3 x 87 = (3 x 80) + (3 x 7) = A Far Better Plot

In school, I was that math student.  The one in the classroom wondering aloud when I would ever actually use what we were being taught.  I offer up a late apology now to all my former instructors.

For Mentor Monday, we’re going abstract this week.  This semester, I’ve been taking a mental math class.  It requires you to do all the work inside your head.  No paper, pencils, calculators, or computers.  This came up in conversation with a public school teacher and she was appalled.  Apparently, this goes against the core of common core where one needs to show all of their work.

 

"Show your work!"

Of all the classes I’m currently taking, this one has become my favorite.  Here’s why…

I was always taught one way to work out the particular problem presented.  I’d feverishly scratch down my work on a piece of paper.  Remembering to carry the one or lock in a placeholder.

Doing it old school!

Continuing with the title of today’s update:  3 x 87 = (3 x 80) + (3 x 7).  If you asked me to multiply 3 x 87 in my head, my eyes will glaze over.  I have flashbacks to those Scantron tests in high school.

How I loathed Scantron.

Now…ask me to multiply 3 x 80?  Piece of cake thanks to that handy zero!  240.

3 x 7 is a no-brainer.  21.

240 + 21 = 261

Mentally, that is far easier than 3 x 87.  So how does this tie back to writing?  It occurred to me in class that you can tackle your writing the same as working out an equation.  Writing a novel, you can certainly write it 2 + 2 = 4.  Basic and simple.

Or 2 x 2 = 4.  Adding some flavor, same answer.

Or maybe 2². Going a little deeper now, same outcome.

Any of those three options gets you to the answer of 4. BUT - when writing, it's not about the answer. It's all about getting the answer. Take the awards show last night. The answer to best picture was Moonlight. How we got that answer? WAY more interesting.

Oops.

Writing a murder mystery?  At its core you may have:  Man1 + Man2 = Murder.  Sure, murder is the answer, but it’s not terribly compelling.

How about (Man1+Woman1) + Man2 = Murder.  The answer is still murder, but the way to that answer is far more intriguing when you learn that Woman1 is Man2’s wife.

(Man1+Woman1) + (Woman1+Baby1+Man 2) = Murder.  Still murder.  It’s all about how you are getting to that answer it what drives the story.

That is why I tip my hat to mathematics on Mentor Monday today.  When I started writing, I had loads of great ideas or “answers”.  To be successful, you need to find the coolest calculations you can to get you there.

Keep the conversation going down below in the comments section.

The Eye of the Director

Growing up, I spent a great deal of time reading the tales of Alfred Hitchcock and the Three Investigators.  It chronicled the adventures of Jupiter Jones, Peter Crenshaw, and Bob Andrews.  Looking back at the run of stories this evening as I began to write this post, I decided that one of my favorites was The Mystery of the Green Ghost.

I offer this up for two reasons as the lead this week.  The first is the use of Occam’s Razor principle by the main character Jupiter throughout much of the series.  In the simplest terms, Occam’s Razor basically states that when presented with a problem, the solution would be the most rational one that contains the least amount of assumptions.  The characters in The Stockings Were Hung employ this technique as they work to solve the murders in the novel.  It was one of the main reasons I set the story in 1954.  I wanted the characters to work out the crime themselves.  No cell phones, computers, or Googling to assist.  A simple, good ol’ fashioned mystery with no gimmicks. 

What sort of a gimmick?  Well, nothing spoils a story more than a character having an easy out.  I’ll be a Doctor Who fan until the day I die, but his trusty sonic screwdriver would either open – or not open – a door, force field, or random yard gate depending on the need of the story.  To me, that’s lazy.  Never venture down a road you aren’t willing to completely write your way through.

The 4th Doctor and his sonic screwdriver

  

The second reason I teed off with Alfred Hitchcock and The Three Investigators is…well…Alfred Hitchcock himself!  Say what you will about his personality, he was one hell of director.  I had the pleasure of watching The Lady Vanishes this past week.  It ranks as one of my favorite Hitchcock films because it incorporates so much humor into a rather serious series of events.

Michael Redgrave, Dame May Whitty, and Margaret Lockwood in The Lady Vanishes

I try to attack each scene I write with the same gusto that Hitchcock did directing.  Breaking it down piece by piece.  It makes the entire process feel far less daunting.  As you work through revisions, you can strip away anything extra using that keen directors eye to keep the pace steady and writing tight.  Include what you need to see, leave behind anything you don't.

Writing any version of a draft is a bit like being out on a film shoot.  You could spend two hours taping and only end up with five minutes of usable footage.  It’s exactly the same with writing.  You can write for several hours or fill several pages, but during the editing process be left with little more than a few paragraphs – and that’s okay.  

The editing room floor

Think about the last movie you watched.  There were plenty of shots that never made it into the final project.  The difference?  In most cases, they were incredibly expensive shots.  It costs you nothing more than time for the words that don’t make it into your final version.

What do you think of approaching your work with the eye of a movie director?  Let me know in the comments section below.

The Return to Student Life

The post for this week is being written from an oversized red rocking chair on my front porch.  I wasn’t going to pass up the opportunity to spend a bit of time outside when it’s nearly eighty degrees and barely a cloud in sight.  There may be a glass of Moscato lurking nearby, as well.

Blue sky and buds on the trees.

This past Monday, I stepped foot into a college classroom for the first time in over twenty years.  It was the first night of three classes I’m taking each week.  Creative Writing on Monday, Mental Math on Tuesday, and Spanish on Thursday.  At work on Wednesday, I was discussing math class and how fascinating I found it.  More on that in a moment.  A co-worker inquired why I was taking classes.  Honestly, I’ve toyed with the idea of an MFA – it seems like such a writerly thing to do.  Out of the gate, these classes were an opportunity to get my feet wet again, meet some new people & potentially network, and…well...grow.  During our chat, she felt while learning was good, it didn’t make sense at this stage of one’s life (am I really at ‘this stage of my life’ already!?!) if it didn’t come with financial incentive.  I’ll admit it got rather heated, but we agreed to disagree and continued on.

A fight over gaining knowledge?

The creative writing class has folks from all different backgrounds.  By design, it’s geared towards beginners, but that’s what I wanted.  Going back to the beginning is a good way to remind yourself of the things you’ve forgotten along the way.  Everyone in the class was asked a goal they hoped to achieve from attending.  For me, I want to sharpen my focus as a writer.  Get more in touch with my creative side and feel less inhibited on the page.

Math.  Oh, math.  We’ve always had a love hate relationship.  I LOVE to HATE it.  Since I was a child, it has been my least favorite subject.  However…and I cannot believe I’m saying this…I actually enjoy this class.  It removes the pencil, paper, and calculator and you are required to do all the calculations IN YOUR HEAD.  At first, I nearly passed out.  I struggle enough WITH a pencil and paper let alone trying to do anything like that in my head.  Thirty minutes into the class, I was doing it!  I couldn’t believe it.  Without getting two into the weeds, all numbers have patterns, nothing is random, and it’s recognizing those facts that allow you to do it all inside your own head.

Spanish I took in high school and college.  Being so long ago and not using it on a regular basis, the skills got a bit dusty.   I can read it with no difficulties, but to try and carry on a conversation I can do little more than ask someone where the bathroom is.  This particular class focuses on immersion.  We didn’t start with the basics, it’s sort of a sink or swim and pick it up as you go along.  It’s working well for me, but I had a number of years under my belt already.  For some of the folks just starting out, it appeared to be a bit of a struggle, but they’ll be fluent in no time, I’m sure.

Why am I am sharing all of this?  Because it is so crucial to your writing that you never stop learning.  Nothing is better for your creativity than pushing yourself mentally.  Clearing out those cobwebs and letting those gears turn like that haven’t in so long.  And not just writing classes!  You'd be surprised how other courses can impact your work. I’ll keep you posted on my progress, what I’m learning, and how I incorporate it into my writing throughout this semester.

What are your thoughts on continuing education and its impact on your writing?  Have you attended any classes of your own?  Let me know in the comments section below.

Serial vs. Suspense

I was watching an old Indiana Jones movie on Friday night.  It was one I had never seen and chalk full of action.

Indiana Jones

On Saturday night, I had sixty or so pages left to read in my current book selection.  It too, was full of action.

The two major differences?  Friday night, while I didn’t know exactly how it was going to play out, I knew that Indy would conquer the evil and all would be right with the world.  Saturday night…well…Saturday night I had no idea.  I found myself flipping from page to page as the anticipation continued to build up.  This was a standalone book.  Once I reached the end of its 566 pages that would be it.

Most television programs, many books, and a great deal of movies are part of a longer running serial.  While suspenseful, you can take comfort in knowing that everyone will live to see next week.  Or the next book.  Or the next movie.  Are there exceptions?  Absolutely.  A star wants out, an author gets bored, the ratings are down and they need to shake things up.  But the majority of the time if it’s part of something longer and broader, it doesn’t matter how beat up the main characters get - they continue on.

Let’s go back to Indy.  Even when all the odds were against him you knew he’d make it out alive.  What if there had only been one movie?  How much more intense would the situations become when all bets are off?  Back in 2008, I jumped from an aircraft.  While thrilling, I ultimately knew I’d be okay because the parachute will get me safely back on the ground.  How about jumping without a parachute?  Amps things up a bit, doesn’t it?

Heading up to 10,000 feet in the plane.

There’s a clear difference in the level of suspense between serial and standalone works.  While I enjoy the familiar feeling I get from picking up a book and continuing the adventures with a cast of characters I know and love, my darker side enjoys a nice one-off.  A selection that leaves you guessing about everyone and everything until you reach a true end.

As writer, do you prefer serial or standalone works?  As a reader, what is your preference?  Let me know in the comments section below.

Mentor Monday | Harry Lorayne

In keeping with the spirit of Executive Orders – this appears to be the year of them, after all – I’m declaring the last Monday of every month Mentor Monday.  A post where I pay homage to someone who has made a dramatic impact on my writing.

Born in the Lower East Side of New York City in 1926, Harry Lorayne would become one of the most sought after memory consultants in history.  He authored over two dozen books, sold over seventeen million copies, and has made numerous appearances on the radio, television, and as a keynote speaker for major corporate events.  Aside from his memory skills, Mr. Lorayne is an accomplished magician.  He has often incorporated both into his  performances over the years.  If you find yourself with some extra time, you should check him out.  He has a wonderfully warm stage presence.  It’s a bit like spending time with an old friend.

Harry Lorayne

I stumbled up Mr. Lorayne back in 1990.  He made an appearance on the direct response program Amazing Discoveries.  I used to watch it each morning before school.  I pleaded with my parents to order to the Memory Power set and after some convincing, they finally did.  I still have my audio cassettes and workbook to this day.

How does this relate to my writing?  His methods force you to get back in touch with your creative side.

Without giving away the store, many of the techniques he uses are based on ridiculous (in a good way) associations.  Harkening back to my first post of the year, I touched upon adults losing that uninhibited thought process we all have as children that is inevitably squashed out of us as we get older.

Remember Miracle on 34^th Street?  As Kris and Susan spend some time talking before dinner…

"No…to me the imagination is a place all by itself. A very wonderful country.  You've heard of the British Nation and the French Nation?  Well, this is the Imagination.  And once you get there you can do almost anything you want.” 

Are his methods easy?  No.  Especially if you have let your imagination grow cold over the years.

Do they work?  Absolutely.

Imagine doing research for a book project and not having to take detailed notes because you’re able to remember the information that you need.

Think how impressed that agent or client will be when you know all the important stats at the drop of a hat.

All the different directions you can take your writing when you’ve tapped into that dormant section of your mind that is no longer confined to a rigid box of adult rules and expectations.

Those simple examples don’t even scratch the surface of how much Mr. Lorayne has made an impact on my life as a writer. 

To him I am forever grateful.

Mr. Lorayne now lives in Newburyport, Massachusetts.  In 2016, he celebrated his ninetieth birthday surround by fellow magicians in a New York City deli.

Have you read any of Harry Lorayne’s books?  Do you incorporate any memory techniques into your daily life?  Let me know if the comments section down below.

Reading to Write

If you want to be a better writer, you have to read.  Advice I have heard from nearly every mentor, training, and conference I have been a part of.  With that in mind, I offer up the 2017 selections of the Reading List courtesy of The Reading List Council.  It’s a best-of list across several fiction genres for the coming year.

In the mystery category, I’m looking forward to starting “Darktown” by Thomas Mullen.

Is anything on the list catching your attention?  Let me know in the comments section.

I had a lengthy discussion over the weekend on chapter titles.

During the conversation, I was told they were not needed and if it were to say anything more than ‘chapter eleven’ it was a distraction.  He followed up with them being amateurish and more suited to young adult novels.  I vehemently disagreed.  While they may be used (or not) at the discretion of the author (or agent or publisher), I do not feel they are amateurish nor should they be limited to young adult novels.  Side note - I downloaded an eBook this afternoon by one of my mentors, Elizabeth Sims.  She used chapter titles.  I felt vindicated.

I’ll admit that I’m smitten with them — but I never skim the table of contents when I begin a book.  I’m afraid they’ll give away too much.  Something along the lines of ‘Mr. Barnaby’s Funeral’ being chapter twenty.  Inevitably two pages in I’m reading about a Mr. Barnaby.  Well…no surprise how he ends up.

I think of them as mini-hooks or teasers.  I’ve spent many evenings reading along and in my head, I’ve told myself this will be the last chapter.  As I wrap up, I spy the title of the next one.  If it’s good, it will totally draw me in.  If there wasn’t one there, I’d be satisfied having met my pre-set chapter quota, put the book on the nightstand, and retire for the evening.

Take note!  The writing must be strong enough to pull the reader all the way through your work.  They shouldn’t want to put it down and you shouldn’t give them any reason to.  That said, life it what it is and it’s out of your control when the boss has scheduled a 7:00am meeting and the reader needs to get some sleep.  If I was wavering on reading further because I have to be up early the following morning, a clever chapter title may send me into the office with dark circles under my eyes.

Wine? I’m there.  Wine and chocolate?  Bonus!  That’s what book chapters are to me.  A nugget of enticing chocolate. 

In the first several drafts of The Stockings Were Hung, each chapter was named after the location in town where the action transpired.  Chapter one was titled The Train Station, chapter two Hope House, chapter three The Bed & Breakfast, and on down the line.  Efficient, but not terribly effective in pulling someone into one more chapter.

The Train Station was replaced with The Arrival.  Who (or what) is arriving?  How does it impact what we had just seen?

Hope House became The Discovery.  What are they about to discover?

The Bed and Breakfast morphed into The Division.  What (or who?!?) was being divided up?

Each chapter title should give you a little tinge of excitement and peek into the action, but it’s important not to make them a flat out spoiler (see example chapter twenty up above).

Do you use chapter titles in your own work?  Are they a distraction or do they draw you in?  Let me know in the comments section.