Category Archives: Bruce Hale

Writing Tip Wednesday: Writing as a Transformational Tool

WRITING AS A TRANSFORMATIONAL TOOL

by BRUCE HALE

source: http://www.brucehalewritingtips.com/

When we tell stories, we hope we are touching the lives of our readers, making them laugh, cry, wonder, or ponder. But what if, by your writing, you could also touch your own life, help your own emotional or psychological growth?

To some extent, this happens organically. We’re drawn to subjects that have a certain resonance for us, after all. And if you write about topics that touch on your own traumas and past challenges, you’ll sometimes find that you feel better. But if you want to take it further, here are a couple of ways to go about this process more deliberately.

PROBING PAST PAIN
Ever had a sore tooth that you just couldn’t leave alone, even though it hurt when you touched it? Same principle here. Look back at your life, at those incidents that make you cringe even now — the time you embarrassed yourself in front of the classroom, the death of a friend, your first painful breakup. That’s your raw material for story.

Now spend some time writing about the memory that has the biggest charge on it. See if you can recall specific sensory details that make the experience come alive. After setting it aside for awhile, rewrite the incident from a fictional perspective, changing or inventing details to suit your story.

Voila — you’ve just created the seed for a powerful scene (or at least some potent backstory for your character). Now, this incident may not even directly appear in your story — you may use just the emotional tone — but you’ve managed to come to grips with something from your past while adding emotional depth to your tale.

Want an example? Growing up, I had a frequently challenging relationship with my stepdad; we rarely saw eye to eye. In my new book, SCHOOL FOR S.P.I.E.S.: Playing With Fire, I gave the hero, Max, a difficult relationship with his dad. Did I borrow actual incidents from my own life? No. But I used the feeling tone, that love-hate vibe, to deepen my story, and in some ways it has helped me feel more peaceful about my past relationship with my dad.

THE PENNEBAKER METHOD
If you want to get more directly therapeutic, you can also write in a directed way about what’s bugging you today.

For nearly 20 years, Dr. James Pennebaker has been asking people to write down their deepest feelings about an emotional upheaval in their lives for 15-20 minutes a day, four days running. In his book, WRITING TO HEAL, he states that many who have followed his instructions have had their immune systems strengthened, grades improved, or even lives changed.

The 4-day writing process, he says, helps us translate an experience into language, and in doing so, we essentially make that experience graspable. “Emotional upheavals touch every part of our lives,” Pennebaker explains. “These things affect all aspects of who we are, and writing helps us focus and organize the experience. When people are given the opportunity to write about emotional upheavals, they often experience improved health.”

Sound intriguing? Give it a try. You may find it improves your life as well. Or at least your stories.

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Writing Tip: Plotting backwards

[Editor’s note: the essay below is taken from an e-mail newsletter sent out by the writer Bruce Hale. you can find his web site at: http://www.brucehalewritingtips.com/. You can also sign up for his e-newsletter at that site. Each electronic newsletter comes with other information, including a writing joke.]

WHY BACKWARDS IS BEST WHEN PLOTTING A MYSTERY

By BRUCE HALE

When I wrote my first mystery, I hadn’t a clue. I tried writing it straight through, plotting as I went, and ended up falling flat on my face. Why? I hadn’t yet learned that backwards is best.

You see, contrary to the way most fiction is mapped out, mysteries are backwards creatures. They’re easiest to write when plotted backwards from the ending, rather than forward from the beginning. Mysteries, by their nature, are a complex tangle, and if you’re not careful, you’ll get stuck in it.

As I learned the hard way, if you write from the beginning, you’ll be left flatfooted with your detective, trying to figure out how to solve the mystery.

Better to go the easy way: work from the solution. Start from the ultimate revelation of whodunit and work your way backwards to mystery writing success. Here’s how:

– DECIDE WHODUNIT, WHY, AND HOW
First, pick the crime to be solved and the culprit. Suss out why they committed the crime – and the less obvious the reason, the better. Your villain (or clues from him) should be part of the story from fairly early on, but his motives and actions must remain hidden until the twist reveals them. Hide your villain in plain
sight – heck, you could even go so far as to make them a seeming ally of your hero.

– PLAN YOUR TWIST
This is the dramatic reveal, the “It’s not Snape, it’s Quirrell!” moment. (Sorry if I spoiled Harry Potter I for you.) The twist should occur at the least convenient moment, preferably when the hero is most vulnerable. Usually the twist occurs at or just before the climax.

To make the twist work, you need to come up with at least one or two plausible culprits, then show why they didn’t commit the crime.

– LAY OUT YOUR RED HERRINGS
These are the likely culprits, the leads your detective follows that turn out to be dead ends. Be sure the herrings are motivated as well, and if you can disguise their motivations or make them ambiguous, so much the better. Anything to make them *more* plausible, and your true villain *less* plausible.

– SCATTER YOUR CLUES
What tips your hero off to the fact that the villain is guilty? A latticework of little clues (usually connected much too late). You must always play fair with the reader, so be sure the clues are there, even if the detective and her trusty assistant initially dismiss them.

The key with clues is to use misdirection — have them seem insignificant, or be misinterpreted. You can’t make it too easy for the detective, or the reader!

– START WITH A BANG
And last, but not least, come up with a grabber of an opening that plunges us right into the heart of the mystery. Ideally, it should contain some small clue that points us toward the true culprit.

With all that in place, now you’re ready to write your first words. Happy mystery writing, and may the spirit of Chandler and Hammett be with you!

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Writing Tip: Successful Revision

[Editor’s note: the essay below is taken from an e-mail newsletter sent out by the writer Bruce Hale. you can find his web site at: http://www.brucehalewritingtips.com/. You can also sign up for his e-newsletter at that site. Each electronic newsletter comes with other information, including a writing joke.]

5 ELEMENTS OF A SUCCESSFUL REVISION

By Bruce Hale

So you’ve finished that first draft and let your story marinate in its own juices for a while, and now it’s time for revision. Only question is: where to start?

With a picture book, that’s not too terribly daunting. But with a longer novel, you’d be well served to devise a strategy before plunging into those narrative hickets that can swallow the unwary writer. I suspect everyone has his or her own favored approach to revision. Here’s the one I’ve found most useful…

1. FIRST READ
First time through, the hardest thing is to *just* read your story and take notes. No line edits, no grammar corrections, no paragraph revisions — just reading. But if you want to be able to see the whole forest, instead of the individual trees, this approach is vital.

By all means, take copious notes. “Tighten the opening on page 43;” “wonky sentence on page 12, first paragraph;” “fix the plot logic in Chapter 18.” These are all helpful. And they prepare the way for…

2. FIRST REVISION
Once you’ve waded through your story and taken copious notes, congratulate yourself. It’s not as bad as you thought, right? (We hope.) With this optimistic thought, it’s time to roll up the sleeves and plunge into wholehearted revision.

The first time through, work on larger issues: plot holes, character inconsistencies, gaps in story logic, slow scenes that need to be trimmed, and so forth. You can always do the fine polishing later.

Revise sequentially if you can, rather than skipping around. For any sections that require you to write new material, use the same method you would in a first draft: write it fast and sloppy. After all, you can always fix it in the NEXT revision.

3. READ-ALOUD REVISION
Taking the time to read your work aloud may seem redundant at this point, but it’s necessary. You won’t believe how many errors you’ll catch. Homonyms, awkward phrasing, missing words, echoes (unintentionally repeated words) — all these will pop out at you like Halloween skeletons at a haunted house.

This is the revision where you can really focus on the sound and rhythm of your writing. Listen for those areas that sound clunky and don’t really roll off the tongue — that’s your cue to break out the belt sander and make things smooooth.

4. DIALOG REVISION
Once the story is as good as you can make it, and you’ve read aloud to catch hidden glitches, it’s time to turn the microscope on your dialog. First, make sure each character speaks differently. Have them use different idioms, word choice and catch phrases — otherwise, they’ll all sound like each other (or like you).

Top-notch authors like Elmore Leonard vary their character dialog so deftly, they don’t even need attributions (he said/she said). It’s that clear who’s speaking. In real life, we all have our own ways of putting things. So just make sure your fictional characters possess that same distinction.

5. FINAL CHECK
Before I send my story off to agent or editor, I usually try to let it sit for a week or so, then do one last read-through, to make sure all my changes fit, and to smooth out any remaining rough edges. This is an ideal time to search for words you overuse. (And we *all* overuse certain pet words.)

For example, I know that I tend to drop in “just” and “only” too often, and I tend to have too many characters shrugging and nodding. A quick search for these words shows me where I’ve overdone it, and a quick fix guards against too much sameness in the manuscript.

And that’s about all I can bear to write on the subject of revision right now. I think you know why. Yes — time to get back to revising my latest story.

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