Arriving at the downtown hotel that morning was an adventure in navigating Toronto’s insane rush hour traffic, trying to figure out if a side trip down a side street would get me around the slowdowns of construction and finding out that no, school busses and dump trucks do not make for a speedy commute. The rush of relief when I arrived with ten minutes to spare, even after fumbling at the parking machine to input my licence number – Writer2 – ironically, since this is a workshop I’ve anticipated for a year.
The session was long and there was a constant stream of wisdom, tips and tricks. I've broken the Masterclass into segments, so as not to overwhelm.
Part 1.
Chris Vogler is know as a ‘structure guy’ – he can look at a story and see through to the bones – almost like a chiropractor who can see what’s out of alignment in your body. That skill gets him right to thetrue potential of the story.
A map is not the journey – it gives a sense of direction. BUT, it is in the digressions and side trips that the magic happens.
Chris talked about science fiction movies and how the sweeping music reflects the cinematic energy.
Ray Bradbury – one of the techniques he uses is to get all five sense on every page.
Using sensory detail - my example
The grey ribbon of 4-lane highway is alive with mostly lone commuters hunched behind their steering wheels, trapped in the sludge that is morning rush-hour. I crack open my window but instead of the smell of spring, I get wafts of diesel from the line of dump trucks jockeying in and out around me. Gears grind, brakes squeal and horns honk as we crawl to walking speed, as if the noise will clear a path through the auto-clutter. I sip my warming smoothie – thank goodness the slice of ginger I threw in masks the taste of the powdered greens the saleswoman at Natures Emporium assured would cleanse my blood.
- Check out Writer Duet collaborative software – several writers can input simultaneously.
- Writing with music – select a piece that is consistent with what you are writing. There should be no vocals – they interfere with the flow of inspiration.
Try to add some cinematic quality to your writing! Not ‘Motion Pictures’ but EMOTION pictures – the ability of the story to transmit emotion and move us. If it doesn’t bring about change in the audience and characters, why bother? Readers begin with an expectation that there will be growth and change.
Maya Angelou wrote: “I've learned that people will forget what you said, people will forget what you did, but people will never forget how you made them feel.”
It's important to use not just 3 or 4 emotions but ALL the known emotions. Ambitious, certainly, but not always necessary or possible.
Make a list of emotions – HOW WILL YOU EVOKE THEM? What's are the possibilities? What language do you have to express them? What sensory elements will help evoke emotion – smell, sounds, touch…
Writer's Reference:
Writers Helping Writers - The Emotion Thesaurus
INTENTION – any work of writing really needs to begin with a strong intention.
Libraries, bookstores and the Internet are friends of creators. Learn useful tips and tools from recognized writing experts and regain the energy to enjoy creating good fiction again.
Whatever you’re doing when you write, don't forget that it's okay to be the ‘fool’ or different. Be wise and open to the new. What form should your next work take? Can you apply fiction techniques to add emotion to creative non-fiction writing?
...check out Part 2
