2021-1 Storytelling - Creating Interest - Discussion Thread

InkFinger

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This should be a conversation, so please comment, contribute, ask questions, and give answers.

Creating interest is all about getting your readers to read the next word, the next sentence, and turn the page. To do that, you have to do something compelling. It can be almost anything, but in general, it’s a problem and a promise that pull us through. The longer your story, the more problems and promises you will need. My mother used to tell me that the trick to storytelling is to give us a hero, set the dogs on him, and run him up a tree, throw rocks at him until we are all convinced, he will fall, and then let him save himself with things we learned along the way.

No story is complete without a problem. Life is mostly mundane, droll, but we tell stories about the events, and human nature loves trouble.

You need to create context, whether that is worldbuilding that puts us on the floating mountains of a faraway planet or the morning before a big interview with the law firm downtown. In as many words as necessary, but not a single word more, bring your reader into the story’s setting.

You will need at least one character to care about, someone your reader can root for or against. It’s easier to tell stories about people we love, but it’s possible to tell compelling stories about the trolls too. There’s a formula out there somewhere that helps you get an idea for how long a story will be based on how many characters you put in it, but what I’d say is give them enough room to breathe. The more named characters, the longer you story will need to be – and note, every named character needs to have their own set of needs/wants/objectives to keep them from being flat.

The third leg of your three-legged stool is plot. You will need to give us a destination. We are here. We need to get there. This could be as simple as our boss sends us across the street to get coffee for the big meeting or as complex as the impending doom of our planet depends on whether or not we can deliver a crystal to the tree of life in the heart of the forest. The story comes when we present a long and winding path that puts the end in doubt.

And last, this is something my son told me that resonates. You have to commit. If you try to please everyone, you will please no one. Choose your story, commit to it, and tell it to the best of your abilities.

As I stated at the beginning, this is a conversation starter to support your efforts for the 8 January 2021 writing prompt. Our goal is to write a story that captures our reader’s interest. It doesn’t have to be long, or even complete, the goal is to practice. I look forward to seeing what you post.
 

Maryn

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For me, whether it's erotica or suspense, the key is character. The more I write about a character, the more I discover about him or her. By the time I've finished a short story, I know so much more than will fit into the word count that it's kind of funny. Why is she distrustful of men? Why does he think women are satisfied with a brief encounter? How does that mesh with how he thinks of his ex, his mom, his daughter?

The plot matters, of course, but how this exact person reacts to the things that happen is the core of the story.

I suppose in a way I fall in love (or hate) with every character at some level, including the ones that have a whole lot of myself in them but are never actually me. I could easily put them into another story, because I know how they'll react to entirely different circumstances.

Maryn, all about character
 
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InkFinger

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Character is important, but like I said, it's a three-legged stool. Character without context and plot is just a profile. I do have to care about, love or hate, the characters to follow along, but there has to be something to follow and someplace to be.
 

Tocotin

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For me, what creates interest is an intriguing character in an intriguing situation, plus competent writing. The first can mean different things to different people, but the second – well, it can be just anything, as long as it is at least a bit unusual. It can be a world or a place I don't know much about, or it can be a society or a group of people, and the character has to find or maintain their place in it.

I don't mind it if the character doesn't have huge obstacles to overcome, or if they aren't in danger. It can be a storm in a teacup type of thing. As long as there are various characters, or points of view, or other factors at odds with each other, as long as there's some kind of friction, I'm interested.

As for the competent writing, it's probably more a matter of personal preference, but it has to be at least clear, not full of cliches, and not forced.

:troll
 

DiloKeith

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For me, it's not really a three-legged stool because that implies some sort of balance or equality. I'm very happy with a minimal plot if the writing and characters are good, or intriguing plot and compelling context with mediocre writing, or some other combination with only one or two components done well. It depends on the type of story. As a writer, I'm weak with plot and usually stick to short stories with an emphasis on character dynamics. I write primarily about BDSM relationships, so I suppose I cover context too.
 

Woollybear

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This should be a conversation, so please comment, contribute, ask questions, and give answers.

A few thoughts, from recent books and shows.

A quick-read mystery novel, competently done and enjoyable to read, will trigger a different kind of enjoyability in me than a lit-fic contemporary novel. A thriller is easy to consume but harder for me to digest. The writing that stays with me the longest is the writing that I grow from. So, the legs of the stool depend in part on the work. I could imagine a three legged stool of intrigue, action, and catastrophe instead of a three legged stool of character, plot, and context. My favorite three legged stool is narrative, dialog, and action. Any of these reductive definitions serve a purpose, but none of them should restrict the writer, in my opinion.

I'm watching season one of The Outlander and I highly enjoyed the first four or five episodes, because: I was learning history, the main character is a strong woman, with a problem, acting with agency toward a goal. The writing is enjoyable and all the archetypal characters are there.

So, I was delighted to have a new binge-series to watch. But last night I reached a couple episodes with (many) various flavors of extreme male-on-male and male-on-female violence. It makes me feel ill. I'll need to do a little research on line before subjecting myself to any more. I'm pretty sure Dougal is going to have his way, soon, and I'm also a little pissed with what the story is doing to Frank in the 20th century. It's feeing gratuitous, and makes me ill. Which is a shame, to me.

So, assuming the basics of the writing and story-telling are holding true, in other words that all of the basics are still there, stories need to do more. I suppose the contract with the audience needs to be clear in the open, and the writer should not break the contract.

No questions, here. I have no problem with anyone else's views, above.