A Quote by Grace Paley
I begin by writing paragraphs that don’t have an immediate relation to a plot. The sound of the story comes first.
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I always begin with a source of inspiration that comes from nature. The story comes from my research, volunteering, and meeting the people involved in that story world. I am an intuitive writer and an image, sound, experience can all inspire a scene or a plot twist!
I'm a pantser. I try to plot. I always try to plot. I end up with a few paragraphs that basically outline the gist of the story.But I never get much beyond that. I get too impatient to write.
I have hundreds of Word documents filled with pages of one-liners. If I begin to write a story, or if one of my thoughts leads to more than a couple paragraphs of writing, I'll go into these documents and pull out lines that I think would work with it.
I don't think plot as a plot means much today. I'd say that everybody has seen every plot twenty times. What they haven't seen is characters and their relation to one another. I don't worry much about plot anymore.
The ways in which a standardized language test induces storytelling, for example, is the opposite of creative writing; you have to learn a logical way to start a story, whereas in creative writing you may begin at the end or begin at the middle of the story.
The romance is the primary plot in a story that has two plots. The second plot is not a subplot, but one that is interwoven with the romance plot (if that makes sense.) A story needs compelling characters in a compelling plot.
Do you ever get moods when life seems absolutely meaningless? It's like a badly-constructed story, with all sorts of characters moving in and out who have nothing to do with the plot. And when somebody comes along that you think really has something to do with the plot, he suddenly drops out. After a while you begin to wonder what the story is about, and you feel that it's about nothing—just a jumble.
You learn to do your best writing on story rather than off story. Very often at the beginning of their careers, writers including me do their best dialogue writing off story - the best lines, the best observations - but they haven't got enough to do with the plot to stay in.
Knowing Chris Bennett's Writing as I do, I expected Only Superhuman to have an imaginative plot and a compelling superheroine in Emry Blair. What I hadn't expected was for the backstory to make so much sense. Usually science is the first causality of superhero stories, tossed aside with the breezy rationalization: 'Hey, it's comics!' Only Superhuman is, to my knowledge, the first hard science superhero story. And the Story is the better for it.
Chris Claremont once said of Alan Moore, "if he could plot, we'd all have to get together and kill him." Which utterly misses the most compelling part of Alan's writing, the way he develops and expresses ideas and character. Plot does not define story. Plot is the framework within which ideas are explored and personalities and relationships are unfolded.
I'm pretty disciplined to keep the momentum of a story going by writing everyday, even if it's only a couple paragraphs or a page or two.
Words create sentences; sentences create paragraphs; sometimes paragraphs quicken and begin to breathe.
Plotting is difficult for me, and always has been. I do that before I actually start writing, but I always do characters, and the arc of the story, first... You can't do anything without a story arc. Where is it going to begin, where will it end.
It is possible to combine a story line and plot line in the same work. Usually the storylines comes first, serving as a background to the plot line, but not always.
When people want to sound smart, they add syllables to words, words to sentences, sentences to paragraphs, paragraphs to books. They try to make up in quantity and complexity what they lack in quality. That's bullshit! They're just hiding their bullshit!
In writing if it takes over 30 minutes to write the first two paragraphs select another subject.
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