Been there: Using real-world settings in fiction

Been there: Using real-world settings in fiction

Gwynn Scheltema

I’m always fascinated by the worlds that writers create for fantasy and sci-fi novels. I think I’m fascinated by the sheer complexity of creating an entire culture from its laws and religion to its people, plants and landscape.

But basing our stories in the “real world” we all know (or think we know), can be just as complex.

Keeping facts straight.

krzywy-las-641507_640Using real settings—real towns or cities, real street names, real landmarks— can seem easy because you have everything created already. You don’t have to invent culture, landmarks or names. If you mention the CN Tower or Westminster Abbey, you need only give a few details, and readers can fill in the rest.

Provided you get it right.

You can be sure that if you get it “wrong”, someone’s going to tell you. Or your reader will be aware that you made a mistake once, and be on the alert in case you do it again, so now there is a subconscious element of distrust as they read. At the very least, it will kick them out of the narrative momentarily.building-72225_640

Your Impressions

Sure, you can control facts to a large degree with good research and careful editing, but what you can’t control is readers’ reactions to your perceptions of real places. If, like facts, readers think that you got the impression “wrong”, it will be noticed, and have the same effect as getting facts wrong. If, as a narrator, you describe a particular real neighbourhood as “dangerous”, or “upcoming” or “ugly”, that might be your interpretation, but your reader may not agree. Your perceptions of real places are valid, but so are your readers’impressions of the same place.

So what can you do?

Impressions vs. facts

As you write be aware which setting details are facts and which are opinions. Characters only should express all the impressions or opinions. Characters in this instance include the narrator in a first person story. In sections of exposition, stick to facts. This is a good rule of thumb for any details actually, not just for setting. Essentially, setting opinions expressed through exposition become “author intrusion” and open that door for “getting it wrong”.

Manipulating impressions

The moment you move impressions of real places to the realm of character, you have the opportunity to manipulate setting to support other elements like character development and theme.

By choosing to focus on the details the character notices in a setting and what they think and how they feel about it, says as much about the character as the setting. Characters usually notice the things that align with their emotional state and with their level of understanding. You can set or heighten mood and sneak in details that will be important to plot or speak to theme.

midway-game-983385_640

Think of a child and his mother entering a fairground. The child is likely feeling excited and looking forward to fun, so will notice details that are colourful, fun and energizing: whirling rides, flags and balloons, stalls full of prizes to be won. The mother might be jaded by years of attending fairgrounds, aware of potential danger and cost. She will notice questionable people, machinery that looks or souman-1283576_1280nds dangerous and the crush of crowds that make it hard for her to keep track of her child.

Another manipulation is to purposely describe factual details “wrong” to establish an unreliable character.

Fiction and reality fusion

Perhaps the best way to use real settings is to create a fictional piece within the real one. A fictional town in real Northern Ontario. A fictional bar in Paris. You still get the advantages of the “real world” settings, but not the disadvantages. Your fictional component should be similar enough for believability, but you have the freedom to create your own “impressions”’ of the place. You get to decide if the place is “dangerous”, or “upcoming” or “ugly”, and your readers will believe you.

 

The Power of Cameo Characters

The Power of Cameo Characters

Gwynn Scheltema

“Even the smallest person can change the course of the future.”

~ The Lord of the Rings, J.R.R. Tolkien

Incidental characters, walk-on characters, cameo characters—call them what you will—they have an important part to play in a novel. Do you remember a scene where a character appears just briefly and then we never see that character again? 

When a writer includes a walk-on character, is that a good thing or a bad thing?

The answer depends on what kind of novel you’re writing, where in the novel the character appears, and what the character does in the scene.

Mister Pip

Mister_Pip_(Lloyd_Jones_novel)One of my favourite “cameo characters” is a woman known only as “Daniel’s grandmother” who comes to share her wisdom with Mr. Watts’ class in Lloyd Jones’ book Mister Pip:

Daniel’s grandmother, stooped and old on her canes, peered back at our class with her weak eyes. “There is a place called Egypt,” she said. “I know nothing of that place. I wish I could tell you kids about Egypt. Forgive me for not knowing more. But if you care to listen, I will tell you everything I know about the colour blue.”

And so we heard about the colour blue. “Blue is the colour of the Pacific. It is the air we breathe. It is the gap in the air of all things, such as the palms and iron roofs. But for blue we would not see the fruit bats.

You can find blue squinting up in the cracks of the wharf at Kieta. … It is trying to get at the stinking fish guts, to take them home. If blue was an animal or plant or bird, it would be a seagull. It gets its sticky beak into everything.

But blue also has magical powers,” she said. “…Blue crashes onto the reef and what colour does it release? It releases white! …A final thing, children, and then I will let you go. Blue belongs to the sky and cannot be nicked which is why the missionaries stuck blue in the windows of the first churches they built here on the island.”

What is achieved with the character of Daniel’s grandmother?

Now on the surface, she seems just a quirky character who says some strange things about a common thing we think we know about already. Rebels have invaded the island and they are all living under very strained conditions. She has been invited to teach the children something, and yet she speaks “only” about blue.woman-1031000_640

She appears about a quarter of the way through the novel, just as things are taking a new and frightening turn. Perhaps her only purpose in the novel, therefore, is to provide some colour (pardon the pun), or perhaps some comic relief from an otherwise serious situation.

And that would be fine, because those are two good reasons to have a walk-on character.

 Is Daniel’s grandmother really just incidental?

Lloyd Jones’ character seems incidental—indeed, she could be removed altogether with no effect on the plot line—but she definitely adds to the novel.

This scene supports one of the themes of Mister Pip, which is the examination of the power of the imagination and words, and how they can achieve what is seemingly magic.art-Mr-Pip-620x349

She is also foreshadowing what Mr. Watts will do: SPOILER ALERT: to delay execution, he will weave a “magic” tale from what seems at first to be ordinary things . Daniel’s grandmother has told the children in a kind of metaphorical code or allegory what will happen. She has told them to “listen” and to believe in the magic of ordinary things.

In fact, when Mr. Watts thanks her, he says, “…while we may not know the whole world, we can, if we are clever enough, make it new….We just have to be as imaginative as Daniel’s grandmother.”

 Memorable and effective incidental characters…

  • add local colour
  • provide a break in mood or pace so readers can breathe
  • do something “complete” in their own scene so that removing them from the book seemingly doesn’t affect the main plot
  • can be used for wider purposes such as theme, foreshadowing and comparison to emphasize other characters
  • are often best left unnamed
  • should only show up when other main characters have been established

So cameo characters can enrich, elucidate, or refocus a novel, or they can simply entertain. Good ones usually have more than one purpose—and are always memorable.

Share a cameo or walk-on character that you remember in the comments below.

 

Permission To Write, Ma’am? Granted!

Permission To Write, Ma’am? Granted!

20160606_091236Imagine a sprawling kids’ camp tucked into 60+ acres of hills and trees edging a clear lake. This Ontario cottage-country paradise has everything a kid could want.

Water sports. Mountain bikes. Pine cabins. Sports fields.

Pottery studio. Dance studio with a sprung floor. Professional performance theatre.

Pottery? Dance? Performance? At a kids’ camp?

You betcha. For decades, the Durham District School Board has transformed Camp White Pine into the Durham Integrated Arts Camp (DIAC). Like magic, the arts-focused Haliburton summer camp becomes an annual arts fest for Durham Region students and this year, 350 teens soaked it all in.

Senior and junior concert bands. Jazz bands. Ensembles. Songwriting. Drumming. Dancing and movement. Music theatre. Black light theatre. Improv.

Drawing. Painting. Pottery. Printmaking. Textile arts. Sculpture…

And creative writing.

Liberated voices

I’ve recently returned home from teaching Creative Words, an elective program for the Grades 7 to 12 students at DIAC. I had 35 students spread over 3 classes. It was spectacular, challenging, surprising and gratifying.

On day one, I told them “Creative Words is not about spelling. It’s not about grammar. It’s about your words, your way.” I don’t think they believed me at first but it didn’t take long for them to discover the joy of freefall writing, the depth that writing gets to when you use all five senses, and the value of “owning your words.”

I led the class in much the same way as I facilitate my adult workshops. The students were surprised when I said “no censorship” but then I reminded them that they still must respect each other and the words on the page. Every word has to be there for a reason, not just shock value.

By mid-week, students were clamouring for “more freefall” and willingly trying whatever crazy exercise I had them experiment with. I knew things were going to be okay when students charged into the studio declaring “I love this class!” And frankly, so did I.

“Trying on” words

Creative Words students used their own work in their culminating project, aptly called “Wear Your Words.” Selecting an excerpt from a piece they created — poems, stories, anthems– they wrote them on T-shirts. Some students had just a few words. A couple had pages’ worth of words. Several added images. And some chose to let their words stand alone. At the week’s-end celebration, a few bravely read their work in front of other campers, and three participated in a poetry slam. Most of the students wore their T-shirts to the celebration, and so did I.

20160609_11393620160609_16084520160610_14535620160609_091957

I was immensely proud of my Creative Words students. All of them took risks. All of them wrote every day.

There were a few tears as we wrapped up. Some of those tears were mine because it is really an honour to be among young people who are exploring their narrative voice. For most of them, my workshop was the first time they had feedback from a professional writer. It’s an intense few days of exploration, discovery and acceptance. But encouraged to express their words, their way, they found their voice.

I didn’t discover my narrative voice until I was nearly 40. So I’m happy these young writers didn’t have to wait that long.

School with a difference 

DIAC-2016DIAC is a temporary school, complete with a principal, administrative staff and teachers. Granted, some of the teachers are on mountain bikes or in canoes, and some of us (me, for example) are guest instructors without teaching degrees, but it is school nonetheless. We take attendance. We have rules. But we also have fun. Best of all, we encourage students to explore their creative selves, to see themselves and the world in relation to arts and culture. And to celebrate all that it means. Because, after all, to an artist at heart, it means a lot.

The value of keeping random ideas.

The value of keeping random ideas.


Gwynn Scheltema

Ever write a story that seemed to go nowhere? Ever thought of a brilliant opening line, but never wrote the story? Ever found a line that you thought might make good dialogue, or a line in a poem, or the premise of an entire novel and lost it?

lights-1254298_640Rummaging around in discarded ideas will invariably turn up something unexpected, surprising, fun or usable.
That’s not to say that every word you write is gold – saleable gold – and that none of it should go to waste. But ideas don’t always come at a time when you are ready for them, and if you have no way to revisit them, then even the good ideas will go to waste.

Increase your wheat-to-chaff ratio with an Ideas File and pop them in there. Actually, have several ideas files:

Ideas Files
  • hard costory basketpy file folder: for ideas scribbled on napkins and other scrap bits.
  • computer file for the same. Make sure you develop a way to easily navigate through them. Naming each one “good idea” won’t be too helpful when you have 400 “good ideas.” Make use of “version” and “date” options if you have very similar drafts of an unfinished story:
    • horrornovel_v2_2016
    • babypoetryRev3March
    • trilogy_idea3

 

Personal coding systemcolored-pencils-168392_640

Create a personal coding system to mark up journals or notebooks for easy browsing retrieval. I use coloured highlighters: I underline or asterisk possible poetry ideas with yellow, novel snippets with blue, non-fiction article ideas with green, etc.

Other people’s ideas

Expand the concept to ideas beyond your own writing

  • In another hard copy folder keep cuttings from newspapers and magazines, old letters or theatre tickets or postcards or photos. Expand to new subfolders as ideas begin to consolidate.
  • In computer folders, keep ideas suggested by blog posts, or anything internet related, including email copy. Be sure to include URLs if you want to reference later.
  • Create a Pinterest board. This is especially useful in the early stages of a novel. Pin pictures of faces, buildings, landscapes, objects, or anything that stirs up ideas or cements a visual for you. Here is one I started for my MG novel.

pintrest board

Of course, having all these ideas is pointless if you don’t do something with them.

Here is a creative exercise to try:

Take these twold bicycleo random pictures and write a scene that will somehow link them together.ticket-153937_1280

 

 

 

When pairing ideas, don’t worry if they seemingly have nothing in common when you begin– that is the point of the exercise. The struggle of creating the link is what gets your brain going.

 

Step by Step

Step by Step

Gwynn Scheltema

Concrete steps with the words Step by step painted on themLately, I’ve been trying to increase the number of steps I walk each day. I bought a pedometer to record them. At first I just went about my regular routine to see what I was achieving already. Sad. Very sad. Some days I didn’t even break 500!

Apparently, you need to do a minimum of 6000 a day to maintain good health, and well over that if you want to lose weight or increase fitness levels. After several months, I now consistently do 7000 steps and some days even more. One day last week, I topped 15000. Yay me!

Lately, I’ve also been trying to increase the number of words I write in a week. I made a wall chart to record them. At first I just went about my regular routine to see what I was achieving already. Sad. Very sad. Most days I didn’t even break 500!

The difference is, after several months, I’m better but still not averaging a decent word count. I don’t expect to do 7000 a day, but I definitely need to average more if I want to finish my novel any time soon.

A first draft in one year

abacusAt first glance, if you do the math, an 80,000 first draft written over a year, five days a week, 50 weeks in the year, would only require a measly 320 words a day! A 100,000 word book is only 400 words a day.

But let’s face it. Not every word you write is golden. And there needs to be time in there for research or plotting with sticky notes or just plain thinking. So aiming for a minimum of 500 words a day and will allow you to produce enough “good words” for a first draft.

I prefer to think of that as an average of 2500 good words a week for 35 to 40 weeks of the year. That still leaves plenty of weeks for research or holidays or whatever.

 The problem

The problem is, when I think of 2500 a week, every week, I find that daunting, in the same way that I found the prospect of 6000 steps a day daunting. But I succeeded with the steps. So what did I do to get my steps up that I could apply to my writing?

The solution to increasing my steps:

  1. I wore my pedometer every day as a constant reminder and motivator.keyboard with check mark
  2. I coerced my husband into wearing one too so we could motivate each other.
  3. I didn’t try to do all 6000 at once during the day.
  4. I found times of the day when I could get in a quick 1000.
  5. I discovered that jogging got them done faster.
  6. I realized that every little bit counted towards the whole: walking while on the phone or jogging on the spot while waiting for the kettle to boil.
  7. I “rewarded” myself with a check mark on my chart for every day I achieved the 6000.

Therefore…the possible solution to writing 500 words every day:

  1. B.I.C [Butt in chair] every day. Doesn’t matter what I write, as long as I write, or actively work on the draft in some way.woman's face with pen writing on glass - just words
  2. Find a writing buddy so we can motivate each other.
  3. Write in several blocks of time if it’s hard to do them all at once.
  4. Identify quick items that move the project forward to do in limited time slots: look up a missing fact, decide on a character name, weigh up plot options.
  5. Use freefall to write quickly and get ahead of the internal editor.
  6. Realize that every little bit counts towards the whole – keep a notebook handy and use it: on the train to work, while waiting in the car….
  7. “Reward” myself every week I achieve the 2500. Chocolate? Solitaire? A new book?

pile of books and glasses

 

What do you do to keep your word count clocking up week after week?

 

First Impressions Matter

First Impressions Matter

Ruth E. Walker. I’m on LinkedIn which, in short, is a business-oriented networking site, a bit like Facebook for affirmations-441457_640professionals. You post your resume, awards and announcements. And people you are connected with (think “friends”) can endorse you on a wide range of skills and expertise. A while ago, I got endorsed for: creative writing, proofreading, writing, blogging and editing.

Yes. I do all those things. And I think that I do them pretty well. So what is the problem with being endorsed for them?

I don’t know the writer who endorsed me. I’ve never done any work for him. Not one edit. Not one single instance of proofreading. He’s not been to any workshop I’ve offered. Nor is he a member of any writing organization to which I belong.

So, I have to ask. What value are all those endorsements on my LinkedIn site if random new connections can merrily come along and endorse me? And even more important, what do I think about a total stranger giving me his unwarranted endorsements? I was not impressed. Not one bit.

horse-1006579_640Stop looking a gift horse in the mouth, you say? I say, that’s a real cliché. That’s the editor in me. Avoid cliché like the plague. And avoid giving electronic high-fives if you have no idea if the high-fives are warranted.

On the other hand, if I have endorsements from professional writers and editors, that sends a strong message to anyone visiting my LinkedIn site. And fortunately, I do have those great endorsements.

abstract-1233873_640Stop looking at social media as a true representation of who you are, you say? I say, I have standards. That’s the professional writer in me. By its fluid and ever-evolving nature, social media is not meant to be “the complete me.”  It’s more like a snapshot here and a glimpse of something interesting over there.

I don’t believe everything I read in social media. I bet you don’t either. But I can confirm that when I am posting things on social media, I don’t make things up unless I’m writing fiction.

LinkedIn is a networking vehicle and sometimes people find interesting ways to connect, you say? I say there are other ways to network in the industry that don’t involve making things up. If you want to connect with other writers, don’t post things on their site hoping they’ll notice. Join a writer’s group. Take workshops in the field. Read Heather O’Connor’s post on How to attend a book convention. Other than a workshop with a creative writing exercise or two, none of these options involve making things up. Nor should it.

The thing about being professional is that it is more than just saying “I’m a professional.” It shows in your behaviour. It is modelled for others through your choices. And it invites others to be professional with you.

handshake-733239_640I was professional in how I followed up with the stranger who endorsed me on LinkedIn. I sent him a private message, thanking him for his positive reinforcement but asking how he knew me and my skills. It turns out I was right. He didn’t know me.

We had a brief exchange where I suggested he should only endorse people with whom he was familiar. He appreciated my comments and I felt better when I understood why he made the mistake in the first place. He was new to writing and new to LinkedIn and wasn’t yet familiar with the process. He thought this was a good way to network with other writers.

Look, I’m not saying don’t get out there and use social media to make connections. Quite the opposite — I’ve made some worthwhile and amazing connections via social media. But I am suggesting that you need to think about the impression you are leaving when you do so. Don’t let the computer screen change you into someone you wouldn’t want to associate with. Be yourself but be professional.

What’s in your writing drawer?

What’s in your writing drawer?

Gwynn Scheltema

There’s plenty of advice out there on how to prepare your work for submitting, but what if, like me, your problem with submitting—is you!

Do any of these statements apply to you?

  • ·         You have completed work ready to send out that hasn’t been submitted ever.
  • ·         Many of your completed pieces have been waiting to go out for years.
  • ·         You have several projects that are “almost ready” to send out.
  • ·         You have pieces that you sent out once, had rejected and never submitted again.

head shot of isaac Asimov

 

“You must keep sending work out; you must never let a manuscript do nothing but eat its head off in a drawer. You send that work out again and again, while you’re working on another one. If you have talent, you will receive some measure of success – but only if you persist.”

  Isaac Asimov

Facing fear

You likely already know that the prime reason for not sending your stuff out is fear:

  • ·         of rejection (I‘m not as good a writer as I thought I was)
  • ·         of success (now I’ll have to do it again)
  • ·         of someone stealing my ideas (lack of trust of new people or situations)
  • ·         of facing the reaction of readers (don’t like to be judged)
  • .         of rewrites and edits (what if I can’t do what they want)

book cover Art & Fear

What separates artists from ex-artists is that those who challenge their fears, continue; those who don’t, quit. Each step in the artmaking process puts that issue to the test.
― David BaylesArt and Fear

 

Like eating well and exercising, you know what to do and why you should do it, but you can’t bring yourself to do so. So here are a few ideas to help you over that hump:

1. Join the clubwoman afraid

We can’t control fears and feelings. Likely they are deep-rooted in our psyche. But we can find ways to move forward despite the fear.

Accept that pretty much every writer has these fears at one time or another. The trick is to accept it as part of the writing process. Embrace it and face it.

You will get rejected. It’s a given. But you will survive. You will live to write another day.

2. Let go

Ironically, the greatest feelings of self-doubt seem to come at the moment when the task is almost done. You want it to be perfect; the pressure to finish increases, and the knowledge that you will have to put it out there sits menacingly on your shoulder. But there comes a time when you must fight self-doubt and have faith in what you’ve created. You must let go.

If you don’t? What happens? Nothing. Your writing stays in the drawer. You beat yourself up for not moving forward. Nothing gets resolved.

3. Trust the Processtrust yourself

Fear focuses on unknown results of possible action. You can’t control unknown and possible. You can control process—and action. So start on the process of submitting; create a forward motion as a way to outwit, outrun, outsmart fear.

It’s hard, sure, but it’s the writing life. You can either face it or not. You can trust the process or live in fear. Your choice. The solution in your hands.

4. Get started!
  • ·         Set yourself a target date to have just ONE piece sent out.

Writers live by deadlines, so harness that attitude to help you submit. Make yourself publicly accountable—tell your writing buddy, your critique group, anyone who will call you on it.

  • ·         Break the process down into actionable tasks.

Submitting your work can feel overwhelming. But like any process, breaking things down into bite-size actionable pieces helps you to get started so that once begun, the task takes on a momentum of its own.

Try making a list for each stage of the process (which you can use again and again), and then tackle just one item on the list at a time. Tell yourself you only have to do one thing on the list. Chances are, once you get started, you’ll do a lot more. And each action you take will build your confidence. Focus on the idea that each small item is doable.leap of faith

5. Don’t Stop!

By the sheer law of averages, the more submissions you make, the more publishing success you will likely have. Think of rejections as “acknowledgments” that you are doing what real writers do. You are submitting!

A good place to start is writing contests. Join Ruth E. Walker and Dorothea Helms in May for their popular workshop Write to Win.

If you want to start the process now, make a public commitment in the comments below to a date to have ONE submission completed. We’ll follow up and see how you did.

 

 

Memo to Readers: Power of Personal Papers

Memo to Readers: Power of Personal Papers

Since it was first published, The Diary of Anne Frank continues to be a bestselling non-fiction book, attracting thousands of readers each year who discover Anne’s spirit. Clara Callan won both the Giller Prize and the Governor General’s Award. Message in a Bottle. The Notebook. The Bible. Dracula. Griffen and Sabine….

All these titles are bestselling fiction and non-fiction books. All are joined by one basic element: the epistolary form. Using personal papers is not a new technique but it can be a powerful addition to a story. And like any power tool in writing, it needs a thoughtful approach.letter-700386 web size

Let Ruth take you through this form’s limitless possibilities. From grocery lists and memos to diaries and love letters, the epistolary form has been an effective and economical way to convey information and capture the imagination of your reader.

A workshop participant: “I never realized how powerful this could be in my manuscript. Thank you!”

Email info@writescape.ca to find out when the next time this workshop will be offered.

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Tasting the Page:  Beyond the Five Senses

Tasting the Page: Beyond the Five Senses

With Gwynn Scheltema

In this one-day workshop:

  • challenge your reader’s perceptions and assumptions
  • deepen your powers of description
  • learn new descriptive techniques to give greater weight to your narrative voice.
  • master how to add description without slowing the narrative.

Don’t let your fiction be left on the plate. Prepare it gourmet style and your readers will beg for more.

Have fun experimenting with creative writing exercises that make your writing live. We’ll munch our way through a smorgasbord of fiction foods from image and emphasis, to movement, theme, and syntax.

Come prepared to go new places and try new things.

As past participants have said, “You provoked me into thinking of new ways of approaching my writing,” and “Your exercises were great—inspiring, short, but effective. You let us try lots of different things.”