Craft
Jerry Chandler, Sean Scullion, and Micha Roded have been kind enough to critique the script for The Victory Streak #1, and in so doing have helped me get past the creative logjam that was getting in the way of finishing the story. Their critiques, which they sent to me independent of each other, had so much in common it was eerie (I’m talking Vincent-Price-laughter-through-an-echo-chamber eerie). I think that there says something.
I need to thank Micha in particular for helping me to identify the “hook” around which I can structure the first chapter of the story. You have a good eye for story structure, Micha, and I’m grateful for the help.
(Jerry, Micha, Sean, and Bill Mulligan [who I haven't heard from lately -- I hope that's because he's busy filming "A Fistful of Brains!" and not because anything's wrong]): I will include you in the acknolwedgements in the first issue of the comic. I am also going to give each of you an original Victory Streak sketch. I wish I could give more, but I am a man of limited means at the moment.)
The issue of story structure is one that has confounded me for years because I have steadfastly refused to outline or otherwise plan my stories. My rationale was born of a fear that outlining would in some way cramp the spontaneity that I believe is the wellspring of my creativity. In other words, I’ve been just plain bullshitting myself.
What finally knocked the blinders off of my face was a remark made by Neil Peart, drummer and lyricist of the rock band Rush, in a documentary about the making of the new album, “Snakes & Arrows.” Peart said it’s emotion that moves him to write about something, but it’s craft that allows him to turn that passion into usable lyrics.
Okay. I get it now. I feel passionately about The Victory Streak. That’s a given. But I need to structure my story so that it accomplishes what I want it to, and that’s an issue of craft. The things are not mutually exclusive.
A final note: for those of you who are interested, I am experimenting with something called “mind-mapping” software from a company called MindJet. ”Mind-mapping” is a form of two-dimensional outlining that is supposed to better resemble how the human brain actually works. I’ll let you know the results.
I’ll be posting progress updates frequently for those who are interested, by the way. I’m also bringing a sketchbook with me wherever I go, and I’ll be posting the best of my sketches here as well. I’ll try to post every couple of days at the very least, so don’t be a stranger!
October 22nd, 2007 at 3:43 pm
“Mind-mapping” software…
Isn’t that the one that turns you into a Cyberman?
Mulligan’s fine. He’s just recovering from extreme ADD exposure.
October 22nd, 2007 at 6:29 pm
No, it’s just that Jeannie’s tired of Bill not knowing where he put things in his head.
October 22nd, 2007 at 6:56 pm
Gee, if that’s all she wants to know, a bone saw and crowbar should do the trick. She just needs to remember to use a dropcloth.
October 23rd, 2007 at 6:12 pm
With friends like these, who needs enemas?
October 24th, 2007 at 8:27 am
That was a crappy thing to say, Myers.
October 25th, 2007 at 2:31 pm
I’m happy to help Bill.
“Jerry Chandler, Sean Scullion, and Micha Roded have been kind enough to critique the script for The Victory Streak #1, and in so doing have helped me get past the creative logjam that was getting in the way of finishing the story. Their critiques, which they sent to me independent of each other, had so much in common it was eerie (I’m talking Vincent-Price-laughter-through-an-echo-chamber eerie). I think that there says something.”
Yes, of course, we’re all the same person, you. We’re all figments of your imagination. Ask Jeannie.
“Gee, if that’s all she wants to know, a bone saw and crowbar should do the trick. She just needs to remember to use a dropcloth.”
For dramatic effect I would add an icecream scooper.
October 25th, 2007 at 3:32 pm
Actually, Micha, I thought the uncanny similarities between the three critiques meant I should pay attention to them and incorporate some of your suggestions.
But now you’re saying it means I’m crazier than I believed, and you don’t exist.
Huh.
October 25th, 2007 at 6:11 pm
The fact that we don’t exist doesn’t mean you should dismiss our ideas. Maybe it’s your good ideas.
Or maybe i’m the crazy one.
October 25th, 2007 at 7:00 pm
So I don’t really exist? That would explain why I never seem to be able to get anything done these days.
October 25th, 2007 at 10:48 pm
Technically, Bill, to trace the logic, it would be you telling yourself you’re crazier than you thought, and that you want to do terrible nasty things to your cranium involving things usually related to opening crates and making hot fudge sundaes. That can only mean one thing.
You’re sick, man. And I only say that because, one, I care, and two, I’m part of you. The overtall, obnoxious part, clearly.
Although, it could mean that not unlike St. Elsewhere, the entire internet is springing forth Athena-like from the cranium of some patient somewhere and
You know how to kill a joke? Think up a new scene for your movie when you’re typing it. Gotta run, see where this takes me.
October 27th, 2007 at 5:46 am
“The issue of story structure is one that has confounded me for years because I have steadfastly refused to outline or otherwise plan my stories.”
It’s a tough dilemma. There’s a certain hesitation about planning and outlining. We are used to look at stories as a sequence of events and not from an overview. It feels as if you loose something by shifting perspective. Also planning is hard, to think of all these things. Very frustrating. But I find a general framework helps sometimes. Every time you go over the framework, more ditaiil presents itself, although sometimes you realize that you shoould shift from the framework.
October 28th, 2007 at 7:00 pm
Along with that, remember, even though you’ve “built the framework” in an outline, you’re the builder, and the building is just on paper, and you can change it at any time. I only say this because I used to look at the outline(when I used one) as carved in stone. Once it was in there it COULD NOT BE CHANGED EXCEPT BY AN ACT OF GOD. Or being thrown out by my mother. It took a large epiphany induced by my lady wife when she said, “Well, why don’tcha do it differently?” to make me realize this.
October 29th, 2007 at 9:20 am
There are as many ways to approach storytelling as there are storytellers. Outlining is merely one of many methods one can employ to ensure that a story’s structure is in alignment with its objectives. But it’s the one I’ve decided to try because it makes the most sense to me at the moment. If I find it doesn’t work for me, or something better comes along, I’m open to change.
Micha & Sean, I agree with you both that any approach to writing must be made to serve the writer, and not vice versa.
October 29th, 2007 at 7:58 pm
Yeah, I wouldn’t worry about it. The story outline is really only as restricting as you allow it to be. Look at PAD’s hulk run. There are points all over that run where you can see that he had some arcs planned out years ahead. I still remember reading Future Imperfect and thinking that and thinking that the silly lines that Rick Jones had when the group from the future came to his door just went waaayyyyy too far into hokey joke territory even for PAD. About a year later, the scene pops up in the regular Hulk book and the “really out there” lines that Rick had were, line for line, the last six months or so of the regular book’s story. Then there were a few little throw away lines form the mini that turned out to be hints about the main books twists and turns through to the end of PAD’s run on it. He had that thing’s major story arcs and storyline goals plotted out for yeeeeearrrrs.
Thing is, when you read the thing, there’s no denying that he had wiggle room for spontaneous creating in issues that sprang from working out better ideas in some areas or from current events. You seem to have an idea about what you want to say and where you want to go. Block out the general ideas, give yourself a few storyline goals along the way and then leave the rest open for spontaneity. It’ll only be hard if you tell yourself that it will be.