The shrunken draft

I’m not sure where I first heard of it, but creating a “shrunken draft” can be a way to get to know a long draft.

  1. Ask yourself what specific element of fiction writing would you like the next draft of your narrative to focus on?
  2. Highlight that specific element of fiction writing in a copy of your rough draft. For example, highlight scenes in green. Character’s points of view, descriptions, different “times,” even specific words could be highlighted.
  3. Reduce the font to the smallest size you’re comfortable with.
  4. Reduce the margins.
  5. Find and click on the View Multiple Pages or Zoom feature of your word processing program. Continue making these and similar adjustments until you can see as much of your document as possible.
  6. Consider the ratio of highlighted to not-highlighted text. Perhaps contrasting colors reveal long sections of description and few scenes, for example. Or, a narrative you thought shared points of view evenly between two characters does not.
  7. Do the ratios your shrunken draft reveals please you? Do they fit into your expectations for the draft? What do you need to do to address them?

Here is an example, with green scenes.

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Planning characters

One way to characterize is for your character to make a plan. The kind of plan the character makes, the level of formality with which it is made, how the character responds when things go according to their plan, how they respond when things do not, what they do when their plan is criticized, who they share their plan with, how their setting influences their plan, how they think about and enact it, and how they revise it, all these things characterize. They also provide a plot.

The plan does not have to be to destroy or save the world. It could be to cross a room for a drink of water, but it ought to be important to your character for reasons your reader can understand.

Try drafting one.

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Saving the Cat

Consider this structure for plotting from Blake Snyder’s Save the Cat and Publishingcrawl.com:

  1. Opening image

An image/setting/concept that sets the stage for the story to come.

Long ago, in a galaxy far away, a controlling government called the Empire takes control of planets, systems, and people. Anyone who resists is obliterated.

  1. Protagonist Intro

Who is the main character? Give 1-2 descriptive words and say what he/she wants.

Luke Skywalker, a naïve farm boy with a knack for robotics, dreams of one day escaping his desert homeland.

  1. Inciting incident

What event/decision/change prompts the main character to take initial action.

When he buys two robots, he finds one has a message on it – a message from a princess begging for help. She has plans to defeat the Empire, and she begs someone to deliver these plans to a distant planet. Luke goes to his friend and mentor, the loner Ben Kenobi, for help.

  1. Plot point 1

What is the first turning point? What action does the MC take or what decision does he/she make that changes the book’s direction? Once he/she crossed this line, there’s no going back.

Ben tells Luke about a world where the Empire rules and Rebels fight back, where Jedi Knights wield a magic called the Force, and how Luke must face Darth Vader – the man who killed Luke’s father and now seeks to destroy Luke too. Luke refuses, but when he goes back to his farm, he finds his family has been killed. He has no choice but to join Ben.

  1. Conflicts & character encounters

Now in a new life, the MC meets new people, experiences a new life, and meets the antagonist/villain.

To escape the desert planet, Ben and Luke hire a low-life pilot and the pilot’s hairy, alien friend. Luke, Ben, Luke’s robots, the pilot, and the hairy friend leave the planet and fly to the Death Star, Darth Vader’s home and the Empire’s main base.

  1. Midpoint

What is the middle turning point? What happens that causes the MC to make a 180 degree change in direction/change in emotion/change in anything? Again, once he/she has crossed this line, there’s no going back.

Once on board the Death Star, Luke discovers the princess is being held as a hostage. He and the group set out to find the princess, while Ben sets out to find a way for them to escape the base.

  1. Winning seems imminent, but…

What happens that makes the MC think he/she will win? She seems to have the upper hand, but then oh no! The antagonist defeats her and rushes off more powerful than ever before.

After rescuing the princess, Luke and the group try to escape. Ben sacrifices himself so they can flee, and Darth Vader kills Ben. The group flees the Death Star on their own ship.

  1. Black moment

The MC is lower than low, and he/she must fight through the blackness of his/her emotions to find the strength for the final battle. What happens here?

Luke is devastated over Ben’s death, and he is more determined to fight Darth Vader and help the Rebels defeat the Empire. Luke joins the Rebel army, and helps them plan an attack on the Death Star’s only weakness.

  1. Climax

What happens in the final blow-out between the MC and the antagonist?

The Death Star arrives in space near the Rebels, and the attack begins. Luke joins the assault team of fighter ships. The Rebels suffer heavy losses, and soon Luke is one of the few remaining pilots and ships. He takes his chance and initiates the final attack. Guided by Ben’s voice and the Force, he manages to fire the single, critical shot to explode the Death Star.

  1. Resolution

Does everyone live happily ever after? Yes? No? What happens to tie up all the loose ends?

With the Death Star destroyed and the Empire severely damaged, the Rebels hold a grand ceremony to honor Luke and his friends. The princess awards them with medals for heroism.

  1. Final image

What is the final image you want to leave your reader with? Has the MC succumbed to his/her own demons or has he/she built a new life?

Though Luke is still sad over the loss of Ben and his family, he has found a place among the Rebels, and with them, he will continue to fight the Empire.

 

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2250 Words and metaphors

Consider these two additional pages from Kooser.

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2250 Details

We’ll talk about Ted Kooser’s discussion of details in class.

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2250 Syllabics

Consider this example of syllabics from Ted Kooser’s The Poetry Home Repair Manual.

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2010 Toward the project proposal

Answer these questions:

  1. What problem am I addressing? What tentative solution am I proposing?
  2. Why might the problem be important to the person who can fix it? Who is that person? How will I contact them?
  3. What question will I use to start my research?
  4. What is my tentative thesis? Does it address the problem and propose a solution?
  5. What is my plan for starting the proposal? Ending it?
  6. What questions are likely to follow from my first research question?
  7. Why is this problem important? Who, besides the person who can fix the problem, might care about it?
  8. On which date will/did I begin research? When will I start working on my annotated bibliography? My audience analysis? Which other events do I need to include in my tentative schedule? When will I do additional research, actually write the project proposal and other assignments, and visit the writing lab?
  9. How many works cited page entries do I have?
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4420/4425 Planning

Here is an example of some of the planning of a book you’re probably familiar with.

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The point of poetry

From Kenneth Koch and Kate Farrell’s Sleeping on the Wing:

Suppose you want to get an experience into words so that it is permanently there, as it would be in a painting—so that every time you read what you wrote, you reexperienced it. Suppose you want to say something so that it is right and beautiful—the way music is right and beautiful—even though you may not understand exactly why. Or suppose words excite you—the way stone excites a sculptor—and inspire you to use them in a new way. And that for these or other reasons you like writing because of the way it makes you think or because of what it helps you to understand. These are some of the reasons poets write poetry.

 

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412r final exam Fall 17

The final exam is worth twenty-five points.

For the final, read your secondary text as a fiction writing textbook. You picked your secondary text early during this semester.

Identify a fiction writing technique taught by the text. Your identification should be no longer than 500 words. When you write, be specific. Quote the text to support your assertions about it.

An example of your use of the technique you find in your secondary textbook is also required, but has no word limit. Your use of the knowledge you find should not take the form of a hypothetical consideration of how you might use the technique or be a quotation from your work. It should be an actual fictional fragment written for the exam. It should exemplify the fiction writing technique you identify.

The final is due on December 14th at 12:50 pm. I will stop collecting the exam after it is due. Turn the exam in by emailing it to me before it is due, or attending, writing, and emailing the exam in person on the 14th beginning at 11:00 am.

If you have questions, please email me.

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