A few days ago, I implemented #Critclub, tying the Chez Rambo Discord server more tightly into the Rambo Academy for Wayward Writers and providing a way for F&SF to swap critiques online. People seem excited about this, and the Patreon campaign has seen an uptick. A few people have taken me up on the offer of scholarships – thank you!
A nice little bump of people have appeared on the channel as a result and we’ve been doing things like sorting out how the critiquing system will work. We have added the first custom emoji, a rainbow kittywumpus 🙂 courtesy awesome community moderator, Frances KR.
Writing sprints and discussion of process as well as substantial amounts of con discussion have all taken place, as well as some swapping of market news and much use of the rejoice and venting rooms. In short, happy small steps towards the sort of thriving writing community I’m hoping to build, happening at a manageable rate and letting people invest in it by helping shape it.
On September 19, 5 – 6 PM Pacific time, participants will be able to submit live questions for the class I’ll be doing for Gregory Wilson’s channel on Twitch, “Applying Algorithms” in which I’ll talk about how to use the rules of storytelling to make your fiction more effective. This is the fourth of these classes I’ve done, and they’re always a lot of fun, plus a chance for me to beta test classes I’m thinking about teaching.
In other news I’ve been working away on checking the edits from my editor for Tor novel, You Sexy Thing, which will come out in November of 2020, and putting together an initial list of potential blurbers to send him. At the same time, I’m getting The Five, the MG space opera I’ve written, ready to go out to beta readers, and prepping to add some scenes with writing sprints next week. After that I’ll turn back to getting Exiles of Tabat (due out May 2020 from Wordfire Press) ready for beta readers and writing the sequel to You Sexy Thing, tentatively titled Devil’s Gun.
Want access to a lively community of writers and readers, free writing classes, co-working sessions, special speakers, weekly writing games, random pictures and MORE for as little as $2? Check out Cat’s Patreon campaign.
Want to get some new fiction? Support my Patreon campaign.
"(On the writing F&SF workshop) Wanted to crow and say thanks: the first story I wrote after taking your class was my very first sale. Coincidence? nah….thanks so much."
~K. Richardson
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Chez Rambo in the Time of the Pandemic, First Week of April Check-in
My mason bees are all hatching and it’s quite entertaining to sit out on the porch and watch the tiny perfect new bees encountering the world for the first time. When they reach the sunlight they stop and preen themselves like cats. Grocery deliveries have become a source of great excitement, and I am currently on Fall of year 2 in Stardew Valley. The move to Portland is on hold for at least a couple of weeks while we figure out where the world is going.
While existence has become more circumscribed for many, my life has, weirdly enough, become a bit more social as a result of recent events. I’ve been doing daily co-working sessions, at least one, sometimes two, each day, for a group that includes a bunch of friends and family, current and former students, mentees, and Patreon supporters as well as trying out some different things like videocalls where we all log on and clean our workspaces at the same time while chatting or Netflix Party.
I wrote a piece for Medium on how to run a successful and productive co-working session, and I cannot recommend them highly enough, although I know that mileage will wildly vary, according to people’s process. If you miss coffeeshop writing or working in an office, though, this may be a reasonable substitute. Remember there are scholarships for the Discord server.
Get Weird! How to Make Your Fiction Original, Compelling, and Deeply Weird with Evan J. Peterson Saturday, April 11, 2020, 9:30-11:30 am Pacific Time. Taking cues from classic stories as well as contemporary literature, film, and pop culture, workshop leader Evan J. Peterson teaches you the ways to make your writing original, compelling, and deeply Weird. From witchcraft to spirits to unnameable entities, you’ll learn what makes a story unsettle audiences and stick with them for years.
Writing Interactive Fiction with Kate Heartfield, Saturday, April 11, 2020, 1:00-3:00 PM Pacific time. If you’ve ever found yourself choosing between possible endings or plot twists, why not try a storytelling format that lets you explore them all? Games and interactive fiction invite the reader to join in the storytelling process, and invite the writer to consider multiple facets of agency, characterization, pacing and plot. Learn some fundamental principles and techniques for interactive formats, or just gain a new perspective on ways to develop your non-interactive prose.
The Writer’s Guide to Handselling Books (Social Isolation Edition) with Michael R. Underwood, Sunday, April 12, 2020, 9:30-11:30 AM Pacific time. Author and publishing professional Michael R. Underwood shares lessons from a decade of hand-selling books to readers, booksellers, and sales reps. Learn how to put your work into a market context, showcase what makes it special, and connect with readers when selling at conventions. There’s no one way to sell any book, so this class will help you learn to find several different ways to pitch each project for greater success. In this edition, we’ll talk about how to sell books while practicing social isolation via virtual events and social media.
Fearless Writing: Learning Not to Hold Back with Evan J. Peterson, Sunday, April 12, 2020, 1:00-3:00 pm Pacific Time. What are you afraid to write about? In this class, we create the supportive space to write the things we haven’t yet. We will discover what fears hold us back from writing about the topics and experiences we want to, in the forms and styles we want to. We will move past these fears and write fresh, honest, compelling work. We will practice sharing our writing with one another to dispel the fears of judgment and replace them with encouragement and strength. This class welcomes those writing in all genres and levels of experience and confidence.
Remember that there are Plunkett scholarships for classes; even if you’re strapped for cash, these classes are available. If you’ve enjoyed Rambo Academy classes in the past, please spread word of the school!
For Writers: Working with Twinned and Twined Storylines
Diagram or doodle? It’s all in the eye of the beholder.When I sat down to work out the outline for my Moving from Idea to Finished Draft, I came up with almost two dozen possible starting points for writing a story, including scene, title, taking an old plot, a character, dialog, a particular device, and more. As I finished writing it, those categories shifted around a little, sometimes sliding together, other times diverging, but I did think I’d managed to exhaust the possibilities…
…only to be proven wrong, of course. A week or so ago at the Surrey International Writers Conference I was absolutely delighted when an audience member hit me with a new one that I hadn’t considered at all.
When I teach the class, which focuses on how to take an idea and use it to finish a story, I talk a little bit about story structure and writing process, but most of the class relies on asking participants what the idea is that they’re working with. This time, a woman said, “My idea is a twinned story” and explained that she wanted to write two stories in parallel.
You might argue that it’s a particular manifestation of a frame story, which is something covered in the Devices section of the class, but she wanted it to be more than that: her story was about a couple discovering letters in their attic that tell the story of another couple’s marriage. So let’s look at this according to the structure I use in Moving from Idea to Finished Draft, looking at what it is, what it gives you, what considerations you should take into account while writing, possible pitfalls, next steps, and a few exercises designed to increase understanding of the idea.
What It Is:
A twinned story holds two or more plots running in parallel to each other. The connection between them may be strong or more tenuous and faint, but it must exist. The stories should be distinct and are usually separated by location or time. Usually they are given roughly equal amounts of time in the story; one story may be stressed in importance over the other or they may be weighted equally.
However, I want to note that I am distinguishing this from a single storyline that takes place but is shown from multiple POVs; there are too many differences for that to get lumped in here.
What It Gives You:
The mirror structure actually gives you some very useful things. The first is that if you know the theme of one story, you know the theme of the other, because while it does not have to be an exact copy, it must reflect the other.
Similarly, the action of one story will be echoed in the other, and you may want to look for places where you can create echoes with objects, dialogue, actions, or other elements. If you know one story completely, you should be able to sketch out the other, but it is more likely that you will move back and forth between them, fleshing out elements as they appear in one story and need to be echoed in the other.
Considerations:
That connection between the plotlines is pretty crucial, or else the story will seem pointless and disjointed. It must be apparent to you as well as your reader.
Every time you switch from one plotline to another, you are bumping the reader out of the story and forcing their mental GPS to recalculate their route through it. Give them both the details and the time they need to re-orient themselves in the narrative. Remember that sensory stuff — particularly non-visual — is useful for pulling them back in.
Possible Pitfalls:
As with any device, there must be a reason to use this structure other than “it would be cool to write a twinned story.”
Remember as well that you must carry the plots out to satisfaction and that this will take space. The more plotlines you have the longer your piece will be, and you will need to resist the temptation to skimp for lack of room if you are trying to write to a particular word length.
Remember that you have less space than usual for everything as a result of this, including character development. Make everything count.
If you move about within time inside each of the storylines, providing flashbacks or memories for example, remember that you will need to make sure the reader does not mistake this for a movement to the other story line.
Next Steps:
Take inventory of what you have. Where are the blank spots in both that you will need to address? What can each lend its partner?
What are the differences between the story? Are there any you need to reconcile in order to make the parallels between them stronger?
How will you mark the transitions between the two storylines?
Map out the chronology of both storylines; you must know this in order to have them run in parallel.
Exercises:
Figure out some differences between the main location for each story. If time is the difference, what has changed and what existed in the earlier landscape that is transformed or accommodated for in the later one? Along the same lines, if location is the difference and time is not, how is the time of year reflected differently in the two locations? Are there cultural aspects of society that change as well?
Sketch out the main character(s) of each plotline and pair them with their alternate in the other story. List three differences and three similarities between them.
Why are you using this device? List three things that you can do in one story that enhances the other one, such as having the same character appear in each in a way that deepens the reader’s understanding of them, showing how a landscape changes over time, or exploring the idea of inheritance.
In the class material, I try to provide an example of a story that came out of each kind of inspiration, but I don’t have one of these (how can this be?)! So I’m working on one, “The Sheriff Who Dreamed of Astronauts,” which Patreon supporters will get both early glimpses of and a first chance to read when it’s done, and that will get added to the class material at some point.
In the meantime, if you’d like to read interesting examples of this technique, I highly recommend Katherine Blake’s Interior Life for an innovative example, Fried Green Tomatoes at the Whistlestop Cafe by Fannie Flagg for a traditional but highly satisfying example, and If On a Winter’s Night a Traveler by Italo Calvino for something that will really stretch you and make you think while (I hope) delighting you..
If you’d like some interesting audio talk about such things, here is Linda Aronson talking about parallel narratives (unlike me, she includes narratives of parallel characters):
And here is Quentin Tarratino talking about non-linear narrative in a way that may be useful:
A few days ago, I implemented #Critclub, tying the Chez Rambo Discord server more tightly into the Rambo Academy for Wayward Writers and providing a way for F&SF to swap critiques online. People seem excited about this, and the Patreon campaign has seen an uptick. A few people have taken me up on the offer of scholarships – thank you!
Coming up this weekend:
