Sabriya of Shanghai - Journal Entry No. 4

I've started to write, after many weeks of planning and plotting. Now, the rules of writing, for me, will vary day-to-day. Not that the rules objectively change, but more so as I'll forget them from one day to the next. Thus, there's a critical need for rewriting, or remembering the rules.

MY WRITING RULES:

The following assume you've taken the time to outline the story, and completed due diligence in researching the broader aspects of the era and characters—both critical writing tasks. The rules below are about stringing the words together for the first time.  

1. VISUALIZE FIRST. Take time to visualize the scene as if watching a movie. This may be the most time consuming thing about writing—NOT WRITING.
2. START OBJECTIVE. Every scene should begin with a paragraph from an objective or universal Point-of-View (POV) that describes the setting and characters in the scene with a disaster close at hand. By objective POV I mean the POV of someone NOT in the scene—the narrator—who can see everything about the scene, e.g. God's POV.
3. ONE POV. After that first objective POV paragraph, every other paragraph in a scene must be told from a single character's POV who is IN THE SCENE, perhaps the POV of the most emotionally conflicted character.
4. WRITE FOR IRONY. Every description, and perhaps line of dialogue, should contain an ironic comparison. 
5. WRITE TO TARGET. First draft not so much, but second draft must condense word count to the target number, OR revise the rest of the chapter or book so word count goal (overall) is observed.
6. WRITE ATTITUDE. Write with an emotional attitude that channels the POV character. Nothing in this word is clean and objective. Even God has an attitude and sometimes he expresses with with catastrophic results. Attitudes vary from sarcasm to sweetness, from retribution to forgiveness. Vary the attitude as you vary the POV. 
7. END ON CLIFF. Every scene ends with a cliff hanger described by Step 3 (the disaster step) of the Scene-Sequel structure pattern. In some cases this may be an objective, universal POV, like the first paragraph of the scene. (more on Scene-Sequel below)
8. RIGHT WORD. Never hesitate to take the time to find the right word, turn-of-phrase, or trope. (more on tropes below)

Scene-Sequel Structure Pattern

Writing in a Scene-Sequel pattern is method of structuring your writing at a paragraph, sentence, or micro level. If you deconstruct the best fiction writers' output, you will see it. I always start out writing a new project by following this pattern anally, by putting these hidden steps in Scrivener to constantly remind me. After a few weeks the pattern becomes almost automatic.

In every scene-sequel sequence there is a DISASTER that spurs the action forward (or in a new direction...a mini-turning point). Here's a diagram from my on-line workshop (Storycraft Training). An explanation follows.

Novel Scene-Sequel Sequence (simplified)

Running from left to right in the above diagram. (1) The protagonist has a physical GOAL to achieve. (2) The protagonist takes action to achieve that goal, and in so doing creates CONFLICT with the antagonist. (3) Because of the conflict, the goal is not fully achieved, resulting in a DISASTER. (4) The protagonist experiences an EMOTIONAL REACTION, which acts as a motivation to keep going. (5) The protagonist spends some time evaluating in his mind (THOUGHT) the DILEMMA faced, until... (6) The protagonist makes a decision about the next goal and takes the fist steps to achieve it. [And the process REPEATS starting with the new goal.]

Tropes

Using tropes in your writing is like writing with subtext—it keeps the reader intrigued and intellectually engaged.  Here is a summary of useful tropes copied from Google's AI engine.

Tropes are recurring themes, ideas, or literary devices used in storytelling. They can be categorized into various types. Tropes can be elements of character, plot, or setting, and they often reappear in different stories, sometimes becoming defining characteristics of a genre. 

Here's a breakdown of some common types of literary tropes: 

Metaphor: A comparison between two unlike things without using "like" or "as" (e.g., "Juliet is the sun"). 

Simile: A comparison between two unlike things using "like" or "as" (e.g., "Her smile was like sunshine"). 

Irony: A figure of speech in which words are used in such a way that their intended meaning is different from the actual meaning of the words (e.g., saying "Oh, fantastic!" when something bad happens). 

Synecdoche: A figure of speech in which a part is used to represent the whole (e.g., "wheels" for a car). 

Metonymy: A figure of speech in which one thing is used to represent something else with which it is closely associated (e.g., "the crown" for the monarchy). 

Hyperbole: Exaggeration used for emphasis or effect. 

Litotes: Understatement, often for ironic effect (e.g., saying "not bad" when something is actually very good). 

Sabriya of Shanghai - Journal Entry No. 3

I draft in Scrivener, which allows me to set target word lengths for each scene within a chapter.  Below I've expanded the Excel spreadsheet from Journal Entry No. 1, to calculate the word length for each chapter and scene, all based on the treatment. THESE ARE ALL TARGETS AND THEY WILL CHANGE, BUT THIS ANAL WORK  PROVIDES A FOUNDATION AND DIRECTION. The closer I stay to it, the closer I will arrive at my target book length.

The table below shows that there are 17 chapters of lengths 3250 to 4500 words. There are 63 scenes of lengths 500 to 4500, the 4500 scene filling an entire chapter (9). The average scene length being only 1143 words.  The final manuscript target length being 72,000 words.

The "0" cells compare two different ways to calculate the word counts so they add up to 72,000. If one of the "0" cells does not show a "0" I know one of my calculations is wrong. Notice the chapter breaks favor the length of the chapter and not the end of one of the 21 macro beats (grey).

The green lines represent the backstory, flashbacks discussed in Journal Entry No. 2— notice the FB scenes are very short, as flashbacks should be.

Everyday when I think through this stuff I imagine a revision to the treatment or micro beats. I make notes of those in the treatment, which I will be following as I write. In fact, when I write a scene, I'll copy the treatment paragraphs for that scene and paste them into the Scrivener document,  which gives me beginning copy for that scene. For instance just before starting this journal entry I copied the treatment paragraph for Chapter 1 Scene 1 into Scrivener. I have the target for that scene set to 1,000 words. The treatment paragraphs were only 275 words. That gets me going and I started to rewrite and expand.

Here's what the Scrivener Binder (left margin) looks like for the first four chapters and 12 scenes.

Each one of those 12 scenes (text documents) has a word length target set for it. As I write, a growth bar appears at the bottom of my manuscript page in blue. When I hit the target of 1,000 words the bar will turn green. If I go beyond 1,000 words the growth bar will turn red. After I pasted in the treatment paragraph to what I was calling Shenzhen (but it's changed now to Hong Chi) I edited the first sentence. The document was then 271 words of my 1,000 and this is what the bottom of the page looked like...

If I write 1,223 words it looks like this, meaning I'm over and must edit down, thus keeping me on target.

So, I have started to write, although I will stop often to research what I am writing about. My protagonist, in addition to being the glamorous Thai wife of the British consulate, is also a Wing Chun practitioner of some advanced skill.  Wing Chun is the mysterious and hidden form of Kung Fu developed by Ypi Man (1893–1972) who passed it on to Bruce Lee's who made the form famous. So, one of my research steps will be to watch the "Ip Man" Blu Ray trilogy...for the third time.

Ah, here''s my first sentence... I'm sure it will change:

In the dead of night thirty-three thousand taxi sedans and motorcycles jammed the streets of Hong Chi shuttled men and women from the crowded luxury shops in Chao, to the colorful nightlife in Yezong and the go-go bars of Qu Plaza, where hundreds of young women exposed their assets just a block from Assumption Cathedral in one direction and the stiff upper lip British Consulate in the other. 

A distant siren wailed.

Sabriya of Shanghai - Journal Entry 2

I have finished the preliminary plotting for my novel about Sabriya of Shanghai. Let me share what I've done in the last few days.

Steps 1-7: (discussed in blog post Journal Entry 1)  I constructed a slide in Keynote (4000 pixels x 2500 pixels) and divided the slide into 21 columns, each corresponding to the 21 macro beats of the story I intend to write. These would be the same 21 beats I'd use for a screenplay and are a reliable structure into which to drop particular story beats (or cards), a process called "breaking the story," i.e. I'm breaking down the story into relatable chunks, scenes, or events.

Step 8

Figure 1

Figure 1 shows how I parsed the formerly written movie treatment for Sabriya into 87 smaller beats, each closely associated with scenes. I'll end up with 100–120 such beats after the manuscript is written as many of the beats in the middle of the story (and above graphic) are summarized.

The first column of the above figure is the "Prologue" or back story that proceeds the present day beats. The events  in the Prologue are necessary to fully understanding the drama that unfolds later.  Years ago I considered that the prologue story could be told as flashbacks during the telling of the present day story. I imagine that withholding the backstory at first, and revealing it slowly through flashbacks will create additional intrigue. In story time there is perhaps a 10-year gap  between the end of the Prologue and the beginning of the next column known as "Life before" or the first half of Act 1. 

Step 9

Figure 2

I decided to disburse the prologue beats throughout the present day story as a slowly revealed series of flashbacks. So, I turned them green for clarity. Not very evident in Figure 2 is that I clumped the Prologue beats into six clumps each clump occurring chronologically close in time. Thus, the Prologue can be considered to contain just six beats. 

Step 10

Figure 3

I realized that that the structure template I'm using contains six natural turning point beats starting with (1) Act 1's Climax and the Threshold crossing into Act 2, and then (2) Pinch Point B, (3) the Moment of Grace, (4) Pinch Point C, (5) Act 2 Climax, and (6) Pinch Point D. [Pinch Point A is the same as the Inciting Incident in the middle of Act 1.]

Those critical turning points, or possible reversals, would be excellent places to tigger the flashbacks that reveal Sabriya's present day motivation due to her backstory. So, in Figure 3, I slid the six Prologue Clumps over those turning point columns. I am not sure what the present day action will be in Sabriya's experience to trigger her memory of her past, but figuring that out seems like a minor concern at this point.

I now have a structure that will create a great rollercoaster ride of action and emotion for the reader, and reveal the back story as motivations for the present day story.

NEXT I need to analyze the above beat structure to ensure the protagonist and antagonist actions are consistently and evenly applied along the through-line of the story—the rescuing of Sabriya's secret son from the boy's father, a leader in the S.E. Asia human trafficking trade.

AFTERTHOUGHT: By moving the prologue into six flashbacks, I need to redistribute the word counts, taking the 4-5 words reserved for the Prologue and assigning them to the turning point columns where the flashbacks will occur. 

Development of a Novel - Sabriya of Shanghai - Journal Entry 1

Not sure if I'll be able to keep up this journal, but I'll try.  Writing a novel is a long affair and there are many interruptions, blogging being one of them and staring at a blank page another. There's a solution to both. Starting today I try to share how you can eliminate the latter, and strengthen your linear storytelling mind. The foundation of this is my book The Moral Premise and the extensive resources of this blog, my on-line Storycraft Training series, and years of  experience working as a story and screenplay consultant.

The novel I've started and which this journal will follow is Sabriya. It's the story of an elegant Chinese woman, a skilled practitioner of the hidden martial art Wing Chun, who marries a young British diplomat to Shanghai, then risks her marriage and scandalizing Her Majesty's Diplomatic Service when she creates not a little mayhem around Shanghai trying to rescue her secret son from his ruthless father who has become the chief of a human trafficking syndicate dealing in youth for labor, sex, and  harvested organs.

Step 1 - Pick a Successful Antecedent

Sabriya of Shanghai (SOS) was originally a treatment for a martial arts thriller movie set in S.E. Asia. I wrote it on spec for a potential client, but when he went in another direction I retained ownership. The antecedent for the treatment is Taken, the 2008 thriller written by Luc Besson and Robert Mark Kamen, directed by Pierre Morel, and starring Liam Neeson. Taken was so successful there were two equally successful sequels. So, I designed the beats of the new story on Taken but I made it different—I changed the location from France to China; I changed the male lead to female; I changed the kidnapped victim from a daughter to a son, and I changed the lead's expertise from a being secret spy to a secret form of martial arts.  

Step 2 - Select a Practical Medium

Having no money to make a film, and having written several novels, and non-fiction projects, it was time to transform SOS from a film treatment into a motion picture thriller.  The first question was, how long of a novel?   My three previous fictional efforts were 30,000, 57,000, and 372,00 words. I could not get traditional agents or publishers to consider the 372.000 project, and no one was interested in a novella. Agents told me 70K–90K was an ideal length. So, I settled (arbitrarily) on 72,000 words, knowing I'd go long. 

Step 3 - Structure - Use a Successful Structure

I will use a high-level, generic structure used successfully in long-form stories of all genres, and which has proved accurate in hundreds of box office hits and best selling novels. The structural sequence uses 21 beats for the through-line. I describe these beats in various places and detail elsewhere on this blog and fundamentally in The Moral Premise. The percentages and word lengths (based on 72,000) were calculated with the Excel spread imaged below. Thus, this level of detail decision making was not made arbitrarily. I will write the first draft in Scrivener who allows me to set word limits for each document—in this case each of the 21 major beats that vary in length from 1,00 to 5,000 words. 

Step 4 - Create Template for Carding (or Breaking) the Story Beats

Over the  years, I have set up structural templates on door walls with 3"x5" cards and masking tape, on large wooden folding closet doors,  painted walls with the pictures removed, on black landscaped 4 'x 8' Gatorfoam Board with Post-It Notes, on portrait 4' x 8' Masonite on wheels with Post-It Notes, and in Apple's Keynote,  which I am using on SOS. (image below)

I have come to prefer Apple's Keynote (Appel's answer to PowerPoint for Mac users like me), with a single slide dimensions set to 6000 x 2500 pixels.  I can type, transform, and copy Keynote cards faster than writing with a marker on physical Post-Its. When other people are in the room for a story meeting, however, one of the 4' x 8' boards works best with physical Post-Its—we can all see the beats at once, and anyone can jump up and make a change on the large board (or wall).

Below is the beginning of the story breakdown. Each "card" represents a scene, each column is one of the 21 macro story beats. 

For SOS I've chosen to break the story into columns from left (beginning of story) to right (end of story). The column widths (defined by white lines) are the relative duration of the beat. The image above shows the first 10 beats, with "cards" filled in for the first 4 beats (Prologue through Reject the Journey).  The numbers 4.5, 9, 15, etc are the running total of words (in 000s) to the end of the beat where they're placed. These numbers will differ from the Excel chart as I've changed my mind about some lengths.

Step 5 - Card the Story

The first (or left) column is the Prologue. I have created cards for each micro beat (or scene) of the treatment, and placed them in chronological order from top to bottom, whereupon the story continues in the next column (Life Before).  The row of short color cards at the top is my color key for different characters. If I want to place a card for a character that is not already on the board, I can option-drag one of the color key cards to copy the card, stretch it as wide as the column and start typing. You'll notice most of the cards have gradated colors—the first time I've used them. The top and bottom colors indicate the two principle characters that appear in that beat. I will continue to fill in this story board based on each beat present in the treatment.  

Each card above begins with a number, which is the line number of the earlier written treatment. See image with "greek" words.

Step 6 - Analyze the Structure

Why do all this carding of each scene on a board with the macro beats? First, the board will act as a living outline that will be open while I write the manuscript. Second, it's important that I study the outline before I begin to write and look for plot holes that need to be filled. I might ask, "Does the antagonist appear ubiquitously and frightfully?  The display and spread of colors will indicate the presence or absence of a character in each beat. In the illustration above Sabriya is light yellow and the the antagonist is red. If there is part of the story where no red grading appears nor light-yellow appears, I know immediately where and what I need to fix. For example, Sabriya should be present in 75% of the cards. Does she? If not, I need to broaden her appearance before I start to write. 

Step 7 - Fix the Structure Before Writing

Based on the previous step, I will make changes to the story board before writing. Knowing what's going to happen and when, allows me to expertly place foreshadowing and resolution information and scenes that deepens the intrigue and reader's enjoyment. 

That's where I am. Please post your questions and follow my journey. 

Using A.I. for Book Jackets & Illustrations

Artificial Intelligent applications have greatly broadened the landscape for us creative types,  although there's one area where I find AI degrading. 

Yes, I have enjoyed the enhancement in entertainment that AI brings, not only in narrative motion pictures where it can create vivid and visceral imaginative worlds, but in silly social media posts of things like Olympic pool diving cats and talking babies that look at public figures. Unfortunately, the nefarious applications lie close at hand, intent on corrupting civilization. Won't be the first thing. 

Books and AI 

I've been writing books lately. When submitting manuscripts to publishers there's always the question, "Did you use A.I. in the creation of any portion of this manuscript?" It's a sad but necessary question. It's in the writing of what should be original and creative works that I found AI repulsive. I'm quick to answer "NO." to the question.  I could not imagine a novel that had any creative or original punch that was written by AI. I do not believe it's possible, even with the ubiquitous advertising of claims to the opposite.  AI is great for pattern recognition tasks, but it cannot think originally. Indeed, AI is currently only able to composite what others have thought up in the past. AI is the opposite of original thinking.

So, I was gratified this morning when I stumbled across an Instagram post about a New MIT report on how ChatGPT is eroding critical thinking skills of its users. I followed the link to the TIME Magazine report. Here's a quote and link.

ChatGPT users had the lowest brain engagement and “consistently underperforned at neural, linguistic, and behavioral levels.” Over the course of several months, ChatGPT users got lazier with each subsequent essay, often resorting to copy-and-paste by the end of the study. (Link to TIME  article on the report.)

The MIT study was examining the writing of SAT essays, which, of course, negates the whole purpose of a SAT essays—can you think originally (and write) on your own. 

Bias Alert: I Can Write but I Can't Draw

So, while I can write, I can't draw very well. I rationalize using AI (Microsoft's Copilot with Adobe's Photoshop) to help me create covers and dust jackets for books and to help illustrate projects for which visuals do not exist. Here are some examples for which I take NO CREDIT other than being able to prompt the drawing engines with words.    

For the Angel Quest Documentary (Link) 

For Wizard Clip Haunting Alternative Book Covers (Link)

For Forthcoming Novel Covers: Tiger's Hope and Wizard Clip Haunting Jr (YA&YR)

The Tiger's Hope cover was imported to Photoshop to adjust over all color, shadows and then to add the text. Publishers are considering, but nothing soon and if they accept I'm sure they won't use the above image. 

The Wizard Clip Haunting Jr. cover is further along with my distribution company, Nineveh's Crossing. I just ordered the first case from Ingramspark our POD printer and distributor. Here's what the front, back, and spine will look like.

How I Created This Cover with AI and Photoshop

The image of Eve (12) and Henry (9) came from Microsoft Pilot on the first prompt that went something like this: "Draw me a picture of a 1797, 12-year old farm girl and her 9-year old brother. They're standing in a field of flax and looking scared."  The word "scared" evidently triggered a restriction and Copilot refused to draw anything. So I changed the word from "scared" to looking up in awe," and what you see above as the base image is what came back. I then realized that Eve's secret weapon was prayer, so I wrote a followup prompt: "The girl should be holding a black prayer book." The book showed up under her arm as you see it. I then wrote: "There should be a crescent moon in the sky." The moon came back but it was in the middle of the image. I left it there for the time being. I then wrote, "Put a two story farm house and barn in the background." Copilot it did. All the images returned were square and did not lend themselves to a vertical oriented book cover (5"x 7"). So I wrote: "Add space at the top of the image for the title of a book." The vertical portrait aspect ratio above returned, which I could use, so I downloaded it.

For the back page of the jacket I wrote, "Delete the children in the foreground and the farmhouse and barn in the background, and add a vertically standing white, limestone tombstone in the foreground, and put a tree growing behind it."  What returned I downloaded. There was two or three other iterations where I asked for a creek with boulders along its bank...but I didn't like the creek, so I told Copilot to erase the creek. 

I then merged the two images in Photoshop. They were different in intensity, so I softened the edge with Photoshop's Clone Stamp Tool with a large soft edge, then I cut out and moved the moon over, used the clone stamp to mend the hole the moon had created, adjusted the overall tone, hue, intensity, and color to my liking and added the text, and I found a Jerusalem Cross (.png) on line, and added it to the book. Originally, the cross was on top of Eve's arms, so I erased the parts of the cross that were on her arms, and then darkened the cross, and made it mostly transparent so it looked like it was always part of the black book.

I guess I should add that the entire process was built on a template from Ingram that was generated for the 5x7 trim size of the book, and with a  .433" spine. When you request the template from Ingram, the generator asks for the ISBN number (I have a library of numbers I bought years ago from Broker), the final trim size, and the number of pages. To know the number of pages you first have to lay out the book. I use InDesign. When I was done I had 172 pages. Ingram also asks for a paper selection (I chose groundwood).

I hope this was informative. 

STORY FORCES

 

It's time to revisit the most basic concepts behind successful stories—the forces that make stories work. There are more sophisticated ways of diagraming the above, just search Google images for "story through-lines."  If you follow this blog you've see the following more complex renditions of "The 13/20 Roller Coaster Beats," or posts on how to intertwine subplots so they support the same plot.  The BASICS never change as I've tried to diagram above:

• NOBLE (or villainous) VALUES always drive the
• Protagonist's or Hero's decisions and action, that are always obstructed by an
• Antagonistic or Villainous force, in an effort by the Protagonist or Hero to always achieve a
• NOBLE (or villainous) GOAL

NOT diagramed above are subtleties critical to a cathartic story structure:

• Noble Values always reflect NEEDS required for human survival.
• Ignoble Values always reflect WANTS that lead to human destruction.
• At first the protagonist is often motivated by a WANT but... 
• Close to the story's midpoint (The Moral Premise's "Moment of Grace") the protagonist comes to realize the difference between their WANT and their NEED.  
• The protagonist may be a heroic or a tragic character (but always opposite the antagonist).
• The antagonist may be a heroic or a tragic character (but always opposite the protagonist).

The above diagram relates the never changing forces of a successful story. The above diagram is the most simple illustration of the through-line, the plot, the backbone, the theme, or the moral premise. But there can be sub through-lines related to various subplots, and all tied together with supportive themes, and Nicomachean Moral Premises. (I've blog extensively about all this before.) A story becomes interesting when the through-lines, plots, and theme are imbued with irony, motifs, red-herrings, and secrets.

For example, there can be, in one story the:

• physical through-line of the main plot
• emotional through-line of the central protagonist
• symbolic through-line of various 3-beat motifs
• thematic (moral premise) through-line of the protagonist
• secret through-line of information held back from the audience

But in the end there ALWAYS must be:

VALUES that motivate the PROTAGONIST to battle the ANTAGONIST in order to achieve an GOAL.

In a redemptive story the value and goal are noble and focus on a NEED.

In a tragic story the value and goal are scandalous and focus on a WANT. 

The are almost 400 posts in this free blog that discuss these issues. My book, The Moral Premise sets forth the foundation for all successful stories. My free Storycraft Training series dives deep into these topics. And I'm sometimes available for story/screenplay consulting on specific projects. 

IRONY - THE SPICE OF SUCCESSFUL STORIES

This is an updated post from 2015

Irony is the most important ingredient in all successful stories. It must be present in the story's setting, plot, character arcs, theme, style and tone.

IRONY is simply the juxtaposition of OPPOSITES for a dramatic, humorous, or intriguing effect.  Irony can be visual, aural, verbal, or emotional. The more  the better.

For example:

"I do not want people to be very agreeable, as it saves me the trouble of liking them a great deal. " (Jane Austen) In other words, if people are agreeable they're not very likable as story characters. That is why the best villains attract out attention, although we wouldn't hang out with such a person.

Irony must be obvious in the hook, the conflict of values, the moral premise, dialogue, wardrobe, landscape, and attitudes. Irony is the ever present dilemma in the heroine's mind as she can't decide to marry the guy or kill him.

Would you like me to press the wrinkles out of this shirt or burn it?  

There is situational irony, verbal irony, dramatic irony. In short there has got to be conflict in everything you write. Irony provides the emotional roller coaster that gives your reader (and you) the thrill of reading (and writing).

The meal was scrumptious. For desert let's put strawberry drool on shortcake and watch Silence of the Lambs. 

Irony supplies tension, suspense, intrigue without which you have no story.   In short, there is no limit to where irony must be used in your writing.

MULTI-LEVEL IRONY

Like multilevel marketing you can make irony work at every turn. It works to engender interest at the level of WORDS with TURNS OF A PHRASE:

Clearly Confused * Pretty Ugly * Living Dead * Great Depression * Honest Politician

Or, on the level of SENTENCES:

His compliment felt and smelled like an elephant sitting on my head.

It was the best of times, it was the worst of times, it was the age of wisdom, it was the age of foolishness... (Charles Dickens) 

Or, on the level of PARAGRAPHS:

Fearful that God would cast me into utter darkness or subject me to dismemberment, I frequently ran ahead too quickly. I often scribbled my first name in a rush...then recognize my error.  To me it looked like I had spelled SAINT...but then friends pointed out that I had scrawled STAIN. I could only hope that the errors in my life would be overlooked as typos. But alas, all too often they were real mistakes. (from the Preface of the writer's memoir, Growing up Christian.)

Or, on the level of chapters and entire books where the characters are struggling to overcome a weakness or some vice in order to achieve some noble goal. Such techniques make use of an ironic hook and a consistently applied moral premise. Here's one from a friend's 2009 novel AUTUMN RAINS (Myra Johnson):

Trusting in one's own wisdom and knowledge leads to a dreadful imprisonment; but
Trusting in God's wisdom and knowledge leads to a pleasant freedom.

I have many such examples of moral premise statements that guide the writing process on a page devoted to  the listing of Moral Premise Statements.

For me one of the great proofs of the importance of irony in stories is the public's obsession with the real lives of Hollywood Stars and celebrities. The irony is their glamorous on-screen persona juxtaposed to the tragedy of their off-screen and real lives. Years ago we adored Ben Affleck and Jennifer Garner, but today we're engaged in their real life battle and wonder if they're get back together...or not.

IRONY: REALTY vs EXPECTATION

The key to understanding and using irony in our writing is the ability to see it in everything around us. Back on November 17, 2014 I posted a pictorial essay on IRONY and NATURAL LAW, INSEPARABLE.

The point of the five (5) illustrated juxtapositions (in that post) was to show how, in just a few hours of careful observance what I expected and what actually happened were much different. When reality conflicts with expectations we end  up with drama, intrigue, suspense and the stuff of good stories—ta da—irony.

I'll let you visit that post later, but for now I want to get more mundane to demonstrate common every day drama and irony that literally surrounds us. What I'm going to next describe and SHOW YOU (I'm trying not to just TELL you), you can do everyday of your life. The more you do this, the more you'll find you can write ironic material that intrigues and engages your readers. So, here's what I did. On the morning I was scheduled to first start thinking about this blog post, I took a camera and walked around my house looking or irony in nature.  I was looking for things we normally think are normal, but finding in them or near them the abnormal, the juxtaposed irony, the conflict that creates tension and motivates us to action. My point is that these are mundane, nearly inconsequential. If there's irony in such lower-caste things, imagine the irony waiting to be tapped in the stuff that really matters, like people's lives.

The rose at left was probably prettier a few days before, but soon it would end up like its sisters on the right. The beautiful and the bald, part of the same plant. What character's are like that? I expect beautiful roses, but I find something else. Timing is everything,.

The patio outside my office door wall. Looks nice until you look close. Then, grime, moss, and cracks appear. Are their characters that seem good until you look close? 

Brown "Bunny Tail" plant looks attractive in my wife's front yard circular garden, until you look close and see the dreaded wrap-weed invading the plant. Do you have a character that is very attractive until you discover he or she's overly involved in another's life and willing to inhibit their growth?

Our backyard brick paver patio. It can look inviting, if I were to clean it up and blow off the leaves. But not obvious are the dangers: a tangled hose ready to trip, the lid to the septic tank which isn't so bad until during an patio lunch a guest asks what the blue lid is for—"It's where we put guests who are too inquisitive," And, the edge of the bench that is ready to tear-up your pants or scratch your leg. These are all juxtapositions that create tension and lurking drama. Do you have welcoming families that have hidden drama in every corner of their lives. 

There are good things too. On the left is the hostas plant that's been taking up space under our front window for years. Suddenly, we're surprised to find this red fruit hiding under several leaves. Perhaps you have a character that has a hidden gift, or a forgotten treasure in that storage unit about to be auctioned off on reality TV. Better get over there and look inside. (On the other hand, this red thing that appeared this summer may be extremely poisonous.) 

Ah, and then there's the irony of golden rod and their daily visitors. Don't get too close to smell the flowers, your nose may never smell again. Do you see it? Irony is like that. You don't see danger until it flies up your nose. 

ARISTOTLE'S PILLARS OF IRONY

This is so important it is the subject of the very first episode of my on-line Storycraft Training Series, described at the end of his blog with a code you can use for 30% PFF the regular price.

Aristotle, in POETICS, is known for his insights on narrative theory. For me the most important is his challenge to write stories that are PROBABLE IMPOSSIBILITIES, not improbable possibilities. The Probable Impossibility (of the main plot) is the story HOOK that maintains the interest of your reader and even maintains YOUR interest was you write.

But the concept of a probable impossibility, or ironic hook, should pervade every aspect of the story. In successful stories you'll find irony in the setting, plot, character arcs, theme (the moral premise) style, and tone. It is well worth your time to think and study this so much that it becomes automatic. When you get this down, it will be hard to write any sentence without juxtaposing opposite concepts.

The wolf looked so dainty in grandma's bonnet.  

HOW A PROPER MORAL PREMISE ENSURES NARRATIVE IRONY

The following two slides (from my free storycraft workshop) illustrate how a proper moral premise statement can keep your writing ironic, on all levels.

Dramatic Irony (whether it's found in a word, sentence, paragraph, chapter or novel) involves a goal that a character is trying to achieve. The successful author will set up the story so that the goal seems impossible to achieve. Imagine the hook for the story of David and Goliath: Near naked shepherd boy meets war-hardened, armored giant. Applying natural law and removing the cleverness of the author (or the grace of God), the natural expectation is that David will be quickly dismembered.

But through the cleverness of the author and the grace of God, that is not what happens. 

David slays Goliath and cuts off his head. The opposite of the expectation is achieved.

The moral premise sets up this expectation and the path to unexpected success:

Egotism leads to death and a rout; but

Meekness leads to victory and pursuit. 

The moral premise, of course, articulates inner values and outer consequences. Meekness is metaphored in David's physical appearance. Egotism is metaphored in Goliath's appearance.

Here's a tip: In your writing don't set up the irony by telling your reader what the the inner values are (Egotism and Meekness), that would be TELLING your reader what is going on. Instead, make your reader work by describing the physical appearance of the setting, character, etc, and ensuring that you're establishing a metaphor for the inner values that drive the drama. Juxtaposing egotism and meekness is ironic, but you SHOW the personification of those values in your descriptions of appearance and actions...and of course consequences.   

IRONY IN ACTION
A final reminder of the potential and on-going irony in your stories is this cyclic model.

In achieving our goals, all humans (and all your characters), will continually follow this cyclical sequence:

1. VALUES you hold, will lead you to a...
2. DECISION, that when mature causes you to take an...
3. ACTION, which results in a...
4. CONSEQUENCE. 

In pursuit of a goal you, or your character, will repeat this cycle over-and-over again, until your goal is achieved, or the goal is given up for lost.  You can start anywhere in the cycle, but I like to explain it by starting with an inherent value the character holds. The VALUE and the DECISION are mental processes. They are invisible. (In a novel you still have to SHOW values and decisions through description of physical metaphors or effects—a tense forehead, tight lips, nervous shaking, speechlessness, mismatched socks, or an askew wig.) The Decision causes your character to take an ACTION, which results in some CONSEQUENCE, which are both physical and visible.

Notice that the Value, Decision and Action are ALL under the control of the character (or you). But that the consequence is NOT under the character's control. It is solely determined by Natural Law.

Now, the cycle repeats. The Natural Law consequence informs the person's value by reaffirming the original value (making it stronger), or challenging the value (making it weaker or different). If the consequence is good, the value will be reinforced, if the consequence is bad, the value is devaluated or changed.

The irony occurs on two levels.

• The action may have been meant to change something outside of the character, but the consequence made it worse. That's irony.   

• The action may have been meant to change another person, but the consequence changed the person who took the action. That's irony. 

• The consequence is not controlled by the action. This is the opposite of what we expect. That's irony. 

This cycle is also very present in the Scene part of the Scene-Sequel Model where a character begins with a goal in mind, takes action and pursues the goal, then natural law takes over and a conflict results ending in some disaster. That disaster (which keeps the reader turning pages to find out what happens) is the irony that the character did not expect when the goal was first embraced.

THE FINAL EXAMPLE

If it's not obvious, I love irony. My memoir "Growing Up Christian" is filled with examples. One would think that a memoir about a guy's journey of faith would be a serious didactic tome on theology and religion. But this one isn't. One recent reader IRONICALLY blurbed it this way: "Wicked humor, subversive satire, brutal honesty." 

It's filled with hundred of short stories designed to keep the reader interested while reading it, and keep the writer awake while writing it. For example, Here's the back cover copy fake promotional blurbs.

“Thanks, Stan. I now have work for the rest of my life.” (His libel Attorney)

“We'd excommunicate him, but we're not Catholic.”  (His former Pastors)

“We had an accident...and I can’t remember a thing.” (His Nephew)

“None of this is true, and I have the scars to prove it.”  (His Sister)

“I had no part in it. It’s a comma disaster.” (His exhausted Editor)

“I tried to put him in jail, but he was too young.”  (His cop Aunt)

“Just goes to prove that he's just uneducated.”  (His Mom)

“I had no idea what to do. He was beyond me.”  (His Dad)

“Where do they bury the survivors?”  (His Wife)

If that copy is interesting to you, then the use of irony has NO LIMIT.

Blessings

Stan Williams

Color-Keyed Outlines & Structures are Essential

Outlines and Structure are Helpful Color-Keyed Outlines & Structures are Essential

I'm in the process of adapting my 373K word historical novel to a 24K word Young Readers edition. I always outline. It can make writing the manuscript boring because I know what's going to happen. Although I think it's better than writing by the seat of my pants and 4 days before the manuscript is due to the publisher, I discover that my hero is killed in a gun battle and I have no ending. The above graphic on my display is the outline for a 24,000 word Young Readers edition. Each colorful vertical rectangle (which contains six blocks) is a chapter of 800 words. I'll use Scrivener to target the word count. There are 30 chapters (x800 = 24,000) In each chapter rectangle, the GREEN block at the top articulates the POV character's physical goal for that chapter. The ORANGE block is the conflict encountered when attempting to achieve that goal. The RED block is the disaster that happens when the conflict is not resolved (it is never resolved until the last chapter...and I see I need to change the color of those blocks in last two chapters, they're still red in this picture and the one below.) The PINK blocks are the POV character's emotional reaction and internal debate, and the BLUE box is the tragic consequence and cliff hanger that drives the reader into the next chapter. Each column of one or two chapters is a classical dramatic beat in the story, and there are three major disasters in addition to the smaller ones in each chapter. This format ensures an engaging, emotional roller coaster for the reader. There are 19 chapter beats (plus 3 major turning points), 30 chapters, 800 words each, and 24,000 words total.

Left to Right apps I use: Powerpoint for Pitch deck, Scrivener and Word for text, and at the far right, Keynote for graphic outlines and plotting story beats (Keynote is the Mac Power Point)

Above is my writing set up of two Power Mac displays. As I flesh out the detail of the outline blocks on the right I reference my pitch deck (of character profiles, chronology, and scene summaries, along with the long form manuscript) on the left display. From here I'll open up Scrivener and start writing, one Scrivener document per chapter. After the novel is written and the chapters (Scrivener documents) are in order, I'll export to M.S. Word and finish up there before submission to a publisher. Or, if I self publish the M.S. Word document will be imported into Adobe's InDesign for finishing.

Yes, I'll make changes to the outline as I progress. But there's no frustration, writer's block, or second guessing, and I'll not revise the story 6-8 times to get it right.

New Editions for pre-readers, Young Readers, and a new Trilogy will be forthcoming later this year. A few original editions are still available at Amazon, and e-books available just about everywhere else.