Category: Writing (page 64 of 81)

Take Time To Think

The Thinker

Human beings in the modern age love getting things as soon as possible. They seek out the latest gadgets, latch on to concepts that are easy to digest, choose a Big Mac over a slow-roasted side of beef cooked over a fire at home. Be it a burger, a toy or an idea, the less effort you take in its creation and the less responsibility you take for it, the larger a mess you create upon use or consumption.

Rather than go into some of the more provocative areas in which we can see evidence of this, let’s keep the blog focused on gaming and writing. Working with a published adventure is fine. Especially if you’re doing a one-shot adventure at a convention, you don’t need a great deal of backstory to set interested players on their way. I learned that one the hard way. However, if you’re going to present a group of players with a consistent experience on a semi-regular basis, the adventures cannot exist in a vacuum. Backstory, motivations, rewards and penalties all take on more and deeper meaning if there’s something both before and after the dungeon crawl.

It also helps if the elements outside of the in-the-moment experience make sense. You can’t hide a crucial item from the party in an impenetrable room with no visible or hidden entry way, then punish them for not acquiring the item. If you give no evidence of the item’s existence, save for perhaps a mention in local folklore, punishing them for failing to acquire it means you set them up to fail from the very beginning. I hazard to say the DM that does this to their party is a rather poor one.

It’s true for writing, as well. I’ve seen good concepts and interesting setups let down utterly by contrivance, bad characterization and deus ex machina. When you write something and it becomes published or even popularized, to completely ignore it in subsequent works in the same universe is inexcusable. The universe created by the writer, like the adventure presented at the gaming table, does not and should not exist in a vacuum.

That said, I’m not suggesting that every story regardless of length needs a weighty amount of support. A short story works fine on its own if there’s a coherent narrative through-line and the end doesn’t contradict the beginning without good reason. A solid foundation, though, is key when crafting a longer narrative like a novel or a feature film. Especially if there may be more to come in that universe with those characters, the more time you spend getting things right behind the scenes, the better the experience will be for the reader.

In short, it behooves the creative mind to take time to think. Make sure things in the tale make sense. Poke weak points to see where they fail. Smooth over the rough spots as much as possible. Writing, be it a novel or a gaming campaign, isn’t instant gratification. It’s slow, methodical, intellectually challenging work. If you want it done right, that is.

Welcome to Scrivener: Getting Around

Courtesy Literature and Latte

Last week around this time I promised I’d be helping my fellow writers now deeply entrenched in NaNoWriMo by showing them how a little program called Scrivener can make things a bit more organized and smooth for them. I for one am the kind of person who feels the best way to get to know a piece of software is to roll up my sleeves and use the damn thing. Fortunately, even the beta for Windows comes with a tutorial built into it. What I like about this tutorial is, as you work your way through it, you’re learning more about the software just by reading about what it does. It’s extremely intuitive.

So this is what Scrivener can look like. Feeling a little lost? Here’s a short version on what you might be looking at.

The Binder

Courtesy Literature and Latte

The biggest thing Scrivener offers a writer is a means of organizing, sorting and arranging bits of information and research all in one place. It’s like having all the tools you need in one box instead of scattered all over your apartment and your parents’ basement. Not that I’d know anything about that.

The most obvious place to see this is the left-hand column called the Binder. This is where you will find pretty much every document you work on in a given project. You can navigate through them one click at a time, rather than hunting and searching through folders, flash drives and hand-written notes. When you start a new Scrivener project, you have folders for your draft, any research you want to include and trash.

The neat thing about the trash bin in the Binder is that it doesn’t destroy your work automatically. Unless you specifically empty the trash bin, the work is always there for you to reference, restore or copy-paste into a more viable document. The Binder allows you to break what may be a work with hundreds of thousands of words into smaller, more managable chunks that you can edit, reorganize and publish much more easily. I’ll deal with all those things in upcoming posts.

The Inspector

Courtesy Literature and Latte

While the Binder lets you physically organize your work, the Inspector provides organizational help from a data perspective. It first and foremost lets you specify a synopsis that will show up in Scrivener’s Corkboard and Outline views. I’ll get to that in a moment.

The Inspector’s additional powers deal with making searching for aspects of your work easier. Say you want to look for scenes from a particular character’s point of view, or focused on a given subject. With the Inspector, you can add labels, notes and keywords that make these searches more comprehensive and easier to understand, rather than drilling through the entire document one search result at a time. You also have the option to add notes to the entire project through the Inspector.

Last but not least, the Inspector lets you specify how a given document will appear in the final product, if it appears at all. You can exclude a passage from your final draft without losing its content, specify when page breaks should happen or set a document’s status as finished, in progress or “a mess.” The status of the document, like its labels, are totally customizable. Making Scrivener your own is about as intuitive as it gets.

The Corkboard

Courtesy Literature and Latte

This is a matter of personal preference. Scrivener has two views that lets you see what’s in your documents as you shift them around, how they’re labelled and what their status is. None of this info shows up in the Binder. At least it doesn’t in the beta I was working with. Anyway, these views are the Corkboard and the Outliner.

The Outliner lays out the sections and sub-sections of a project in a very linear fashion. Not only do you see status and labels, but you also see when a document was created as well as when it was modified. It’s chock full of information and very handy, but I, being somewhat more of a visual person, perfer the Corkboard.

Maybe it’s the idea of pinning things down to get them where I want them. Maybe it’s the act of moving the cards around to get the right order. Maybe it’s the way labels show up as big red stamps that makes me smile. Whichever view you choose, I hope you’ll find organizing information in a draft as easy as I have. You can even use the Corkboard to navigate if you like. An option in the view allows you to control the document displayed in the portion of the editor not displaying the view you prefer.

“Portion?” I hear you asking. “What do you mean by ‘portion’?”

I’m glad you asked.

Split Views & Scrivenings

Courtesy Literature and Latte

Scrivener allows you to split the view in the main window. You can, in essence, have two documents open in the same window at the same time. If you felt you may have repeated yourself unnecessarily, this is a good way to check. Moreover, having the Corkboard or Outliner open in one part of the window while you edit in the other makes it very easy to keep track of where you are even if you have the Binder closed. You can move documents around and get right into editing them afterwards, to make sure your work flows properly from one snippet to the next.

The other direction is the Scrivenings. This overall view lets you view multiple documents as a single, cohesive text. You can also edit it as you view it, which may make you feel like you’re back in Word save for the fact that switching back to one of Scrivener’s other modes takes just a click or two. It’s important to see how the end result may look from time to time, and Scrivenings is a good way to do that without having to make the program spit out a sample “finished draft.”

So that’s how Scrivener looks. But how does it actually work, and how would an author like myself work with it? Join me next week when I take my last coherent draft of Citizen In The Wilds and give it the Scrivener treatment.

On NaNo & Scrivener

Courtesy Scrivener

So National Novel Writing Month – NaNoWriMo to you Web-savvy types – is right around the corner. I know a few of my fellow pensmiths will be participating in the event, and I’m more than happy to offer my support, encouragement and advice. But I, for one, won’t be participating.

The simple reason for this is my current novel isn’t done yet.

However, since November is a big month for writing and the tools writers use, the time will not pass me by idly. Scrievener has released the beta for the Windows version of their lauded writing software, and I’ll be testing it out. I want to see what it can do, how it makes the job of a novelist (in my case) easier. In addition to providing feedback to the Scrivener team on whichever feature I’m focused on, I hopefully will give writers some idea of what the software can do for them. Some of the posts will deal with a particular feature of Scrivener while others will simply discuss how it’s been useful to me in my editing, outlining or querying process.

My goal, other than helping the development team out and supporting my fellow writers, is to have a completed draft and solid query ready for December.

My current draft, while decent, still needs work. The beginning isn’t quite what it could be. It needs to grab attention and set mood & theme right away. It does a better job now than it did but it could still improve. Other scenes in the novel need to be streamlined, expanded or completely rewritten in a couple cases. But the first order of business will be to get it organized and laid out, and that’s where Scrivener will come in.

Provided I can get it running, of course. And it doesn’t melt my processor or something.

Games as Storytellers

Courtesy The Raging Spaniard

After finishing off A Game of Thrones, the review of which I intend to write up some time this weekend, I started taking my DS on the train instead of a book. I fired up the updated Chrono Trigger. It’s amazing how quickly the game sucked me right back into its story.

It’s made me think. With all of the rendering software, high-definition platforms and cutting-edge AI technology out there, this game, first released back in the early 90s, still captivates me. It’s got 16-bit sprites, music based on the SNES chip and only a few buttons to speak of. Why does this game grab and hold my attention the way bigass mainstream games can’t?

It tells a great story.

Not every game sets out to do this. In fact, most of them get their start due to a new technology, a game mechanic or one of those pithy memos from the marketing department. And this isn’t a bad thing. A game should be seamless in its integration between mechanics, narrative and design. The experience that results makes games as different as night and day. Halo is a big-budget Michael Bay movie. Mass Effect 2 is a season of a science fiction TV series like Battlestar Galactica or Stargate. Chrono Trigger‘s a well-worn novel. These are subjective comparisons, but you get the idea.

As I continue to edit Citizen in the Wilds, get feedback on its query and struggle to conserve enough energy to work on either of those, I find myself looking at games in terms of potential for telling stories just as much as they are diverting little distractions from activities that earn money. World of Warcraft can even be used to tell stories, and not just through the quest log text and boss fight quotes. Especially if one is on a role-playing server, typed dialog, emotes and even the occasional spell can help tell a story that isn’t just interesting to the player but to those around them. Unless your name is Rostal Korobrats.

Of course, these things have to remain on the conceptual level for now. I simply have too many other concerns. The day job, the novel, maintaining an apartment, following up on paperwork for a variety of things while keeping the lights on and food in the pantry… all that typical life stuff that comes with being a responsible adult. However, once I get Citizen more reasonably poised for release to someone who can get it to print and things become less stressful in terms of budget and time constraints, maybe I can explore some of the tools at my disposal.

It’s all conjecture at this point, but it centers around the idea that a game that is equal parts design, mechanics and narrative can be an immersive and memorable storytelling experience even if the technology isn’t bleeding-edge and the budget isn’t in the millions of dollars. It’s the idea behind a lot of the indie games out there. Braid tells an intricate story while being a platformer with an interesting time-manipulation gimmick. Minecraft might not tell much of a story but it does allow its players to build, create, be anything they want, and that in and of itself has the potential for storytelling.

We get inspiration from all sorts of places. Games inspire me. The day may even come when I’m inspired to make a game of my own.

I just can’t do it now. Or any time soon. I like being sane. Relatively speaking.

Reinventing the Wheel

Courtesy Mark Fiore
via The San Francisco Chronicle

You’ve heard the turn of phrase before. “There’s no need to reinvent the wheel.” Basically it’s an argument that doesn’t necessarily invalidate innovation, but suggests that working within established constraints means less work and a lower investment of time and resources. At the same time, only going with what’s known leads to stagnation. If people doesn’t innovate, nothing grows or changes. Yes, people like what’s familiar and are uncertain of new things. It’s why this year’s Madden is going to outsell a game coming from the independent market. It’s why fans are eagerly awaiting the next novel in the Song of Ice and Fire series and overlook brand new titles in the fantasy genre. This isn’t a universal truth to be sure, as there will always be people willing to try something new, but it’s true enough to be noteworthy and, in my opinion, worth examination.

When you get right down to it, on a mechanical level, there’s little difference between Gears of War and Mass Effect, especially the second title. They’re both cover-based shooters using a third-person perspective. However, they’re as different as night and day. The former’s focus on multiplayer, brutality and grim protagonists in interchangeable suits of armor is worlds apart from the latter’s storytelling, character design and decision making. In other words, they’re both wheels, but one’s a big thick tire on a monster truck while the other’s a Pirelli on a Bugatti Veyron. BioWare didn’t reinvent the wheel to make the experience of playing Mass Effect 2 distinctive from that of playing Gears of War 2, they just built that wheel differently.

Another good example? The aforementioned Song of Ice and Fire. It’s a fantasy novel series, so it’ll sit in the same section as Lord of the Rings. But George RR Martin isn’t all about exotic races, magical powers and a clearly-defined evil villain. Instead, his focus is on sweeping political landscapes, lands and armies rooted very much in our history and lots (and boy, do I mean lots) of interesting, well-rounded characters. GRRM doesn’t reinvent the wheel to write his books or get his point across. Instead, he draws from both the universes of fantasy with which we’re already familiar, and also from the legends and accounts we either know from studying history or recognize as familiar due to our own experiences. It makes a story with an expansive scope feel deeply personal.

It’s entirely possible that in our own creative process, we head down a particular path. We want to try something new. We want to go places that haven’t been explored, approach an obstacle in a radical way. As we proceed down the path, more ideas occur to us. It’s tempting to pull those ideas into the work at hand, just to see if it works. And then, when it comes time to look over where we are and how we came to be there, the path behind us is at least a bit messy, if not damn near incoherent. We’ve wandered a bit too far. We’ve tried to reinvent the wheel.

This doesn’t mean the mess is without merit, however. A square wheel, after all, can be chiseled into a round one if you’re willing to clean up the debris when you’re done.

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