series. This is definitely a “good guys” versus “bad guys” series.

The “bad guys” are Lord Voldemort and his gang of thugs who want to take over the world and oppress the Muggles.

The “good guys” are the decent witches and wizards who want to leave the Muggles alone.

In book 1 of the series, our hero, Harry Potter, goes off to school at Hogwarts and begins to learn about the magical world he belongs to.

Harry has no idea about the massive battle looming with Voldemort and his minions. Instead, he’s surrounded on all sides by different factions of “good guys.”

For starters, there are four competing houses within the school. Three of these are “good guys”—Harry’s own Gryffindor, along with Ravenclaw and Hufflepuff.

Harry quickly becomes best friends with Ron Weasley, another first-year student, who’s a bit of a goof-off. Ron and Harry find themselves at odds with another first-year, Hermione Granger, who comes off as a stuck-up know-it-all. Eventually, the three become friends, but it takes a troll to bring them together.

There are many cliques within Gryffindor. There are the cool kids, Fred and George Weasley and their friend Lee Jordan.

Then there is Neville Longbottom, nerdy and klutzy and generally a bit weird.

Ron and Fred and George have an unbearably prissy older brother named Percy, who happens to be the prefect of Gryffindor this year, and who makes life miserable for his brothers.

Not to mention Ron Weasley’s very cool older brothers, Bill and Charlie, who’ve already graduated and left behind excellent reputations that Ron can’t hope to match.

Then there’s Oliver Wood, captain of the Quidditch team, who really gets upset when Harry gets himself in trouble and can’t perform up to snuff on the Quidditch field.

And let’s not forget Hagrid, the affable half-giant who loves strange creatures and is secretly raising a baby dragon.

There are a lot of “good guys” here, all competing in different ways. They don’t mean to be making the battle againt the “bad guys” harder.

But that’s exactly what they’re doing.

Near the end of the story, Harry and Hermione sneak out one night to help Hagrid get rid of a baby dragon that’s getting much too big to hide any longer. They succeed in getting the dragon safely rehomed—but then get caught before they can sneak back in to Gryffindor. And caught with them is the bumbling Neville, who sneaked out to try to find them and warn them to get back where they belong. This gets them detention and causes Gryffindor to lose 150 points.

As a result, Harry and Hermione feel the rage of the entire Gryffindor student body. They’re instant pariahs and the whole house treats them with contempt for weeks.

As final exams loom, Harry and Ron and Hermione learn that Lord Voldemort is about to do something terrible. They’ve got to stop him, so they decide to sneak out again late at night.

But first, they’ve got to get past Neville Longbottom, who insists that he’ll fight them before he lets them break the rules yet again.

All of this conflict is “good guys” against “other good guys.” And it makes the story stronger. It makes the battle against the “bad guys” that much harder.

After the dust has settled, the school headmaster, Albus Dumbledore awards points to Harry, Ron, and Hermione, for their courage and wits in battling Voldemort.

And he also awards points to Neville Longbottom. Why? Neville didn’t do anything to fight Voldemort. But as Dumbledore points out, it’s just as hard to stand up to your friends as your enemies. (In my own experience, it’s sometimes harder to stand up to your friends. Peer pressure and all that.) It’s the first courageous thing Neville has ever done, but it won’t be the last. In standing up to his friends, Neville has become a better person. So have Harry, Ron, and Hermione.

The main story in the Harry Potter series is consistently the “good guys” against the “bad guys.” That’s the way it should be in this series. But the story is made so much better by the many, many ways in which the “good guys” are infighting with the other “good guys.”

Homework

• Is your story a “good guys” versus “bad guys” kind of story?
• How many conflicts do you have between “good guys” and other “good guys?”
• Can you add more?
• Will that make it a better story?

 

About The Author

Randy Ingermanson is a theoretical physicist and the award-winning author of six novels. He has taught at numerous writing conferences over the years and publishes the free monthly Advanced Fiction Writing E-zine.

 

 Randy Ingermanson Books at Amazon

 

More Advanced Fiction Writing

Six Fiction Elements of Writing a Short Story

 

Six Fiction Elements of Writing a Short Story

 

What Is a Short Story?

A short story is a work of short, narrative prose that is usually centered around one single event. It is limited in scope and has an introduction, body, and conclusion. Although a short story has much in common with a novel, it is written with much greater precision. Any time you write a short story of fiction or an essay on short fiction, the following guide and questions may help you.

Once you examine these narrative elements, you want to look for PATTERNS, or MOTIFS, in the work.  Pay attention to words & images that are related

Setting

Setting is a description of where and when the story takes place. In a short story there are fewer settings compared to a novel. The time is more limited. Ask yourself the following questions:

• How is the setting created? Consider geography, weather, time of day, social conditions, etc.
• What role does setting play in the story? Is it an important part of the plot or theme? Or is it just a backdrop against which the action takes place?
• Does the setting change? If so, how?

Study the time period, which is also part of the setting, and ask yourself the following:

• Who is the story written for?
• Does it take place in the present, the past, or the future?
• How does the time period affect the language, atmosphere or social circumstances of the short story?

Characterization

Characterization deals with how the characters in the story are described. In short stories there are usually fewer characters compared to a novel. They usually focus on one central character or protagonist. Ask yourself the following:

• Who is the main character?
• Who or what is the antagonist?
• Are the main character and other characters described through dialogue – by the way they speak (dialect or slang for instance)?
• Has the you described the characters by physical appearance, thoughts and feelings, and interaction (the way they act towards others)?
• Are they static characters who do not change?
• Are they dynamic characters who change?
• What type of characters are they? What qualities stand out? Are they stereotypes?
• Are the characters believable?
• Do the characters symbolize something?

Plot and Structure

The plot is the main sequence of events that make up the story. In short stories the plot is usually centered around one experience or significant moment. Consider the following questions:

• What is the most important event?
• How will the plot be structured? Is it linear, chronological or does it move around?
• Is the plot believable?

CONFLICT:  Conflict or tension is usually the heart of the short story and is related to the main character. In a short story there is usually one main struggle.

• How would you describe the main conflict?
• Is it an internal conflict within the character?
• Is it an external conflict caused by the surroundings or environment the main character finds himself/herself in?

CLIMAX:  The climax is the point of greatest tension or intensity in the short story. It can also be the point where events take a major turn as the story races towards its conclusion.

• When does the climax take place?

RESOLUTION:  The resolution is the end of the story. It focuses on how the conflict is ultimately resolved.

• Are the closing sentences significant? How does the end relate or connect to the opening?

Narrator and Point of View

The narrator is the person telling the story.  Consider this question: Are the narrator and the main character the same?

By point of view we mean from whose eyes the story is being told. Short stories tend to be told through one character’s point of view. The following are important questions to consider:

• Who is the narrator or speaker in the story?
• Does the author speak through the main character?
• Is the story written in the first person “I” point of view?
• Is the story written in a detached third person “he/she” point of view?
• Is there an “all-knowing” third person who can reveal what all the characters are thinking and doing at all times and in all places?
• Is the narrator trustworthy?

Style

The author’s style has to do with the his or her vocabulary, use of imagery, tone, or the feeling of the story. It has to do with the author’s attitude toward the subject. In some short stories the tone can be ironic, humorous, cold, or dramatic.

• Is the language full of figurative language: metaphors, symbols, personification, etc.?
• What images are used?
• What is the tone or mood of the story?

Theme

The theme is built on a topic, such as death, hope, the American dream, etc. and how the topic affects the human condition, society, or life.  As a reader, focus on what the story is revealing about the topic.  The theme should be expressed as a statement, a general observination about human nature.

To help you write a thematic statement for your short story, consider the following:

• What is the story about – its general topic(s) (IE:  money, wealth, death, etc.)?
• How is the topic developed? (Consider how characters change, symbols, climax, etc.)
• Do you notice any patterns in imagery, diction, etc.?
• Does the title have any significance?
• Does the narrator or character include any statement(s) that reveals a theme or observation?

What a theme is NOT:

• a word or phrase (topic or subject)
• a command
• a judgment

To help you construct the thematic statement, make a list of important images, topics, etc. found in the text.  Try to create a statement that includes the words in your list.

Also see:

• Story Elements: 7 Main Elements of a Story and 5 Elements of Plot
  

Kettle Logic by Randy Ingermanson | Advanced Fiction Writing

 

Kettle Logic

 

by Randy Ingermanson 

 

Advanced Fiction Writing

I’m always on the lookout for ways to add conflict into fiction in a natural way. This month, I’ll look at a beautiful way to throw conflict into a story. It’s a method you’ve seen often in real life.

I learned this method from Seth Godin, who blogged recently on the subject of “kettle logic.”

I had never heard of kettle logic until I read Seth’s article, but I’d definitely seen it. Hundreds of times.

What is kettle logic? It’s a method of defending yourself by using contradictory claims.

An Example of Kettle Logic

It’s called kettle logic because of the example Sigmund Freud used to illustrate it.

A man was accused by his neighbor of returning a borrowed kettle in damaged condition.

The man defended himself this way:

a) I didn’t borrow your kettle.

b) When I borrowed it, the kettle was already damaged.

c) When I returned it, the kettle was in perfect condition.

Now, at most one of these defenses could actually be true. Because (a) is inconsistent with (b). And (b) is inconsistent with (c). And (c) is inconsistent with (a).

Why Would Anyone Use Kettle Logic?

My thinking on this is that nobody would use kettle logic if they were innocent. You only defend yourself with kettle logic because you’re guilty, and because you’re making up a defense on the fly. So you don’t have time to make it consistent. You keep throwing defenses at your accuser, hoping one of them will stick.

But the fact is that kettle logic does work, sort of. The accuser now has to refute all the defenses individually. But each time he does that, your defense gets stronger—because the inconsistencies in your defense start vanishing.

For example, if your neighbor attacks argument (a) by giving irrefutable proof that you did really borrow the kettle, then you can just admit that, yes, you borrowed the kettle, but now (a) is no longer inconsistent with (b) or (c) so you’ve removed two inconsistencies!

Kettle logic also works on an emotional level. When you throw a mass of inconsistent defenses at your accuser, he or she can’t help feeling irritated at the insult you’re making to their intelligence by offering up a massive pack of lies. And that irritation makes them less effective at pressing the case, because emotions interfere with logic.

So kettle logic can be a winning play in some cases. At the very least, it’s effective as a delaying tactic, and sometimes delay is all you need.

How to Fight Kettle Logic

How should the protagonist of your story deal with kettle logic? A winning strategy isn’t complicated. This is how you do it:

1. Don’t get mad. Getting mad plays into the hands of the person using kettle logic.
2. Point out that the defenses can’t all be true, and therefore the person using kettle logic is a liar and can’t be trusted.
3. Insist that the person has to come up with a consistent defense. That forces them to admit to several lies. And it reduces your job because now you have fewer claims to refute.

Homework

• Have you ever had someone use kettle logic on you? How did you feel when that happened? Can you use those feelings in your own fiction?
• Have you ever used kettle logic on someone else? What were your reasons for using it? Did you know you were lying? If so, how did you feel when you realized you were lying? Can you use those reasons and those feelings in your own fiction?

 

About The Author

Randy Ingermanson is a theoretical physicist and the award-winning author of six novels. He has taught at numerous writing conferences over the years and publishes the free monthly Advanced Fiction Writing E-zine.

 

 Randy Ingermanson Books at Amazon

 

More Advanced Fiction Writing

A Simon & Shuster Writing Editor Tells - "What I Expect When You Submit Your Manuscript"

A Simon & Shuster Writing Editor Tells - "What I Expect When You Submit Your Manuscript"

Anica Mrose Rissi, Executive Editor for Simon Pulse, has created a checklist of things to do to help keep your manuscript from being rejected.

• Revise, revise, revise! I don't want to read your first draft, ever. (Tip: Your novel isn't ready to send me until you can describe it in one sentence.)
• Start with conflict and tension to raise questions, arouse curiosity, and (like musical dissonance) create the need for resolution.
• Start with the story you're telling, not with the backstory.
• Throw people directly into a conflict and let her get to know your characters through their actions. (Yes, this is another way of saying, "Show, don't tell.")
• Give people something to wonder about and a sense of where the story is going—of what's at stake.
• Avoid explaining too much too soon. Don't be obvious. Trust people. Trust your characters. Trust your writing. If you find that long chunks of your story need to include long explanations, go back in and write those chunks better, until the story explains itself.
• Make sure your story has both a plot arc and an emotional arc. Cross internal conflict with external conflict. Give your characters moral dilemma, and force them to deal with the consequences of their choices.
• Read your dialogue aloud. When revising, ask yourself, "What is the point behind this dialogue?" Make every scene and every sentence count. You should also be asking, "What's the point of the sentence?" What is the point of this scene?"
• Use adjectives, adverbs and dialogue tags only sparingly. Make sure your details matter.
  
  (Writer's Digest) 

 

Also see:

• How to Prep Your Manuscript for an Editor: Tips to Save Time and Money
• The Authors Publish Guide to Manuscript Submission 

A Quick Note on Writing Stream of Consciousness Fiction for the Novice Writer by Ryker J. Phoenix

 

 

 A Quick Note on Writing Stream of Consciousness Fiction for the Novice Writer

 

by Ryker J. Phoenix

 

Stream of consciousness is a narrative style that tries to capture a character’s thought process in a realistic way. It’s an interior monologue, but it’s also more than that. Because it’s mimicking the non-linear way our brains work, stream-of-consciousness narration includes a lot of free association, looping repetitions, sensory observations, and strange (or even nonexistent) punctuation and syntax—all of which helps us to better understand a character’s psychological state and worldview. It’s meant to feel like you have dipped into the stream of the character’s consciousness—or like you’re a fly on the wall of their mind.

Authors who use this technique are aiming for emotional and psychological truth: they want to show a snapshot of how the brain actually moves from one place to the next. Thought isn’t linear, these authors point out; we don’t really think in logical, well-organized, or even complete sentences.

 Here are some tips on how to write stream of consciousness fiction:

1. Choose a character and a situation: Choose a character that you understand and can see how their personality will play out in their thoughts, feelings and reactions to situations. Set the scene and the situation.

2. Use first person narrative: Write in the first person to create an intimacy between the reader and the character.

3. Don’t filter the thoughts: In stream of consciousness, there is no filter. Every thought that a character has will be expressed on the page. Avoid editing or correcting the thoughts of your character to maintain the realism.

4. Focus on their thoughts: Stream of consciousness is all about thoughts so focus the description on your character’s innermost thoughts and their feelings rather than actions or dialogue.

5. Use repetition and the senses: Repetition is often used in stream of consciousness writing, as is describing the senses experienced by the character - what can they see, smell, hear, touch etc.

6. Include flashback: Stream of consciousness is like a memory or a dream. It may be helpful to include flashbacks, so the reader can understand the character better.

7. Use punctuation sparingly: Using stream of consciousness means following the way someone thinks, so punctuation will be more scarce. You may go without full stops or commas if the thoughts are a long series of impressions or ideas.

8. Arrange the text in an organic way: Allow the text to flow organically. There is no need for a linear plot or storyline, but the text should be divided into paragraphs or sections for readability.

 In conclusion, stream of consciousness is a literary technique which involves following the random, unfiltered thoughts and emotions of a character in real-time.

Also see:

• Stream of Consciousness: What Is It & How To Use

 

 More Quick Notes for the Novice Writer

A Quick Note on Writing Flash Fiction for the Novice Writer by Ryker J. Phoenix

 

 A Quick Note on Writing Flash Fiction for the Novice Writer

 

by Ryker J. Phoenix

 

  Flash fiction, also known as micro fiction or sudden fiction, is a genre of writing that is a form of short fiction that tells a complete story in a very brief amount of space, often under 1500 words.

The most renowned writers in the English-speaking world like flash fiction because it can capture profound truths and common human emotions in only a few brief phrases. Flash fiction, when written correctly, has the power to speak universal truths and touch readers of different backgrounds. 

Take this one for instance,  "For sale: baby shoes, never worn," is a six-word story, popularly attributed to Ernest Hemingway, although the link to him is unlikely. It is an example of flash fiction in it's shortest form. The amount of emotion packed into these words inspired many writers to try their hand at the genre.

Here are some tips to help you write flash fiction:

1. Start with a concept or idea: Flash fiction often relies on a single idea or concept that is explored and executed in a concise and engaging way. This can be something simple, like a thought or a feeling, or it could be something more complex, like a specific event or situation.

2. Focus on a single character or moment: Because flash fiction is so short, it's important to limit the scope of the story. Focus on a single character or a single moment in time to create a sense of intimacy and immediacy.

3. Use sensory detail to create atmosphere: Flash fiction often relies on sensory detail to create atmosphere and evoke emotion in the reader. Use vivid detail to create a rich and immersive reading experience.

4. Make every word count: Because space is limited, every word in a piece of flash fiction needs to be carefully chosen to convey the maximum amount of information and emotion.

5. Experiment with form and structure: Flash fiction can take many different forms, from traditional narratives to experimental structures. Try playing around with different forms to find the one that best suits your story.

6. Edit ruthlessly: Because flash fiction is so condensed, editing is incredibly important. Cut any unnecessary words or phrases and make sure every sentence is contributing to the overall purpose of the story.

7. End with a twist or surprise: Flash fiction often has a twist or surprise ending that subverts the reader's expectations. Think creatively about ways to surprise your reader in the final moments of your story.

 The number one thing to remember is flash fiction writing requires control. You have to choose words wisely because of the word count restriction.

Also see:

• What Is Flash Fiction? Meaning, Characteristics, and Examples
  

 

 More Quick Notes for the Novice Writer