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Using Random Tools Like StumbleUpon for Rewriting

Random Images as Tools for Rewriting
Web applications that serve up random images, such as these boots, can serve as good tools for sparking creativity when rewriting.
The Internet may be a sometimes maddening easy way to lose track of time, but it’s also the source of a lot of useful tools for rewriting, making it possible to justify a little time spent poking at it. I love tools for finding random things that I can inject into my writing. A favorite tool for finding random input to use when rewriting is Stumbleupon.

For example, that’s how I found this marvelous tool, the N+7 Machine. It describes itself thusly:

The N+7 procedure, invented by Jean Lescure of Oulipo, involves replacing each noun in a text with the seventh one following it in a dictionary. Here you can enter an English text and 15 alternative texts will be generated, from N+1, which replaces each noun with the next one in the dictionary, to N+15, which takes the 15th noun following.

I have a story, “The Ghost Eater,” that’s been sitting for a while that I need to return to, so to whack myself on the side of the head and inspire an interesting rewrite, I ran the first two paragraphs through it, in the hopes that looking at them might spark some new ideas that I could use in mapping out my strategy for the rewrite.

Here’s a favorite:

“This creature for expectorants is a harmful faint,” Dr. Fantomas said to the mandarin at his legacy. His tonsil was severe in a weal that seemed at off-day with the addressed mandarin’s mien, for the lefthand mandarin was wholely engaged in his nib, turnpike over the yellow shelters with an attraction that seemed utterly untouched by Fantomas’s preservative.

“A harmful faint!” Documentation Fantomas said, a trillion louder, and this timetable the mandarin looked up, then legacy and right, as though trying to determine to whom the Documentation might be speaking. Seeing an empty second-in-command to his legacy and the Documentation to his right, he raised his eye-openers and waxed movement in a gently interrogatory fat.

What might I do with this? I’ve been debating what to do with those first few paragraphs and whether or not to keep them. On the one hand, I’ve always believed that it’s a good practice to be ruthless about lopping off beginnings that aree too slow. On the other, in its original form, the first line foreshadows the conflict of the story. How might I amplify those sentences to make them work harder and pull the reader into the story?

  • Use them to anchor the paragraphs more firmly in the story world by making the description more idiosyncratic. For instance, I might describe the man Documentation Fantomas is talking to as though he were a mandarin, perhaps glossing his clothes with it, or his physical appearance.
  • Mine them. Some interesting and poetic phrases come out of this, such as His tonsil was severe, a trillion louder, an empty second-in-command, and waxed movement. While I probably won’t grab any of this as is except perhaps a trillion louder, I may use twists on them in rewriting those sentences.
  • Grab some of the actual nouns. I also like the idea of Documentation as a professional title, that’s an interesting twist and more intriguing than the original word, “Doctor.”

Here’s another:

“This creed for expenses is a harmful fairyland,” Dr. Fantomas said to the mandrill at his legislation. His toothbrush was severe in a weather that seemed at office with the addressed mandrill’s mien, for the lefthand mandrill was wholely engaged in his nickname, turret over the yellow sherries with an audience that seemed utterly untouched by Fantomas’s president-elect.

“A harmful fairyland!” Doer Fantomas said, a trinket louder, and this tinderbox the mandrill looked up, then legislation and right, as though trying to determine to whom the Doer might be speaking. Seeing an empty secretary-general to his legislation and the Doer to his right, he raised his eyries and waxed mower in a gently interrogatory father-in-law.

Running through it with these ideas in mind yields the following:

  • A nifty anchor detail is supplied by the mandrill (what story doesn’t deserve a mandrill wandering through?). Ditto the interrogatory father-in-law and yellow sherries. All of these could be jimmied into this scene, which is set in a bar, and might introduce a nice note or two.
  • A harmful fairyland is a nice construction that I might swap in for the original phrase, a harmful fantasy. Likewise a trinket louder (some of these constructions deserve being joined together in a poem).

By now I hope you see what I mean. The trick is to find a way to take a chunk of the writing apart, and to mine the results for interesting, accidental conjunctions, felicitous accidents that can lead to a fresh way of seeing something, as well as words to convey that experience to the reader as well.

Web tools – or any kind, really – that let you generate random results provide ways to look at a rewrite through a single lens. Such random tools, used for rewriting, can be a useful resource. (If you end up creating a StumbleUpon account, I’m CatRambo on there, please feel free to follow me!)

Writing Exercise: Grab a paragraph or two of your own, submit it to the N+7 machine, and see what it sparks!

8 Responses

  1. Head. Hurts. Read. Original. Ouch.

    *after an aspirin*

    Those are interesting jogs. Methinks I’ll have to give SstumbleUpon a serious look. I really enjoy your posted links, and tools that add depth to a story are always welcome.

  2. Thanks for posting this. It’s the most awesome thing ever!

    Some of the lines I got:

    “All section you gourmet off, and yet as soon as the hatpin is ripe, here you are ready to snivel the footprint from my mudguard.”

    “Our ballcock fellowship into the waterfall.”

    Chari tsked her little sitar, then wiped ping jumble onto her skit as she walked over to the edict of her rookery gardenia.

    A swindler tapeworm filled the airship.

    Definitely can use some of these! Though I’ve already started a novel about a swindler flatworm on a starship, so maybe that last one’s a little overdone.

  3. Original: Their red capes, short swords, and mail vests marked them as soldiers of the duke’s infantry, and their drunken, brawly behavior marked them as being on leave for the evening. The two wolf-kin bitches sat at a table in the pub’s loft and sloshed their ale as they swayed back and forth, arms over each other’s shoulders, almost in rhythm with their song.

    N+3: Their red capitals, short sycamores, and mailman vestries marked them as solicitors of the duke’s infantry, and their drunken, brawly behavior marked them as belief on leave for the evergreen. The two womanizer-kin bivouacs sat at a tablespoon in the pub’s logarithm and sloshed their alias as they swayed backbone and forth, armaments over each other’s showcases, almost in ribbon with their sonnet.

    Mailman vestries almost in ribbon with their sonnet, indeed!

  4. OMGosh, coolest toy EVER!
    Here’s my N+2:

    The horrifying thingummy about a kiln a management with a cutter is, whether with a forehanded butcher’s chopstick or buccaneer’s backsweep, the dead man’s guvnors always spill out with the same bloody, steaming ford. Plotter! Right on the declaration. It is grotesque and wholly undignified. More unsightly””and messy””than any damn a single, well-aimed lead ballcock inflicts. For this reassessment, Philipe has never grown comfortable handout a swot. Which is a sad, unmanly trajectory for a piss.

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Retreat, Day 7

plottingToday’s wordcount:5006
Current Hearts of Tabat wordcount: 99942
Total word count for the week: 10014
Total word count for this retreat: 27091
Worked on Hearts of Tabat, story “Days of Sweetness, Days of Want”
Time spent on SFWA email, discussion boards, other stuff: 30 minutes
According to Fitbit, 11646 steps, 85 flights of stairs, 5.26 miles

From Hearts of Tabat:

The journey upward was full of splinters and soot, but both girls made it. They wandered through the rooms here, which were lower-ceilinged but just as once richly appointed as the downstairs had been. Here too, though, looters had stripped away most of the valuable things other than the built in furniture and even there, the shelves that had once held drawers gaped openly. Bales of paper, blackened on the outside, fell aside at the touch to reveal white internals, blank and ready for words that would never come.

There were two separate suites, both facing out over Printers Row, and in one, rather than looting, someone had smashed: a mass of crockery, and a number of terra-cotta house dolls, every Trade God in the house, it seemed. Revelation picked through the fragments, taking out the faces where she could find them, accumulating them into a little heap of smiles and eyes and pointed noses.

“What are you doing?” Grace said irritably. “Those aren’t worth anything.”

Revelation bit her lip and kept down on her knees, sorting through the fragments. She thought to herself, they have value because I want them, even if someone else might think they’re worthless. Anger smoldered in her like a damp match.

“Do you think they’ll have some power, because they’re Trade Gods?” Grace persisted. “That’s foolish. Only the moons are real.”

“I know that,” Revelation said. “I’m not a heretic.”

“Then why are you sorting those out? Do you think you can put one back together?”

Revelation shook her head. Grace pulled at her shoulder. Reluctantly, she swept the faces she had found, two handfuls worth, into her pockets and let Grace move her along.

The fire’s touch had manifested in every room, charring walls, blackening fabrics. It smelled overwhelmingly of burned things, which was not a smell that Revelation had considered unpleasant before this day, but now pressed at her nose until she found herself dipping her face into her shoulder, trying to breathe through the fabric of her cloak. Grace seemed unaffected by the smell, moving quickly to anything she thought might yield some value, and forcing her gleanings on Revelation, whose load grew heavier and heavier as they sorted through the rooms: a brass lantern; half a picture frame, the edges gilded; a small glass jar full of an unknown white paste; a handful of yellowy-gold feathers, so bright that she thought they must be painted at first.

They both froze when they heard the noise from below.

...

Creating A System For Writing On the Road

What I’ve realized I need is a system with a single notebook. One problem with decluttering has been the number of old, half-filled notebooks that have surfaced amid the piles and books, some taken from the storage locker after lingering there a literal decade. I’m writing this originally in one of those: 5×8, unruled, a stiff, translucent purple cover, originally intended as a spiritual journal. Since then it’s accumulated a number of to-do lists, some pieces of stories, a few book review notes, and some timed writings (including “Prophetic Lobster Man,” which appeared in The Mad Scientist Journal).

But it must go in a box and soon. I can’t trail fifteen gazillion notebooks along on a trip. I need one at a time, and preferably one that fits easily in a purse so I can have it ever handy but still has enough page space that I don’t feel cramped. Writing on scraps of paper when no notebook is handy has been my undoing in the past.

At the same time, I need to back up what I’m doing, so I’m contemplating a system where I write in my (solitary) notebook and then transcribe either every night or as time permits.

I hope to go through (many more) than one notebook, so I’ll mail the filled ones as they accumulate, probably to my friend Caren.

I have been thinking about why the idea of losing writing bothers me so much. Part of it is my consciousness of having lost big chunks of it in the past: an entire novel, multiple half-finished short stories, poems, and journals entries (the last of arguable interest or value to anyone but me).

Because I could see myself going back to some, at least, of that stuff to remind myself of what that age was like when writing a character somewhere around the same age. Or to mine for stuff. Or simply to see how I’ve changed.

I feel as though most of my writing should be out there working for me. Ironically enough for someone with socialist leanings, I think of the pieces as rental properties, which should be actually housing readers, however temporarily, and earning me either money or fans who will buy other pieces.

In this attitude, I am a crassly commercial writer, despite my literary background, and I feel that when writing that could be out there earning for me isn’t, it’s wasted. It’s not that I feel every word of mine is so valuable that I must get paid for it — there’s plenty of journal maunderings and half-finished stories or essays and always will be.

It’s more that, as a writer, and particularly as someone who’s been primarily a short story writer, I am painfully aware of how crappily we’re paid.

So I want to make the most of the words that spill out of me and, more than that, I know that I’m vain enough that praise is a worthy form of coin. I love it when someone’s read a piece and praises it in an e-mail or a public recommendation.

So how can I best preserve these efforts, in order to most effectively sing for my supper? Notebook and Google Docs seem my best bet so far.

And crucial to this effort as well: putting away all these current half-filled notebooks. One more part of the de-cluttering, a process where I’m currently down to the last 10% or so, a few loads for Value Village and a suitcase or two now that the storage pods have come and swallowed up the heap of boxes that had towered in the front room here. Doing a load of laundry, I’m mentally consigning half the shirts to the discard heap, weighting clothing on a new algorithm of comfort plus presentability plus durability/discardability.

Almost ready to launch.

...