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Thinking Cinematically
November 29, 2018[responsivevoice voice=”UK English Female” buttontext=”Listen to this”]
Even if we’re aspiring novelists, movies and television serials can teach us a lot about structure, pacing, and character development. That’s because these facets are constants in storytelling, whatever the form that storytelling takes, e.g. writing movies, writing television, writing stageplays, writing novels, or writing short stories.
But how about visuals? Do the lessons of film-making apply to writing a novel, for example?
We appreciate a good looking movie with gorgeous vistas and beautiful establishing shots. Great filmmakers use angles to communicate the characters’ bearings, relationship dynamics, and emotional states. A lot can be said just in the way a shot is framed.
Often, movies willl open with an establishing shot of where the story is going to take place. Then it might close in on a particular adobe – a house, or a place of work or education. Then it moves into a particular room, where we’ll usually meet our protagonist, or set up the context for the story. We start wide and close into a specific.
This might also happen if the character is examining something. For example, a character wouldn’t know that the journal sitting on the desk is bound in leather, that the spine creaks, and that the pages are yellowed and many of them are dog-eared. The character would have to walk over and interact with the journal. They wouldn’t know about the creaking spine or the yellowed pages immediately. Their first impression would be of the cover. They’d probably even run their fingers over it to feel its texture. When they opened the journal, they’d hear the spine. Then they’d see the pages. Again, there’s that logic at place, that sense of closing in tighter and a sequential unfolding of events.
The exception might be when the focus is on a character who is moving from location to location and the story wants to generate a surprise. In this case, we might see the opposite happen: we’re tight on the character, and then widen the angle so we then know where they are. Often, in film or television, the character might relay an emotional state, e.g. shock. Then we widen for context – we’re prejudiced with expectation, and then the context to correlate to that expectation.
Again, it’s logical. It’s no different to you walking into a new location and taking things in. Think about if you stayed at a hotel. When you walked into your room, you wouldn’t know about the bathroom or the balcony. You’d only be privy to what you can see in that moment, and then get an overview as you explore. You wouldn’t know about what’s in the mini-bar until you opened the fridge. You wouldn’t know what the bed is like to sleep in until that night. You wouldn’t know about the view from the balcony until you stepped out onto the balcony.
This might all seem rudimentary, but lots of people don’t think about how a story unfolds around a character in terms of logical and causal structure. They often write instinctively, but those instincts haven’t been honed by (writing) experience, knowledge, and deliberation. There’s no shape to the spill. This makes it hard for the reader to follow when the viewpoint is jumping to accommodate the writer’s thoughts as they scatter haphazardly across the page.
This is where thinking cinematically helps. Don’t worry about the differences in form, i.e. a film can’t communicate senses such as touch or smell the way the book can, nor can it explore an inner monologue unless there’s a narrative voiceover. But think about the way the visuals incorporate the viewer into the story logically and progressively.
Writing any story is no different. Details should be logical. They should progress and build on a foundation. The reader is taken on a journey which they empathise with, and fit into, because it’s a course they understand unconsciously. There’s no need to question it. That’s one of the most important things in storytelling: the reader can question the characters’ choices and why they’ve made the decisions they have (a good story will often stimulate discussion), but they shouldn’t question why the narrative is skipping around. That loses them as readers.
When you’re writing, visualise the way your story progresses. Think cinematically the way you would shoot it if it was a film.
It will help immensely with narrative structure, and all the details that revolve around the unfolding story and the universe in which it takes place.
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Write
November 15, 2018
I take immense pride in writing as a craft, so it annoys me when people trivialise it, consider it a shtick, or don’t take it as seriously as they should.
Let me break down some of the things I’ve heard, the outlook some employ, and how they should actually be looking at it …
I am going to write a bestseller.
You may think you have THE IDEA, and that it’s going to be a bestseller. Guess what? About twenty-five million other writers think the same. You’re not unique in this. But you might think, But nobody’s had THIS idea. No, they have. But not this one. Uh uh. They have. And the reason I can tell you this is because I’ve heard this so many times.
Now I hope you do write a bestseller and you enjoy sustained success, but if your only motivation to write is you think you’ve discovered some untapped get-rich-quick scheme, you’re deluded. You may. You may. I’ll grant it does happen. But it’s rare. Most writers actually either work full-time jobs or part-time jobs to pay the bills, with writing complementing their income.
Write for the passion of it, not the money.
Write because you have a story you want to share with the world.
Write because you’re the only one who can tell that story.
I am writing a book to showcase my expertise!
Great. Fantastic. Showcase yourself and your expertise. You should. A book is a fantastic way to get your message out there. It can travel and represent you in a way it might be impossible for you to physically represent yourself, i.e. a book can go all over the world, whereas you might not be able to.
But a book is not a business card. A business card is one-dimensional. It contains details. A book is three-dimensional. It contains pages. The pages contain YOU. They sell your message. They offer your methodology. They break it down in a simple guide for the reader to follow. If the reader – as a consumer seeking expertise – can’t come to you, then your book can go to them. Your book is your ambassador.
You can use your book to market yourself – that’s fine. But don’t think jamming anything into the book itself will suffice because you’re still thinking of it acting as a one-dimensional product.
Write only what you can write.
Write your message, rather than dilute an amalgamation of messages others are peddling.
Shout your voice out into the world and let it carry your message to readers everywhere.
I want to write an autobiography – I’ve had an interesting life.
Brilliant. Everybody has a story. They mightn’t think it, but every life contains a message that can move, inspire, and change the lives of readers.
But work out what that message is – believe it or not, the good books in this genre have a message. It might seem that they’re just a chronological retelling of the author’s life, but there’ll be a point to it. Scott Stossel’s My Age of Anxiety is an excellent account of his ongoing battle with anxiety. Andre Agassi’s Open is a revealing story of how hollow he found what must’ve seemed a glamorous life to others, and how he grew up to take ownership of his future. A.B. Facey’s A Fortunate Life might encompass the author’s life and detail it chronologically, but it’s about how he overcomes continuing hardship in a new frontier and is grateful for the opportunities.
Messages – everywhere.
But a book shouldn’t be didactic. It shouldn’t be preachy. It should simply (and subtly) be part of the journey.
If you’re writing in this field, give some thought to what your story is.
I’m really interested in writing a history book about [INSERT SUBJECT].
Historians are my favourite author (or authors). Geoffrey Sandy has written three detailed volumes on St Margaret’s Church in Eltham and is still going. The Greensborough Historical Society compiled two volumes of stories about Greensborough throughout its history. The North Balwyn Tennis Club put together a book about the history of their tennis club commemorating fifty years (1962–2012). This list goes on.
And the reason these people are my favourite authors?
They’re NOT going into their projects with the motivation of writing a bestseller, earning riches, or winning acclaim. They are just passionate people interested in sharing a story about something important to them. That is their primary motivation: that passion to record something for posterity and share it with the world around them. What truer reason could there be for writing?
Historically, we’ve always recorded stories, preserving what was for future generations. Usually, it begins on a basic level, e.g. by word of mouth, a parent passing on a story to a child. In school, classes might be about state, national, or global history. In some cases, we might grow more interested in a subject matter and pursue it further, which is why it is important that we record these stories.
Stories matter.
A Well-Beaten Message
Take pride in your work, whatever your writing.
Don’t ever believe that your content will compensate for poor spelling, punctuation, or grammar; terrible presentation; or a shoddy product.
As people, we’re critical. When we pursue some form of recreation or education, we want to switch off and be immersed. But the moment we stumble upon an error or something implausible, we become wary. When it happens again that immersion is ruptured, and then we’re on shit patrol. Then we’re hyper-critical. Then we’re looking at finding more problems.
Take pride in making your book the best it can be.
Keep your reader immersed at all times.
When they put your book down, you want them to feel they’ve not only gotten value for money, but that it’s a book they lament leaving – and it’s one they’ll read again and again and again.
Writing is about making that connection.
Don’t let your reader down.
More importantly, don’t let yourself down.
The Guide to Writing Coaching Books – Part 3 of 3
October 18, 2018
‘However’ is NOT the most commonly used word used in the English language
Lots of authors – particularly writers in nonfiction – overuse ‘however’. There are two forms of abuse of the poor ‘however’.
1. When authors are trying to qualify a point …
Establishing and operating a business from home is not a prospect that should frighten you. However, the set-up can be a minefield.
Find another way to say what you want to say without relying on the ‘however.’ That does not mean removing the ‘however’ or substituting ‘although’. Think of ways to rephrase. E.g.
Whilst setting up and operating a business can be a minefield, it’s not a prospect that should frighten you.
2. To legitimise transition, even when there’s no causal evolution. E.g.
You are reading this blog. However, your dog has just metamorphosed into a butterfly.
There’s no logical connection between the two statements. But the use of ‘however’ makes the evolution feel logical. It’s not. It’s lazy.
Finally, the use of ‘however’ is striking. Sometimes, it’s unavoidable that you need to use it. However, when they keep popping up, they become an eyesore and disrupt the narrative.
Don’t undermine yourself
If you’re communicating a message, then believe in that message. Don’t be wishy-washy. E.g.
One of the best practices I’ve found is every night, I make a list up of what I have to do the next day. Of course, this mightn’t be for you.
Then why are you telling me? Why are you wasting my time with a suggestion that you’re not even enforcing? If you have a set of practices that help you, then assert those practices. This is what your book’s about.
There’s absolutely no point – in fact, it’s insulting – to offer a message, and then in the next sentence suggest it mightn’t be what the reader’s looking for. If it mightn’t be for the reader, then it probably has no place in your book. Do this often enough, and people will wonder what’s the point of reading your book if your ideas amount to ‘take it or leave it’.
This doesn’t mean you have to shout at the reader, YOU MUST DO THIS! You don’t have to browbeat them. But neither do you have to undermine yourself.
Your book is meant to be a guide, not a list of offhand suggestions. If you don’t have confidence to insist on what you’re proclaiming as advice, then why will the reader have confidence in you?
Watch your exclamation marks!
Sure, you might think every line you’re writing is emphatic! And that’s fine to be passionate! But there comes a point when the use – well, the overuse – of the exclamation mark is distracting! Worse, it’s one of these things we do unwittingly! Look back through your work, and see if you’re overusing the exclamation mark! You might just be surprised!
Your first draft is NOT gold
Writing isn’t just about writing. It’s also about rewriting. Your first draft is likely to be rough – the outpourings of somebody with lots of energy, lots to say, but often lacking focus. This is the way writing works: it’s an exploration of ideas.
Sometimes, that exploration becomes a wander as we try to find our way. It’s like trying to find your way all across town to somewhere new – there’ll be wrong turns, there’ll be detours, and whilst you might inevitably arrive at your destination, it’s not the course to take all the time. You find a better and direct route to get you to the same place.
Go through your writing with the pointers from this three-part blog in mind. See what can be revised, revised, revised. Then, revise it!
Finally … be YOURSELF
Tell your story exactly as you would tell me, if we were sitting across a table from one another at lunch. Don’t use big words (if you don’t normally) because you think it’ll impress the reader. Don’t wax lyrical, and try to impress everybody with your knowledge. Don’t fire off jokes if that’s not usually your thing.
There is something in writing called VOICE. Every writer has one. It’s the way the book talks to the reader. If you’re putting on airs to write your book, then you’re not being true to your VOICE, and the disingenuousness will show in the writing. It won’t connect with the reader. It won’t be you.
So be YOURSELF.
You are unique.
You are special.
You have your own message to deliver.
The Guide to Writing Coaching Books – Part 2 of 3
October 4, 2018
Avoid repetition
Repetition might work for midnight infomercials, where the presenter is saying to you, ‘But, wait, there’s more!’ But TV is a visual medium where repetition works as an assault to gain attention. In reading you already have your audience’s attention. The reader would not have picked up your book unless they were interested in what you have to say.
Don’t make the same point over and over and over, thinking that the more times you say something, the stronger you’re making that point. You’re not. You’re boring your reader. Writing is about economy. Say things once. Move on. Trust your reader got it. How would you like it if I stood by your side and reread this paragraph to you ad nauseam? You wouldn’t. You’d go nuts. There’s no reason to do the same thing in print.
The only time to use repetition is if it’s for stylistic purposes.
Don’t self-quote
This has grown as a trend throughout this market – authors quoting themselves, the way they’d cite quotes from other names of note in their field.
I understand the logic behind it. It’s a form of self-elevation, so the author stands parallel to their peers, but there’s a gross redundancy about it.
The whole book is the author talking to the reader. So why the need for a quote?
Avoid repetition
Repetition might work for midnight infomercials, where the presenter is saying to you, ‘But, wait, there’s more!’ But TV is a visual medium where repetition works as an assault to gain attention. In reading you already have your audience’s attention. The reader would not have picked up your book unless they were interested in what you have to say.
Don’t make the same point over and over and over, thinking that the more times you say something, the stronger you’re making that point. You’re not. You’re boring your reader. Writing is about economy. Say things once. Move on. Trust your reader got it. How would you like it if I stood by your side and reread this paragraph to you ad nauseam? You wouldn’t. You’d go nuts. There’s no reason to do the same thing in print.
The only time to use repetition is if it’s for stylistic purposes, like this.
Be thorough but succinct
Everybody can have a tendency to babble, particularly verbally. Have you been at a party when you’ve needed to explain something, only to go on and on, and then realise later how you could’ve been much more expedient? You often think of how to be more concise once you’ve thought things through, or had a chance to take another stab at it.
Take this example:
- Setting up a new business can be daunting. It’s a prospect filled with many risks. There are many things to consider – pitfalls that both the inexperienced and experienced can fall into, which is one of the reasons operating a business can be so frightening. There are numerous tasks to consider, and it’s best to have a system in place – a framework of procedures and protocols that establish your parameters and cant act as guides.
This is a very wordy way of saying:
- Setting up a new business can be filled with many risks, both for the experienced and inexperienced. It’s best to get a system in place to act as a guide to help avoid pitfalls.
Which is better to read? The first example is clunky and dense, using 74 words. The second uses just 34 words to say exactly the same thing.
Tell me who everybody is
Don’t start prattling on about workmates or family or friends without introducing them – like everybody should know who they are, e.g.
- ‘Gary was surprised by the response we got to this incentive.’
Who is Gary? Is he a friend? A brother? A boss? The dog? This occurs frequently – authors mentioning somebody they might know well, but whom the reader is going to be unfamiliar with. If you’re going to introduce somebody, the first time you introduce them clarify who they are in relation to you.
- ‘Gary, our Regional Manager, was surprised by the response we got to this incentive.’
That’s how simple clarity is.
The Guide to Writing Coaching Books – Part 1 of 3
September 27, 2018
There is no formula for writing a book that works for everybody, although there are templates that tell you that a book should be X chapters, include a bonus chapter, contain these and those appendices, and each chapter should contain roughly 2,500 words, accumulating to a total of roughly forty to fifty thousand words.
What it comes down to is this: in writing a book, your job is to deliver your message in the least amount of words possible, not the most amount of words available. Yes, that’s right: the least amount of words possible. This doesn’t mean you have to skimp or take shortcuts or omit details.
Include everything that is NECESSARY.
If you can cut something and it doesn’t affect what you’re trying to say in your book, then it’s UNNECESSARY. It might be the greatest piece of writing ever. You may be sure it’s going to wow readers. Well, tough. If it doesn’t serve a purpose, your book doesn’t need it.
For example, you might have a particularly amusing anecdote. Ask yourself:
- are you telling this anecdote simply because it’s a nice story?
- are you telling this anecdote because it characterises some aspect of your business or imparts a lesson?
A book is as long as it needs to be to communicate its message. If that means it’s 10,000 words or 100,000 words, that’s fine. There’s NO set formula. Just say what you have to say. It’ll take as long as it has to take. Don’t feel short-changed if your book is shorter than others on the market. Consider The Go-Giver, by Bob Burg and John David Mann, which is only about 30,000 words but a global bestseller.
Here are some pointers worth considering …
Your message should be unique
If your book only exists so you can relay what other business and/or self-help gurus have suggested, then you have nothing original to say. Go away.
You are your own person. You have your own message, your own experiences, your own way of doing things. These other people might complement or support what you have to say, but your message should be truly your own. If it’s anybody else’s, then you may as well hand out a pamphlet recommending that other person’s book.
Make sure your book says what only you can say, that you wrote it because you were the only person qualified to write it, and nobody else could deliver the information you have.
What message are you trying to communicate?
What’s your book about? Make sure you have this clear in your head. A book about better business practices isn’t a memoir, although it might use real experiences to demonstrate those practices, whether successfully or unsuccessfully – as long as they have a point. Be clear on your message. Break down how you’re going to deliver that message. Outline it, if necessary, and what chapters will be dedicated to what components to deliver your message.
Cross-reference as little as possible
It’s not building anticipation if, in Chapter 1, you say, ‘In Chapter 7, we’ll discuss so and so’, and if in Chapter 2, you say, ‘But we’ll discuss this more in Chapter 6’. There might be a necessity for some cross-referencing, but limit this AS MUCH AS POSSIBLE. Too much cross-referencing is sloppy and confusing, and suggests that content is scattered haphazardly throughout the book, instead of self-contained to the chapters where it belongs.