Learn Writing with Uncle Jim, Volume 1

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James D. Macdonald

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Changling:

Your POV should be the character who's standing in the best place to show the scene. Minor characters make wonderful POVs.

If a scene isn't working, write it from a different POV and see how it reads.

===========

Sunandshadow:

If it isn't too much trouble, can I ask you to go back through either the Index to Uncle Jim or Uncle Jim Undiluted to see what I had to say about Celtic Knotwork as Plot? If that isn't useful to you, we can talk about other ways of looking at plot.

===========

In a moment --

The first scene from the second volume from one of our middle grades books.
 

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First Scene

The backstory going into the first scene of the second volume of a middlegrades book:



Slap! Randal swatted a stinging horsefly that had tried to make a meal from his shoulder.

"One down," he counted aloud. Then he looked at the swarm still hovering in the air around him. "Only about four thousand to go."

The late afternoon sun beat down on the Basilisk, a small country inn a few day's ride from Tattinham, near the eastern mountains of Brecelande. Inside the stable, the air was thick with the stink of manure and rotting straw, and throbbed with the buzzing of a myriad heavy, slow-moving flies. Randal had once been a squire in his uncle's castle of Doun, and most recently had been an apprentice wizard at the Schola Sorceriae, the School of Wizardry in Tarnsberg on the western sea. Now he heaved another pitchfork-load of manure over his shoulder, and wondered why he'd ever left home.

Randal was about fifteen, with the height and the sturdy build that come of being well-fed from earliest childhood. At the moment, however, a film of grey dust covered most of his face, and sweat plastered his long, untrimmed black hair to his head and neck. Randal had started work when a pair of merchants departed and left the stables empty, but the Basilisk's regular hostler—who should have been working with him—had never shown up.

"It's no good," Randal muttered. "I have to rest."

He leaned the pitchfork against the wall of the stable, and rubbed his hands down the front of his tunic. His right palm ached, as it did whenever he performed hard physical work these days. He looked down at the hand, and at the raised, red scar that stretched across it—low on the side away from his thumb, higher on the thumb edge, so that it actually crossed the first joint of his forefinger.

Randal clenched and unclenched his hand, trying to ease the cramp in the scar-stiffened flesh. If only he hadn't grabbed the sharp-edged blade of Master Laerg's ceremonial sword ... if only he hadn't used the magical object like a knightly weapon, to kill the renegade wizard Laerg before his spells could destroy not only Randal but the entire School of Wizardry, if only ... but if he hadn't done those things, he would be dead now, and the kingdom of Brecelande would be held fast in Laerg's sorcerous grip.

Even working here for the rest of my life, thought Randal, glancing about the filthy stable, would be better than that.

He took up the pitchfork again, and returned to mucking out the befouled straw. As he worked, he took some comfort in knowing that tomorrow or the next day should see him on the road again, well away from the Basilisk and its stinking stable, and within reach—at last—of his goal.

Magic.

More than anything else, Randal had wanted to be a wizard, a worker in spells and the enchantments that could change the texture of reality—or, more practically, make short work of clearing out a filthy stable. He had spent three years at the Schola in Tarnsberg, studying the magical arts, before breaking the oldest law of wizardry, the one that forbade a wizard to attack or defend with steel.

His action had saved the Schola from destruction, and the Regents—the master wizards who controlled the School of Wizardry—had not been ungrateful. They'd made Randal a journeyman wizard, setting him on the second stage of the long road that led from apprenticeship to mastery. But they'd also done something else.

They'd taken his magic away from him. Until he could get permission from the wizard Balpesh, once a Regent of the Schola and now a hermit living near Tattinham in the eastern mountains, all Randal's skill and training had to remain untouched, no matter how great the need.

The whole chapter is here.

Discussion in just a minute.
 

Christine N.

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aw crap. back to the drawing board. Is there any way, given the excerpt we already used, to get the meat of the plot into it? I'm racking my brains here people. I'm really sweating this too. I don't think I've ever had such a rough start to a book. I'm thinking about just starting all over again.

Or am I trying to hard? :Headbang: :Headbang: is what I really wanna do right now.
 
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James D. Macdonald

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Christine N. said:
aw crap. back to the drawing board. Is there any way, given the excerpt we already used, to get the meat of the plot into it?

Have you gotten all the way to "THE END" on this draft? If not, it's way too early to be talking about Back to the Drawing Board.
 

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LOL. Thanks, UJ.

<looking for the Poser Police> Whew, not here yet.

This is what I get for just jumping into the next book before I have a good beginning in my head. That's what I usually do. But the other one was at The End, so I need to do something to pass the time.

Deep breath, start again tomorrow.
 

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Christine N. said:
This is what I get for just jumping into the next book before I have a good beginning in my head.

Get a good ending in your mind. That's even better.

Given this beginning: The ending will include Megan and Stephen, and Megan galloping on Thunder.
 

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I've got a grand ending to tie my plot together, but I want to rush to it. I find it hard to hold the story back. Like a race horse on the backstretch I want to let it loose and finish. The end chapter is so clear in my mind that it wafts it's way into my thoughts constantly as I write.

Arrrgh, Charlie Brown.

I just had a thought, should I write it now so I don't feel the rush to reach it?
Like write it first?
 
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Slap! Randal swatted a stinging horsefly that had tried to make a meal from his shoulder.

[Start with action, and our protagonist, and he's already having a rotten day.]


"One down," he counted aloud. Then he looked at the swarm still hovering in the air around him. "Only about four thousand to go."

[His day is only getting worse. He's in a frustrating situation; no matter what he does, he's not going to make things better.]


The late afternoon sun beat down on the Basilisk, a small country inn a few day's ride from Tattinham, near the eastern mountains of Brecelande.

[An inn, named after a supernatural creature. Tattinham has an English sound to it (in fact, I'm referring to the Middle-English metrical romance, The Tournament of Tottenham. No reason that the readers should know that, but it amused me. We'll be going to a tournament there next. The geography lesson continues ... and before long we'll be visiting both that town and those mountains. Brecelande means 'broken land,' which it is, symbolically, due to the lack of a lawful king. This is again something that's mostly for me.]

Inside the stable, the air was thick with the stink of manure and rotting straw, and throbbed with the buzzing of a myriad heavy, slow-moving flies.

[Yeuch! Gross!]

Randal had once been a squire in his uncle's castle of Doun, and most recently had been an apprentice wizard at the Schola Sorceriae, the School of Wizardry in Tarnsberg on the western sea.

[It's the backstory. Doun is gaelic for 'castle.' Schola Sorceriae is Latin for School of Wizardry; it's translated in the very next phrase. Tarnsberg is Anglo-Saxon for 'secret town.' The western sea is an old name for the Atlantic. We're going to need to know about that castle, because in just a few pages Randal is going to meet someone who knew him back then, and who knew he was going off to school.]


Now he heaved another pitchfork-load of manure over his shoulder, and wondered why he'd ever left home.

[Under the circumstances, woudn't you? Action to break up the huge infodump.]



Randal was about fifteen, with the height and the sturdy build that come of being well-fed from earliest childhood.

[Description of character, early enough so the readers won't have formed too much of their own picture.]

At the moment, however, a film of grey dust covered most of his face, and sweat plastered his long, untrimmed black hair to his head and neck. Randal had started work when a pair of merchants departed and left the stables empty, but the Basilisk's regular hostler—who should have been working with him—had never shown up.

[Sounds uncomfortable. The merchants are going to drive a bit more of the plot in a chapter or so, and the ostler's disappearance is significant. Also puts our character into a poor-me-set-upon mood. Things will shortly get worse.]


"It's no good," Randal muttered. "I have to rest."


[Finally, some dialog!]


He leaned the pitchfork against the wall of the stable, and rubbed his hands down the front of his tunic. His right palm ached, as it did whenever he performed hard physical work these days. He looked down at the hand, and at the raised, red scar that stretched across it—low on the side away from his thumb, higher on the thumb edge, so that it actually crossed the first joint of his forefinger.

[Backstory and description all jumbled together, disguised with the use of the actions with the pitchfork and rubbing his hands. Tunic gives us more of an idea of time period. (This is, in fact, medieval fantasy.) I figured out where the scar would go by actually grabbing a sword.]


Randal clenched and unclenched his hand, trying to ease the cramp in the scar-stiffened flesh. If only he hadn't grabbed the sharp-edged blade of Master Laerg's ceremonial sword ... if only he hadn't used the magical object like a knightly weapon, to kill the renegade wizard Laerg before his spells could destroy not only Randal but the entire School of Wizardry, if only ... but if he hadn't done those things, he would be dead now, and the kingdom of Brecelande would be held fast in Laerg's sorcerous grip.

[The summary of Volume One, for the folks who haven't read it. This book was being offered through a school book club, where there was no guarantee that the others would have been read -- or even available. Each volume has to contain everything. Laerg is from the Welsh, the Seven Sorrows of Storytelling.]



Even working here for the rest of my life, thought Randal, glancing about the filthy stable, would be better than that.

[No such luck. Things will shortly get much worse.]


He took up the pitchfork again, and returned to mucking out the befouled straw. As he worked, he took some comfort in knowing that tomorrow or the next day should see him on the road again, well away from the Basilisk and its stinking stable, and within reach—at last—of his goal.

[The plot shows up! Hurrah!]


Magic.

[Yep, it's a fantasy.]

More than anything else, Randal had wanted to be a wizard, a worker in spells and the enchantments that could change the texture of reality—or, more practically, make short work of clearing out a filthy stable. He had spent three years at the Schola in Tarnsberg, studying the magical arts, before breaking the oldest law of wizardry, the one that forbade a wizard to attack or defend with steel.

[More backstory, and a bit more infodumping. Also asks the question the readers are no doubt asking themselves by now -- why's he doing this the hard way?]


His action had saved the Schola from destruction, and the Regents—the master wizards who controlled the School of Wizardry—had not been ungrateful. They'd made Randal a journeyman wizard, setting him on the second stage of the long road that led from apprenticeship to mastery. But they'd also done something else.

[More summary of the last chapter of volume one. This is because you really have to know what went on to follow this book. Originally, the novel had been a 400 page book, which we couldn't sell because Harry Potter was still ten years in the future and no one thought kids would read a 400 page book. So it was cut into pieces, and the summaries added -- our story so far -- in the first chapter of each volume.]


They'd taken his magic away from him. Until he could get permission from the wizard Balpesh, once a Regent of the Schola and now a hermit living near Tattinham in the eastern mountains, all Randal's skill and training had to remain untouched, no matter how great the need.

[He's going on pilgrimage to do penance. Also tells us what and where the last chapter will be. Pesh is from Peshawar, a city on the Kyhber Pass, since we're going to a pass in the mountains. Bal -- would it be more obvious if I spelled it Baal (The Lord in Hebrew)? Yes, this whole thing is a religious allegory. So shoot me.]
 
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Christine N. said:
This is the second book in the series. The people that have read the first book will know that beneath the manor house lies a secret library with enchanted books hiding mythological artifacts (that I made up). The books whisk you off inside them. The "normal" is really just a facade. It doesn't last much longer than this, just long enough to get the rest of the characters back into the story and set it all up.
That library sounds *cool*.

As Uncle Jim has said, there's time and time yet to worry about this. I'd just note that you never know what order people will meet your books in--maybe someone's bought the last copy of the first book on the shelf, leaving only the second book, but the cool cover draws the eye and a reader opens to the first page of the second book . . .

Good luck with getting a draft finished, and I'd be interested to hear what direction you end up going in.
 

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Brecelande means 'broken land,' which it is, symbolically, due to the lack of a lawful king. This is again something that's mostly for me
Uh-huh, and the look of the word also summons up associations with the
Forest of Broceliande that figures in Arthurian legend--which tells me, as a reader, we aren't in Kansas anymore. So to speak.

I always love it when writers do things like that. It shows layers of thinking.
 
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sunandshadow

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re: complex plots

James D. Macdonald said:
Changling:
Sunandshadow:

If it isn't too much trouble, can I ask you to go back through either the Index to Uncle Jim or Uncle Jim Undiluted to see what I had to say about Celtic Knotwork as Plot? If that isn't useful to you, we can talk about other ways of looking at plot.

Ok, I went and read up on those and also all the stuff about outlining, since that's what I'm trying to do - get an outline written.

Chess doesn't really work for me - there isn't direct black vs. white antagonism in my story. And I'm really awful at playing chess. Chinese Checkers, however, strikes me as a better analogy - I start with a neatly organized flock of pieces and they have to cooperate to migrate across the board and get into a new comfy pattern. The major obstacles are the shape of the board itself (can't simply go foreward) and the other color pieces moving crosswise to me toward their own, not directly opposed, goal.

Celtic knotwork is interesting, but I'm having trouble figuring out how to apply it. I noticed that none of the knotwork examples in this thread are actually plot diagrams - would it be possible to see an example with characters and themes and plot points labelled on it?

Anyway, the thing none of these examples addresses is that a plot is a pattern which is asymmetrical in the 4th dimension (time). As I understand it, a celtic knotwork plot shouldn't be a circle, it should be more like a french braid - starting with a wide array of elements added in spaced out over the first third of the braid, then getting narrower, tighter, more unified and solid until the climactic ribbon and the relaxed resolution of the little tail below that.
 

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As it happens the Circle of Magic books (a bit quoted from above) were plotted using Celtic knotwork. Alas, my skill with computer graphics programs is small enough that I can't really do a good picture for you.

If you want to recreate that diagram, though ... make a circle with six points. Join each point, every other point, and every third point. Draw your knot. Make it three-stranded. Label one strand Head, the second Arm, the third Heart. Now label one strand Randal, one strand Walter, and one strand Lys. Then label one oak, one ash, and one thorn.

You will see which will be the main character, which will be secondary character, and which the background character in each book. You will also see the theme of each book.

The series does form a circle. It ends where it started (physically), with the promises made at the beginning kept at the end.

The fifth book (The Prisioners of Bell Castle, reprinted as The Wizard's Castle) contains within it a triple time-loop, built according to the same principles. Someone who wanted to could even reconstruct the diagram from the chapters of that book.

Yes, I got Trinitarian in there.

Watch out also for the appearance of the Holy Spirit, seen as a bird.

How do you outline a complex story made out of various plot arcs? Lay them out on paper. Show them interacting. Show which one is in the foreground.

This is not an entirely mechanical system. Make the pattern pretty.

Or. Write the parts as separate stories. After they're done, see how to interweave them. You can do this by chronology or by character or by theme.

The important thing is to write your book. Thinking about writing is not writing.
 
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Well I just wrote another 500 word scene today (I seem to write in 500 blocks). I'm a tad worried it's going to come out stitlted, I guess that's what re-writes are for (and it IS a first novel so I'll probably stick it in the attic anyway).

Tests and whatnot are a real good de-motivator to writing ;) So haven't written as much as I wanted to. Having said that, after this week I get 1 week off uni. If I don't get some descent writing done then, I'm hopeless.

I happened to be reading the page on Titles just then and thought of the title I give my stuff. "Unnamed" is a common name for my stories. The current one I'm writing was called "Challenge" because it was written in response to a challenge in an e-zine. Funnily enough, it's turned out to be a very good name for the story :p
 

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Kate Nepveu said:
That library sounds *cool*.

As Uncle Jim has said, there's time and time yet to worry about this. I'd just note that you never know what order people will meet your books in--maybe someone's bought the last copy of the first book on the shelf, leaving only the second book, but the cool cover draws the eye and a reader opens to the first page of the second book . . .

Good luck with getting a draft finished, and I'd be interested to hear what direction you end up going in.

Thank ye - it IS cool. That's the part of the story I really want to write. This volume is Ancient Egypt. Not really Ancient Egypt, but the guy who wrote the enchanted book's version of it.

Ok, ripping out the beginning, saving it to a file so I have it for later) and doing something different. After all, who would believe a 14 year old girl would be up with the sun to go horseback riding on her vacation? She'd be sleeping. Then she jumps up and goes to breakfast, where her father tells her Something Important To The Plot.

So I've come to the conclusion that I should write this book like the first one didn't exist. Well, not Not Exist, but is only a shadow. Character descriptions like we're meeting them for the first time, etc?? Is that right?
 

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I could have BICed all night, I could have BICed all night,
And still have BICed some more.
I need to clean and cook but I worked on my book
'Til quarter after four.
I never knew my characters would do that,
Never saw the plot in quite that light:
Suffice it to say, when it turned out that way,
I could have BICed, BICed, BICed all night.


===================

Remember: When the Muse comes to your house she expects to find you in front of your keyboard. If you aren't there, she won't go looking for you -- she'll move on to the next writer on her list.
 
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i have arrived!

Another newcomer who finally made it to the end ... :Trophy:


It's been said before and will be said again I'm sure, so I feel safe adding my thanks to Uncle Jim. This is one thread that actually gives solid advice all the way through - no holding back, no vague suggestions - everything has been shared wholeheartedly by UJ and everyone else. That's rare.

So 'Thank you so much!' sounds like too little. I'm actually :Hail: I hope I can show some of that by putting all the tips to good use. (My first story is done to THE END and I'm sending it to my beta readers at the end of the week. My second one is in progress and my third's in outline form:) )

I have to add that after reading all about Agricultural work, I feel like I finally understood why I write. For years I thought that the words I read in a published book actually came out in almost the same state from the writer's pen! Mine never could, so I gave up countless times.

Now I get excited just thinking about picking that perfect word and pulling out my gun to hold over every phrase and description. I think I fell in love with writing (again) after reading this thread. It feels fantastic! :cool:
 

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FreeSlave786 said:
I think I fell in love with writing (again) after reading this thread.

Thanks, FreeSlave. That's the sort of thing that makes it all worthwhile.

(And BTW, I did write five chapters last night, and stayed up to past four this morning doing it. It happens.)
 

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I wrote the last chapter. Wizzed it out. It flowed like it had a mind of it's own.

Writing the last chapter gave me more ideas of where I can go with the middle of the book. I love it when the words just flow and the story takes on it's own path. (The Zone). BIC time. I'm going to see if I can zone out again tonight.

Thanks, Jim, for caring and helping us. It means a great deal to me.

Ken
 

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I implemented the BIC method last night. I am in the final stages of editing my first novel, and I worked for 7 hours, got up this morning and worked most of the day, about 6 hours. I am about to put on a pot of coffee and see how many hours I can get in tonight. (of course, probably 2 hours of those 13 were spent clowning around on these boards!)
 

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James D. Macdonald said:
As it happens the Circle of Magic books (a bit quoted from above) were plotted using Celtic knotwork. Alas, my skill with computer graphics programs is small enough that I can't really do a good picture for you.
Never mind. I think I need to read the whole thread first. I have plenty of time to sound like an idiot later.
 
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re: complex plots

James D. Macdonald said:
How do you outline a complex story made out of various plot arcs? Lay them out on paper. Show them interacting. Show which one is in the foreground.

This is not an entirely mechanical system. Make the pattern pretty.

Or. Write the parts as separate stories. After they're done, see how to interweave them. You can do this by chronology or by character or by theme.

The important thing is to write your book. Thinking about writing is not writing.

Much doodling later...
http://members.cox.net/wickeddelight/KDcelticknot.jpg

This is only the 4 main characters - I wasn't sure how to weave themes in. Small beads are where rising action kicks into high gear, and large beads are climaxes. So, how do I progress from here to a detailed plot outline? I want to get to writing the book, really I do, but how do I start if I don't know what I'm writing toward?
 
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