Wulf Moon's SUPER SECRETS Workshop & Challenge!

TWO ASSIGNMENTS for those who are enrolled in our Year 4 SUPER SECRETS of Writing Workshop.

Yes, it's a self-directed workshop this year, but that doesn't mean I leave you floating lost at sea! Fall in and heave ho! We have a destination to reach!

1. Listen to Jody Lynn Nye's interview on the WotF Podcast. Jot down what she seeks in stories for the anthologies, and ask if your Q4 matches what she's looking for. Remember your SUPER SECRETS. This one is "Know thy judge!" Don't post these here, this is for you alone.

2. Read the latest Super Secrets of Writing article in my series at DreamForge magazine, "SET. YOUR. STAGE."

Post your answers to the following questions. I'll read them, but I'm too busy getting a TOP SECRET release ready for FanX to comment on them. This is the self-directed part of this workshop. Do the work to help you advance. This is a huge issue I see in many aspiring writers' stories. Our Keeper of Records may make a comment on your answers if he sees fit. He does know something about crafting smart stories...he just won Writers of the Future!  

READ THE ARTICLE FOR FREE BY CLICKING HERE.

Let’s find those gold nuggets!

1. If you were a Broadway critic, how would you rate the play, Marshmallows Getting Roasted? Is it ready for Broadway? What are some issues that could make ticket holders walk out?

2. What problems occur when readers are given no details about the characters as they appear in a story?

3. Define stagecraft.

4. How does smart stagecraft in theater relate to smart settings in our stories?

5. Readers come to the start of a story with expectations. They need grounding, which requires specific questions answered in those first pages, even the first paragraph. Go back to the list. What questions do you answer when you write your openings? Be honest. Are there any you forget to cover?

6. What makes the Epic of Gilgamesh, the oldest surviving work of literature, a classic example of how to open a story?

7. Read Wulf Moon’s opening to “Super-Duper Moongirl and the Amazing Moon Dawdler.” Is Dixie a nebulous puffy marshmallow? Or a clearly defined person? List all the things you learned about her in the first paragraph of the story.

8. How did Moon give you the “grand vista of Dixie’s world,” including the story’s major characters, in only three opening paragraphs?

9. What mistake do many aspiring writers make when it comes to describing a setting and the society their protagonist lives in?

10. What makes The Hobbit’s opening so wonderful?

11. The Silmarillion reveals the detailed world Tolkien created before writing The Hobbit. If Tolkien hadn’t been careful, how might he have bogged down The Hobbit’s intriguing opening?

12. Why does Moon say, “Environment is a character”?

13. Whenever a scene change occurs, especially if it’s in a new setting, what must be done to establish the parameters of the new location in the reader’s mind?    

14. What is in medias res, and what pitfalls exist when opening a story or scene with it?

Go Prospecting

Open the last story you wrote. Pretend you’re that tough Broadway critic, and this story is the play of the day. Use the questions readers ask as a checklist. Does your opening pass muster? Is there something in this article that will enhance your story openings and help you SET YOUR STAGE?

My Personal Gold Nugget

What one item in this article will I work on in my next story to make my opening shine like gold? Write it down here and make your plan for success!

As long as we're sharing accomplishments, and we just had some incredible ones, I thought I'd share one of mine. I've started teaching virtual masterclasses through my own company, and they continue to sell out just like they did when they were offered at writing conventions. But my upcoming "KYD: Kill Your Darlings" masterclass that I announced last weekend was a milestone for me. It sold out in one day. One day. I've never had that happen before. These masterclasses take a lot of time to organize and teach. It means I miss out on a lot of anthology calls, but I get to see the writers I mentor get published in their pages. Writers like YOU, right here in this workshop!

And that makes me happy, too. 

Keep celebrating your victories!

Beastmaster Moon

Here is my year 4 assignment on "Set Your Stage"

Read the latest Super Secrets of Writing article in my series at DreamForge magazine, "SET. YOUR. STAGE."

Post your answers to the following questions. I'll read them, but I'm too busy getting a TOP SECRET release ready for FanX to comment on them. This is the self-directed part of this workshop. Do the work to help you advance. This is a huge issue I see in many aspiring writers' stories. Our Keeper of Records may make a comment on your answers if he sees fit. He does know something about crafting smart stories...he just won Writers of the Future!   

READ THE ARTICLE FOR FREE BY CLICKING HERE.

Let’s find those gold nuggets!

1. If you were a Broadway critic, how would you rate the play, Marshmallows Getting Roasted? Is it ready for Broadway? What are some issues that could make ticket holders walk out?

The review would scorch the poor marshmallows into black lumps of carbon.  Obviously not ready for broadway. I’d want my $50 back and more for my wasted time. Issues abound: 1. Lack of contrast. 2. Characters come out of nowhere. 3. Dialogue is boring. 4. Can’t tell where they are until well into it. 4. No real identifiable goals for the characters. 5. Hard to tell who the main POV character is. 6. At best you could say the tension is what will they do with a piece of gossip?

2. What problems occur when readers are given no details about the characters as they appear in a story?

Hard to follow the story. Can’t figure out who or what to care about. Conversation seems to be in a vacuum and can’t even tell how many characters are on stage. And then all of a sudden we are in the kitchen.

3. Define stagecraft.

Stagecraft helps define place, period, and mood for each story scene. Stagecraft puts in careful planning to select colors, scenery, backdrops, costumes, lighting, sound, and props that creates an evocative setting for each scene. In short, stagecraft provides the reader with what they need to proceed.

4. How does smart stagecraft in theater relate to smart settings in our stories?

Instead of allowing the audience to drink in the items and characters on a stage, smart settings in writing must provide those details to the reader so they can see it with their mind. Time should be given to select the correct words to convey in the reader’s mind what is happening, where, when, to who, and they whys of character’s heart desire and needed actions. Genre cues should be added as well to provide the reader with a promise of what the story is about and what kind of story they should expect as the story unfolds.

5. Readers come to the start of a story with expectations. They need grounding, which requires specific questions answered in those first pages, even the first paragraph. Go back to the list. What questions do you answer when you write your openings? Be honest. Are there any you forget to cover?

I think the main things for me to keep in mind is to include a genre clue in the setting and make sure it’s obvious how old my hero is and what it is they most desire, what their plan of action is, get them activated, and what faults they have that will be important for them to overcome later. I also have a tough time describing and costuming my main character. I can name them without issue, but what they look like and how they dress…

6. What makes the Epic of Gilgamesh, the oldest surviving work of literature, a classic example of how to open a story?

You immediately know who the main character is and are provided with a list of their accomplishments which tells the reader this is a person who has a story worth hearing.

7. Read Wulf Moon’s opening to “Super-Duper Moongirl and the Amazing Moon Dawdler.” Is Dixie a nebulous puffy marshmallow? Or a clearly defined person? List all the things you learned about her in the first paragraph of the story.

Dixie is a well-drawn character from the get-go. We know her age and that she has a service dog. We know what the service dog does for her and how Dixie dresses to cover up her tubes. We know she lives on the moon and what her parents do for a living and some of the things Dixie likes to do with her free time. We also know that Dixie takes everything thrown at her in stride with a sense of humor and she seems comfortable in her own shoes and comes off as confident.

8. How did Moon give you the “grand vista of Dixie’s world,” including the story’s major characters, in only three opening paragraphs?

By listing Dixie’s favorite places to visit and things to do while explaining about her tubes and cape and Moon Dawdler and parents’ occupation we are provided with enough hints to visualize the moon base and its scope. We also know how Dixie dresses and what her parents think of her choices. Mom seems hypercritical while Dad seems pretty laid back.

9. What mistake do many aspiring writers make when it comes to describing a setting and the society their protagonist lives in?

IF they describe a setting, a typical mistake is to over describe it and adding backstory and other details in the writer’s mind which bogs down the story for the reader who gets overwhelmed and bored before finding out the heart of the story. In short, don’t dump a lot of information at the beginning of the story. Provide just enough to ground the reader and get to the opening premise, narrative hook, and problem to solve asap.

“Many beginners try, creating an endless laundry list of setting and world details, often dumping in the intricate milieu of their world and it's history. Wonderful, we’re glad they know all that stuff, it adds depth to the tale they’re telling. But guess what? The story doesn’t need it. Just the facts, ma’am. Trust me. Better yet, trust the reader. A little dab will do ya. Especially in the opening.”

10. What makes The Hobbit’s opening so wonderful?

Immediately you know how important comfort is to Bilbo Baggins. And for me, it was the first time I’d ever heard of a hobbit and being a child at the time, I was hooked right away imagining what it would be like to meet a hobbit in the flesh and imaging being a hobbit.

11. The Silmarillionreveals the detailed world Tolkien created before writing The Hobbit. If Tolkien hadn’t been careful, how might he have bogged down The Hobbit’s intriguing opening?

Tolkien sure did know an awful lot about the world he created for Bilbo to inhabit. He even created languages and runes and reimagined/created entire races complete with their history and culture and prejudices. I’ve tried and failed to make it through the Silmarillion. Meanwhile I’ve read and re-read The Hobbit and the Lord of the Rings trilogy. I just don’t need that much backstory to enjoy one of my favorite book series of all time.

12. Why does Moon say, “Environment is a character”?

Setting as a character can elevate tension and set mood.

“Powerful settings include rich sensory details.” “Setting can do multiple duties. Not only does it reveal surroundings, but it can also create tension, even foreshadow events to come.” As a character, setting can be used “to set mood in each scene, even have it bear down on our protagonist, heightening tension.”

13. Whenever a scene change occurs, especially if it’s in a new setting, what must be done to establish the parameters of the new location in the reader’s mind?    

The same things the author did in the opening. Each scene is like a mini-short story and needs to have a character in a setting with a problem to solve. Again, the setting can enhance tension and help provide mood. If the setting is the same, still need to provide the reader with how much time has elapsed and how time of the scene has affected setting (is it darker now? What about the weather? Etc.). Also make sure it’s obvious who the players are on the stage and what props there are on the stage to affect action and mood.

14. What is in medias res, and what pitfalls exist when opening a story or scene with it?

Staring the story in the middle of the action. If you aren’t careful, there won’t be enough context provided to the reader to care about the protagonist and their problems/heart desires to carry them through the action. There is a danger of info dump and backstory to provide this context to the reader about character and what their quest is and why it matters and how that affects heart desire.

Go Prospecting

 Open the last story you wrote. Pretend you’re that tough Broadway critic, and this story is the play of the day. Use the questions readers ask as a checklist. Does your opening pass muster? Is there something in this article that will enhance your story openings and help you SET YOUR STAGE?

Gulp, perhaps I need to do more in my opening once I have completed my first draft. Thanks for this lesson, Moon.

My Personal Gold Nugget

What one item in this article will I work on in my next story to make my opening shine like gold? Write it down here and make your plan for success!

I love the idea of treating setting as a character. I shall work on incorporating that idea in my future writings.

@physa Superlative answers, Amy. Truly. You did the hard work, including analysis of you own opening. This was a pointed lesson. I’m happy you got the point. It will serve you well. Nicely done! Silver HM, here you come!  ?

Posted by: @wulfmoon

@physa Superlative answers, Amy. Truly. You did the hard work, including analysis of you own opening. This was a pointed lesson. I’m happy you got the point. It will serve you well. Nicely done! Silver HM, here you come!  ?

Thanks Moon (@wulfmoon)! SHM is my next target,  

My answers to @wulfmoon's Set. Your. Stage. assignment:

1. If you were a Broadway critic, how would you rate the play, Marshmallows Getting Roasted? Is it ready for Broadway? What are some issues that could make ticket holders walk out?

--“Marshmallows Getting Roasted was a painfully inadequate performance by a troupe that should have known better.” (That’s my highbrow critic voice :d: ) “The lack of setting and world-building created a farcical and confusing story that emptied the theater in record time.”

2. What problems occur when readers are given no details about the characters as they appear in a story?

--Without key details provided up front, the reader will assign their own characteristics to your cast. Then, when you reveal a detail later and it’s different from the reader’s assumption, you have created confusion and annoyance in the reader. Never a good thing and this breaks the spell you’re trying to weave.

3. Define stagecraft.

--Stagecraft is the careful design of everything in your setting that creates a) the stage your actors will move around and b) the mood and milieu that sets the tone (i.e. ‘it was a dark and stormy night’ creates a different mood from ‘Mr. Toad strolled down a sunlight avenue.’)

4. How does smart stagecraft in theater relate to smart settings in our stories?

--Theater is a visual art, but so is reading. The trick is using our written settings to make the reader visualize our art. This is done through clear descriptions that use keywords to help the reader build the world for us (e.g. a ‘cluttered garage’ is something most readers can visualize.) Add details specific to your needs (one car or two, smell of grease, etc.) and the reader becomes immersed.

5. Readers come to the start of a story with expectations. They need grounding, which requires specific questions answered in those first pages, even the first paragraph. Go back to the list. What questions do you answer when you write your openings? Be honest. Are there any you forget to cover?

--I try to get the named character in a setting with genre cue and a hint of a problem within the first two sentences. Within one sentence if I can manage it. I have a bad habit of expanding my problem before I expand my setting, which can create ‘white-room’ scenes like the adorably horrible Marshmallows Getting Roasted.

6. What makes the Epic of Gilgamesh, the oldest surviving work of literature, a classic example of how to open a story?

--It named the character and built the setting of his personality and history. Then, once we knew the character, it gave us a hint of physical setting (returned home and engraving upon a stone).

7. Read Wulf Moon’s opening to “Super-Duper Moongirl and the Amazing Moon Dawdler.” Is Dixie a nebulous puffy marshmallow? Or a clearly defined person? List all the things you learned about her in the first paragraph of the story.

--First paragraph: Name, age, clothing, hair color, parent attitudes, and ‘the tubes’

--Second paragraph: Moonie the Robodog, setting on Moonbase Resort with significant detail, more about her medical problems.

8. How did Moon give you the “grand vista of Dixie’s world,” including the story’s major characters, in only three opening paragraphs?

--With style and in Dixie’s twelve-year-old voice. He coded the setting with things that readers could identify with, thus building the world in their own minds.

9. What mistake do many aspiring writers make when it comes to describing a setting and the society their protagonist lives in?

--They either don’t describe it at all or they describe in too much excruciating detail (exposition). Not too much, not too little. Just right.

10. What makes The Hobbit’s opening so wonderful?

--He told us what a hobbit hole wasn’t. A sort of reverse-psychology that coded what it was into the reader’s mind.

11. The Silmarillion reveals the detailed world Tolkien created before writing The Hobbit. If Tolkien hadn’t been careful, how might he have bogged down The Hobbit’s intriguing opening?

--Have you ever read the Silmarillion? I tried. I really did. It was an example of over-exposition that made me walk away. Never got past the second chapter. If he’d done that to the Hobbit, it never would have become the classic it is.

12. Why does Moon say, “Environment is a character”?

--Environment sets mood. (Stormy night vs sunlit avenue). It can and should change as your mood requirements change. The writer should give as much thought to environment building as they do to character building.

13. Whenever a scene change occurs, especially if it’s in a new setting, what must be done to establish the parameters of the new location in the reader’s mind?

--SET. YOUR. STAGE. (Nuf said)

14. What is in medias res, and what pitfalls exist when opening a story or scene with it?

--In Medias Res is starting in the middle of the action. It’s exciting, but hinders stage setting up front, which is needed to ground your reader. Action scenes require short snappy sentences to drive them forward. Descriptive scenes require longer poetic sentences to draw the reader in. Long and poetic doesn’t work well inside short and snappy, so adding description during an In Medias Res opening usually feels forced and awkward.

Scott's responses to the SET YOUR STAGE assignment:

1. If you were a Broadway critic, how would you rate the play, Marshmallows Getting Roasted? Is it ready for Broadway? What are some issues that could make ticket holders walk out?

A: depends. I've heard of some shows that do/use very little and it's described as 'artsy' (and therefore brilliant). Me? It sounds boring and confusing. It's not the kind of quality people expect, which could easily make audiences hate it.

2. What problems occur when readers are given no details about the characters as they appear in a story?

A: They form their own image, then later when if the author chooses to describe something (ie – the Marshmallow kitchen), it's different. This throws the reader out of the flow of the story.

3. Define stagecraft.

            A: the details of a story required for the reader to proceed with the story.

4. How does smart stagecraft in theater relate to smart settings in our stories?

            A: In theater, a curtain pulls back at the beginning of the show, revealing what's on stage. Writing is similar. The curtain is simply 'pulled back' in the mind of the reader once they start the book.

5. Readers come to the start of a story with expectations. They need grounding, which requires specific questions answered in those first pages, even the first paragraph. Go back to the list. What questions do you answer when you write your openings? Be honest. Are there any you forget to cover?

            A: Hmmm. I don't always mention what's beyond the immediate 'close' setting (what's mid-distance? Far?). I could definitely add more subtle details about clothing and location. I'm fairly conscious of the 'time' and where the light is, as every man and his dog and his dog's fleas and the fleas' Aunt Edna says to explain the lighting at the start of a scene.

6. What makes the Epic of Gilgamesh, the oldest surviving work of literature, a classic example of how to open a story?

            A: They give, straight away, the name of the protagonist. They also hook the reader by listing why he will be an interesting character.

7. Read Wulf Moon’s opening to “Super-Duper Moongirl and the Amazing Moon Dawdler.” Is Dixie a nebulous puffy marshmallow? Or a clearly defined person? List all the things you learned about her in the first paragraph of the story.

            A: Her age. She's a kid (even without knowing her age, the writing style reads that way; she's almost 12, so close enough). Hair colour. Insight into Mum. Insight into dad. Dixie has a condition in which she has tubes.

8. How did Moon give you the “grand vista of Dixie’s world,” including the story’s major characters, in only three opening paragraphs?

            A: He mentioned a number of other places in the story to show how big the scenes/world are. These places can then be affirmed later when the protagonist visits them.

9. What mistake do many aspiring writers make when it comes to describing a setting and the society their protagonist lives in?

            A: they try to cram in too many details.

10. What makes The Hobbit’s opening so wonderful?

              A: it doesn't overload readers with what could have easily been a massive dump of info, given Tolkien's world. It also adds a contrast we weren't expecting (a hole as a pleasant thing), which makes us want to know more.

11. The Silmarillionreveals the detailed world Tolkien created before writing The Hobbit. If Tolkien hadn’t been careful, how might he have bogged down The Hobbit’s intriguing opening?

            A: By trying to mention lots of aspects and backstory about who/what a hobbit was, where it all happened, how the first angels created the dwarves in an attempt to fulfill Illuvatar's plan, how Morgoth tricked Ungoliant to help him attain the three, shining Silmarils (most beautiful of all created things), adding to her twisted, spidery nature, which would ten impact upon the descendants of the protagonist in Hobbit, which means … wait …

            Too much detail.  ?

            (btw – I've read Silmarillion twice. I love his description for the world being created through song. Tolkien is a master.)

12. Why does Moon say, “Environment is a character”?

            A: it can be used for many things, including to set mood, foreshadow events and heighten tension.

13. Whenever a scene change occurs, especially if it’s in a new setting, what must be done to establish the parameters of the new location in the reader’s mind?    

            A: Everything! You can almost consider each new scene as a new 'mini-story'. Describe the protagonist, setting details, time lapsed, who else is in the scene, etc. Do it all again for each scene.

14. What is in medias res, and what pitfalls exist when opening a story or scene with it?

            A: opening a story in the middle of the action. Pitfalls: the reader still need all the details to progress happily with the story, but with in medias res the author doesn't provide them all initially, meaning the reader is forced to suspend their needs for a time.

My Personal Gold Nugget

              A: I love the idea of 'hint at the grand vista of your world'. I'll definitely be looking at my opening and trying to include a few other scenes.

@scott_m_sands

Good analysis! I especially like the reminder to hint at the grand vista of my world. To describe the mid and far scene. 

You read the Silmarillion twice? Woah.

Posted by: @lost_bard

You read the Silmarillion twice? Woah.

Yup. I had me a lot of spare time before school started in High School. 
And Haldir is awesome.

@wulfmoon @lost_bard

SET. YOUR. STAGE. Assignment:

1. If you were a Broadway critic, how would you rate the play, Marshmallows Getting Roasted? Is it ready for Broadway? What are some issues that could make ticket holders walk out?
   Barely deserving of a single star, Marshmallows Getting Roasted, leaves the audience with many questions. Where does the story take place? When? Who is it about? Who are these marshmallows? Do they really all look the same? What do they want? What is keeping them from achieving their goals? What are they doing? I’d suggest audiences save their marshmallows and leave this show alone! Leaving so many unanswered questions won’t give the audience a reason to care or a desire to watch the show.

2. What problems occur when readers are given no details about the characters as they appear in a story?
   If details aren’t provided by the author, readers will fill in the blanks with their own ideas about the characters and what they look like. This becomes problematic when you add that detail later in the story. It knocks the reader out of the flow, making them start over again (or worse, stop reading). If we aren’t shown what the character wants, what problems they face, we have a hard time relating to them and may not want to stick around to see what happens. We need to care about the characters to understand if it’s worth our time to read on.

3. Define stagecraft.
   How we set our scenes, stagecraft, encompasses place, time, and mood.

4. How does smart stagecraft in theater relate to smart settings in our stories?
   Stagecraft draws the reader into the story. They become lost in the setting, the richness of the world, the mood and tone set by the engaging language. This is a major factor to keep them reading and immerse them in the story.
5. Readers come to the start of a story with expectations. They need grounding, which requires specific questions answered in those first pages, even the first paragraph. Go back to the list. What questions do you answer when you write your openings? Be honest. Are there any you forget to cover?
   I usually start my stories in medias res but ensure I hit on most of the questions readers have. I make it clear what the story is about and why it should interest them – the hook. I name my protagonist early, hint at age, and make their gender clear. I don’t always give a lot of physical description or clothing, ala Hemingway, but this is something I’m working on—to add some detail without bogging down the pace. I add in details about where the scene takes place and use evocative language to convey mood. Where I sometimes falter is establishing time, especially with new scenes. I may hint at period through mention of a cell phone or a castle, but that’s about it. I’m cognizant of what details I include and how much I emphasize them. I don’t want to overstate an item that really doesn’t play a role in the story later (aka Chekov’s gun). I do work to establish what my protagonist wants and what is trying to prevent them from getting it early in the story. I try to work hooks in throughout my stories to keep readers interested. I get a genre cue early in the story to ensure readers know what they’re in for.

6. What makes the Epic of Gilgamesh, the oldest surviving work of literature, a classic example of how to open a story?
   Lots of great hooks in the opening—a world-traveling king, wise, all-knowing, with knowledge of mysteries and secrets, and now he wants to tell you tales of his travels. Wow, who wouldn’t want to hear about that (especially if you were a pre-book//pre-tv/pre-internet Sumerian)?!

7. Read Wulf Moon’s opening to “Super-Duper Moongirl and the Amazing Moon Dawdler.” Is Dixie a nebulous puffy marshmallow? Or a clearly defined person? List all the things you learned about her in the first paragraph of the story.
   We are given a lot of detail about Dixie—name, gender, age, hair color, clothing (mom hates her Keds, dad loves her cape), a hint at an illness or disability, she can’t breathe on her own, her MedGen dog, her spunky personality (“duh,” “double duh”), she lives on the moon, her parents run a resort, and she wants nothing more than to travel to Mars.

8. How did Moon give you the “grand vista of Dixie’s world,” including the story’s major characters, in only three opening paragraphs?
   Her voice and word choice sets the tone of the story (“blinkies and sniffies”). By using words and places we’re familiar with (Moon, Moonbase, arboretum, tunnels, resort, Doberman pinscher), Moon paints a picture of the setting without having to draw out the details of each item. We know what these things look like already. It’s using shorthand in our writing—few words, large impact.

9. What mistake do many aspiring writers make when it comes to describing a setting and the society their protagonist lives in?
   Too much! Providing every little detail isn’t necessary. We only need to give bits of information and small hints at history, then allow the reader to fill in the blanks. Our job isn’t to get the reader to see exactly what we see in our author brains, it’s to get them to create their own picture in their heads and have an emotion impact.

10. What makes The Hobbit’s opening so wonderful?
    It’s not cluttered with tons of detail. Tolkien using coding to show us things we know (hole in the ground) but flips our expectation by saying said hole is comfortable—the opposite of what we’d expect. It hooks us and we want to know more.

11. The Silmarillion reveals the detailed world Tolkien created before writing The Hobbit. If Tolkien hadn’t been careful, how might he have bogged down The Hobbit’s intriguing opening?
    He could have crammed a history of hobbits into the opening, but that would have created distance from the relevant story and from the reader. The quirkiness of the opening needed few words to draw us in. We trust that Tolkien will eventually fill in the details that are needed.

12. Why does Moon say, “Environment is a character”?
    Setting can help set the mood and create tension and foreshadow coming events. The environment can also create conflict with our characters (man vs nature). We should always consider how the environment reflects the character. How does the character observe the setting, vs how the author sees the setting? It’s a great way to add character voice to our scenes.

13. Whenever a scene change occurs, especially if it’s in a new setting, what must be done to establish the parameters of the new location in the reader’s mind?    
    Envision each scene is like a new story, with a beginning, middle, end, and therefore needs an establishing opening—Where are we? Which characters are present? How much time has passed? Without doing this, we can confuse the reader and they may make assumptions that later turn out to be wrong, which knocks the reader out of the story.

14. What is in medias res, and what pitfalls exist when opening a story or scene with it?
    Starting in action. The risk of doing this is that you may not provide enough information about setting, the characters’ appearance/age/gender/name, the protagonist’s motivation. The risk is that we don’t give readers a reason to care, therefore, they may stop reading.

Prospecting/Personal Nugget

My current WIP passes the test and hits on just about everything in the checklist. That said, the main thing lacking from my own stories is sense of time. I make a lot of assumptions about the reader figuring it out on their own but think I need to be clearer about period and the passage of time between scenes.

Here are my answers to the challenge. 

1.   If you were a Broadway critic, how would you rate the play, Marshmallows Getting Roasted? Is it ready for Broadway? What are some issues that could make ticket holders walk out? - I’d pan it in a review. It definitely wasn’t ready for broadway. The scenery doesn’t evoke any place. The dialogue is bland and doesn’t tie back to any one character. The characters are also so bland that you confuse them easily. Instead of drawing me in the whole thing shuts down my mind and makes twitter on my phone real tempting. 

2.   What problems occur when readers are given no details about the characters as they appear in a story? Readers shape a picture of the character in their mind and without details, they synthesize their own. These details make or break the plot of your story and the wrong ones create unrealistic expectations that the writer will inevitably fail to meet causing dissatisfaction for the reader. 

3.   Define stagecraft. It’s the art of setting the stage. It’s using all the tools in one arsenal to ensure the story you are telling is pulling the right strings. Thinking about this made me think of the office ladies podcast and how on the tv show the office even the magnets on the refrigerator come from actual Scranton businesses. They used everything in their arsenal to show the setting was Scranton PA. 

4.   How does smart stagecraft in theater relate to smart settings in our stories? - In a story you are setting the stage for the reader just as much as in a play. You have to give them the details that guide them to picturing where the story happens and who is involved. 

5.   Readers come to the start of a story with expectations. They need grounding, which requires specific questions answered  in those first pages, even the first paragraph. Go back to the list. What questions do you answer when you write your openings? Be honest. Are there any you forget to cover? I normally do a good job at getting the protagonist name and some feature describing them, what they are doing and why, and a generalized where the story is happening. I struggle to define when it is especially when i write contemporary fantasy and my reason to care can be stronger. 

6.   What makes the Epic of Gilgamesh, the oldest surviving work of literature, a classic example of how to open a story? - The story comes out and introduces the character tells us why we should find him interesting and sets a hook for the rest of the story. In a really compressed few sentences it introduces a character and sets a stage for him to go on an EPIC adventure which when mixed with the name of the story fires up the programming for me to want to read it. 

7.   Read Wulf Moon’s opening to “Super-Duper Moongirl and the Amazing Moon Dawdler.” Is Dixie a nebulous puffy marshmallow? Or a clearly defined person? List all the things you learned about her in the first paragraph of the story. She’s a clearly defined person. She’s a red headed 12 year old girl almost 13 who loves red shoes and a red cape and is somewhat disabled becuase she has a machine with tubes to be covered up by her cape. 

8.   How did Moon give you the “grand vista of Dixie’s world,” including the story’s major characters, in only three opening paragraphs? Each paragraph gives you a clearer understanding of the world like a camera zooming out. You meet Dixie in the first paragraph and get a clear picture of her and her interactions with her parents. In the second paragraph you meet the dawdler and get his important purpose while establishing his value to Dixie and then you show us all the important places to Dixie while extending the view of her character. The third paragraph extends view of the character even deeper while hinting at an even bigger world outside the places she knows and frequents. 

9.   What mistake do many aspiring writers make when it comes to describing a setting and the society their protagonist lives in? We are really guilty of infodumping before we get into the story. We’ve worldbuilt intricate systems that work behind the scenes and we really like to show all that work instead of just using it to the get to the story. 

10.   What makes The Hobbit’s opening so wonderful? - It’s clear this is a different species that we are used to and I think the contradiction makes it wonderful. Readers are used to holes in the ground being dirty nasty things and would think something living in a hole in the ground would be nasty, but instead the hobbit hole is all about comfortable living. This sets up difference in the species from the start and when mixed with the rest of the story provides us a good bit of insight into the character of the hobbit. 

11.   The Silmarillion reveals the detailed world Tolkien created before writing The Hobbit. If Tolkien hadn’t been careful, how might he have bogged down The Hobbit’s intriguing opening? Tolkien really starts at the ground level and goes to the highest highs of his world, but if he had started there we wouldn’t have the intrigue about this small character in a hole in the ground. I’ve read The Silmarillion and it is dense in places and without a proper reader motivation they would put down the story and walk away. If you put a treatise about the nature of the world here then the Hobbit in the hole wouldn’t be that interesting. 

12.   Why does Moon say, “Environment is a character”? - It can be used to convey emotions or setting or a tone of the day. Setting a story in the right environment is such a powerful tool to bring the reader into the scene and make them feel what the character is feeling. 

13.   Whenever a scene change occurs, especially if it’s in a new setting, what must be done to establish the parameters of the new location in the reader’s mind? - Introduce the new location and set the character up in the location and with any additional character in it. Also tell us how much if any time has passed from the last scene jump and what may have changed since then. 

14.   What is in medias res, and what pitfalls exist when opening a story or scene with it? - In medias res is in the middie of the action and when you open a story that way you can be really focused on describing the cool thing happening on the page instead of setting the hook for the story and introducing the character in way that endears them to the reader. You may accomplish a really intricate action scene, but have a reader asking the horrible question why should i care. 

Here's some points for reflection, you don't have to share these:

Open the last story you wrote. Pretend you’re that tough Broadway critic, and this story is the play of the day. Use the questions readers ask as a checklist. Does your opening pass muster? Is there something in this article that will enhance your story openings and help you SET YOUR STAGE? My opening doesn’t necessarily pass the muster here. I give you a character and a description and a reason to care about them and what they way, but I don’t give you a clear understanding of the place.  

What one item in this article will I work on in my next story to make my opening shine like gold? Write it down  and make your plan for success! I want to get better at using the setting as a character for the opening and the rest of the story. Setting a story in the right place will make it all the stronger. 

To all of you Challenge Beasties, great answers to the SET. YOUR. STAGE. assignment. Those were deep questions, and it was obvious you put much thought into your answers. I guess my dream to take Marshmallows Getting Roasted to Broadway might take a little longer than I thought! But I have not lost faith! As Descartes said, I wrote, therefore it’s brilliant. ? How much better to do honest evaluation and humbly seek to improve. I’m proud of all of you. You did some honest soul searching at the end. It will serve you well in Q4. Which is where all of your energy should go this next month. Work those KYDs to find your great ideas, and the beating heart of your stories. Many have, to ultimate success. 

You’ve been training hard now, for eleven months. I set a high bar for this year’s challenge requirements. You are the survivors. But what does that mean?

Well, first of all that you’re dedicated to your writing. Unless you’re down for the count from toxic peanut butter or a decimating virus, you don’t let anything stop you from meeting your writing goals and deadlines. 

Second, it reveals that through smart practice and staying the course, your skills have grown. Some of you only had three days to get stories into the Murderbirds call when the editor opened it up to the Wulf Pack. You not only wrote them in three days, they were also accepted into the anthology. Could you have even attempted such a thing at the start of this workshop year, let alone craft a professional level story that would sell? I think it unlikely. So how did you do that? By exercising your writing muscles by doing these rigorous challenges. What was formerly impossible is now probable. Why? Because you’re doing the work. Smart practice implementing solid principles of writing makes all the difference.

We’ve had our first winner in this Year Four Super Secrets Workshop, and results are only in yet for the first two quarters. Since I began this project, we’ve had many winners, and more finalists than I care to count anymore. We’ve had member after member achieve their first respectable sale; many have moved on to pro writing careers. What does this tell you? Of course that if you’re doing the work, you will improve. And if you have good guidance based on solid principles of writing, you will improve your skills faster. But there is one thing above all that seeing these workshop members break out should tell you.

This is not just possible. It is probable. For you. 

This is Q4. Your last chance this year. You have everything you need to succeed.

Make it so.

Beastmaster Moon

Sorry about missing your Monday writing prompt. We are finally getting our bedroom wall and floor repaired after a truck hit our house over a year ago. Yeah, it’s taken that long for our contractor to return after I sweet talked him to at least close up the exterior wall before our rainy winter came. Whew! What an ordeal.

I’m working furiously on my Top Secret Super Secrets’ release for Salt Lake FanX next month. I’ll have a booth there! I hope you’ll stop by and say hi if you’re going. But for now, I’ve got to get this publication ready for the printer before the month ends, our bedroom to put back together after the contractor leaves, my wife to murder, and Gilder to frame for it. I’m swamped!

So here’s your “Monday” KYD prompt:

“Abandon ship!”

Do your worst…which means give me your best. 

Beastmaster Moon

1. If you were a Broadway critic, how would you rate the play, Marshmallows Getting Roasted? Is it ready for Broadway? What are some issues that could make ticket holders walk out?

Not ready for Broadway. There's no setting and the dialogue has attribution problems. Lacking a setting there's naturally no action beats to help us identify who is speaking and the actors are not introduced either so we struggle to figure out who is speaking and how many there are in total.

2. What problems occur when readers are given no details about the characters as they appear in a story?

It's hard to keep track of the characters without some memorable trait to tell them apart.

3. Define stagecraft.

The collection of elements needed to set the stage which include: Place, Characters, Genre Cue (and through these, Tone as well). It should provide all the essential information to firmly ground us in the story without us having to make assumptions that are proven false as we read on.

4. How does smart stagecraft in theater relate to smart settings in our stories?

Just as the curtain opens to reveal the setting in a theater, so does the first few paragraphs reveal all the elements needed to understand where we're at.

5. Readers come to the start of a story with expectations. They need grounding, which requires specific questions answered in those first pages, even the first paragraph. Go back to the list. What questions do you answer when you write your openings? Be honest. Are there any you forget to cover?

I answer: who the story is about (MC), where we're at (and when unless dealing with secondary world fantasy), and what genre this will be. Also why we should care, which can be by presenting a strong heart's desire or a surprising trait of the protagonist (building a reader/hero bond right off the bat)

6. What makes the Epic of Gilgamesh, the oldest surviving work of literature, a classic example of how to open a story?

A very interesting MC is presented immediately and hooks us because of his knowledge, wisdom and the promise of adventure.

7. Read Wulf Moon’s opening to “Super-Duper Moongirl and the Amazing Moon Dawdler.” Is Dixie a nebulous puffy marshmallow? Or a clearly defined person? List all the things you learned about her in the first paragraph of the story.

She's twelve (and with a strong voice that helps the tale), she wears a red cape and red shorts, and there are tubes which tell us she is suffering from a condition.

8. How did Moon give you the “grand vista of Dixie’s world,” including the story’s major characters, in only three opening paragraphs?

Smoothly transitioning from Dixie to her best friend robot dog (genre cue), we are presented with how this dog helps her navigates the world. Through this we see the world itself: a settlement on the moon.

9. What mistake do many aspiring writers make when it comes to describing a setting and the society their protagonist lives in?

They either expect too much from the reader by neglecting to put their world on the page, or they info-dump, presenting more than is necessary and bogging down their plot.

10. What makes The Hobbit’s opening so wonderful?

It sets the scene and the MC's race. It's a hook, because it's surprising. The negative description that catches us off guard, a hole that is comfortable and clean? We know this is gonna be an exotic setting with exotic characters in the most subtle way possible.

11. The Silmarillion reveals the detailed world Tolkien created before writing The Hobbit. If Tolkien hadn’t been careful, how might he have bogged down The Hobbit’s intriguing opening?

He could have info-dumped the world he had in his head and bog down the reader with details. Instead he vented on another book, so once people grew enamored they can find all the lore their heart desires.

12. Why does Moon say, “Environment is a character”?

Environment sets the tone and it has a relationship with the characters. It can foreshadow things to come, highlight the character's emotional state as we're viewing it through his lens and create tension. (An example I like is 1984's: It was a bright cold day in April and the clocks were striking thirteen)

13. Whenever a scene change occurs, especially if it’s in a new setting, what must be done to establish the parameters of the new location in the reader’s mind?    

Describe the new location through evocative sensory detail and set the actors in the scene before they start talking.

14. What is in medias res, and what pitfalls exist when opening a story or scene with it?

It's when a scene starts in the middle of an action, which can even be a dialogue. The pitfall is we don't have time to set the stage and we have to backtrack to fill the reader in on the details (why should we care? who are these people? where are we anyway?), setting the breaks so soon after speeding up, which can irritate the reader.

1.If you were a Broadway critic, how would you rate the play, Marshmallows Getting Roasted? Is it ready for Broadway? What are some issues that could make ticket holders walk out?

Marshmallows Getting Roasted deserves the title for the worst reasons. It’s the story of what happens to people we cannot see and do not care about, which is why audience members will run and not walk away from this campfire. One star.

2. What problems occur when readers are given no details about the characters as they appear in a story?

   We define what’s there in order to continue. Of course, if we have to supply as much as your marshmallow play requires, it’s exhausting. We don’t want to do the author’s job. Especially when the author later on contradicts our work. We’ll put the book down or walk out on the production. And most likely, not be inclined to try that author/playwright again.

3. Define stagecraft.

   The careful examination and reproduction of what the story and reader/audience requires to proceed.

4. How does smart stagecraft in theater relate to smart settings in our stories?

   Stagecraft tells the audience time frame/era through lighting as well as fashion and architecture. A well set stage will tell the audience at LEAST a general location, time of day and era. It might suggest genre (is there a rifle on the mantle or a body stage right?) and because of the above, we’ll likely also get some preconceived notions of morality and culture thrown in, too. Of course, the latter are harder to get a grasp on in speculative lit.

5. Readers come to the start of a story with expectations. They need grounding, which requires specific questions answered in those first pages, even the first paragraph. Go back to the list. What questions do you answer when you write your openings? Be honest. Are there any you forget to cover?

   Thanks to you, I’ve learned to get name and age in ASAP. Thanks to Scot Noel, I’m doing better at establishing time of day and era and remembering not to put in flashbacks until Act 2. I am also no longer going for overblown description (ala Gormenghast), but I do still struggle at finding the right balance, especially at the beginning.

6. What makes the Epic of Gilgamesh, the oldest surviving work of literature, a classic example of how to open a story?

   Because its succinct structure tells you who, what, where and why we should care in four sentences.

7. Read Wulf Moon’s opening to “Super-Duper Moongirl and the Amazing Moon Dawdler.” Is Dixie a nebulous puffy marshmallow? Or a clearly defined person? List all the things you learned about her in the first paragraph of the story.

   She’s a spunky tween who has not and will not give up on her goals despite physical and emotional setbacks. She has red hair and revels in the color. Has a critical mother and a supportive father. Dixie has a protector robo dog who also helps her breath and a goal of reaching Mars despite her physical issues. She absolutely relies on Moonie, the dog, and you make us see that by showing that they go everywhere together. You never say it, but show it constantly.

8. How did Moon give you the “grand vista of Dixie’s world,” including the story’s major characters, in only three opening paragraphs?

   Again, with succinct language. Mom and Dad work on the Moon, which is still culturally and financially connected to the earth. He also uses Dixie’s unique “voice” to tell us she wants to go to Mars. No one else but Dixie could tell the story like this, which tells the reader she’s real.

9. What mistake do many aspiring writers make when it comes to describing a setting and the society their protagonist lives in?

   They don’t get into that character’s POV/head and gain that voice, but they also don’t give the character the vivid background to live in. Without the setting, how can the character live and breathe as their unique self? Another mistake new authors make is to go in the opposite direction and drone on about setting and society. They lose the story and, consequentially, the reader.

10. What makes The Hobbit’s opening so wonderful?

    Because Tolkien describes the “hole in the ground” as nothing like what we expect. Therefore, a hobbit must not be what we expect either and we will read on to see if we’re right.

11. The Silmarillion reveals the detailed world Tolkien created before writing The Hobbit. If Tolkien hadn’t been careful, how might he have bogged down The Hobbit’s intriguing opening?

    By bringing in all of his mythology into a story that didn’t need it. I’m one of those weirdos who enjoyed the Silmarillion, but mostly because I’d read everything that came from it already. It was a great way to see what lay behind the creation.

12. Why does Moon say, “Environment is a character”?

    Imagine Harry Potter attending high school in your alma mater. Not quite the same effect. Hogwarts is a necessary character in those books and that’s just looking at the macro. If you look at the micro importance of scene details, it’s even more obvious. Think of the difference between “it was a dark and stormy night” and “wispy clouds scudded across the sky in pursuit of distant rainbows” and you get a different emotional impact without having a single character.

13. Whenever a scene change occurs, especially if it’s in a new setting, what must be done to establish the parameters of the new location in the reader’s mind?

    Providing sensory cues, of course, but also time references so the readers know how much time has passed and if necessary, where the location is in relation to previous spots. Also, the reader has to be informed who is in the scene as soon as possible.    

14. What is in medias res, and what pitfalls exist when opening a story or scene with it? It means in the middle of things and in story telling means bringing the reader in as close to the beginning of the action as possible. The difficulty is in timing. Bring the reader in too far before the action and they’re dropping your book like acidic dragon diarrhea. (And yes, fewmets ARE acidic.) Bring them in too close to the action and they won’t know enough about your characters to care about them or what they’re doing. Give that dragon a dose of Metamucil and hope it comes out Just Right.

Go Prospecting

Open the last story you wrote. Pretend you’re that tough Broadway critic, and this story is the play of the day. Use the questions readers ask as a checklist. Does your opening pass muster? Is there something in this article that will enhance your story openings and help you SET YOUR STAGE?

It reminded me to make sure I had all of these elements at the beginning and throughout scenes.

I'll report early for August as I might not have connection the coming days.

1. Wrote about 11000 fresh words (4x short stories, 1xflash)

2. 1xKYD with a solarpunk theme

3. Q4 is pending some edits but is mostly ready

4. Submitted to 10+ respectable markets

Edited a bunch of other stuff and I began outlining my first novel (and oooh boy does it feel like a colossal task)

Posted by: @linardos

Edited a bunch of other stuff and I began outlining my first novel (and oooh boy does it feel like a colossal task)

In my limited experience Akis, it is colossal!
And yet, immensely rewarding. So much you can do with it.

This week's KYD Prompt comes with a world of possibilities from our very own @physa.

Failure to Launch

Thanks, Amy!

@linardos Congratulations, Akis! Sorry I missed that!

Posted by: @lost_bard

This week's KYD Prompt comes with a world of possibilities from our very own @physa.

Failure to Launch

Thanks, Amy!

Can you please tell me what this means? I’m not familiar with this phrase and when I look it up, it just says it means twenty-something year olds not moving out, etc etc. I don’t understand “failure to launch” in fiction. Thank you!

Good morning, Anna. The thing about prompts is they are meant to spark ideas. They do not have to be an idea themselves. This could be about 20 somethings failing to leave home. This could be about birds failing to leave the nest. This could be about ships failing to leave harbor. This could be about ships failing to leave space dock. This could be a story about how vegetables feel when you take them out of the ground and what they're going to do about it. LOL This could be anything about anything that comes to mind when you read this phrase.

Posted by: @annax

Posted by: @lost_bard

This week's KYD Prompt comes with a world of possibilities from our very own @physa.

Failure to Launch

Thanks, Amy!

Can you please tell me what this means? I’m not familiar with this phrase and when I look it up, it just says it means twenty-something year olds not moving out, etc etc. I don’t understand “failure to launch” in fiction. Thank you!

As @empressed says: "Good morning, Anna. The thing about prompts is they are meant to spark ideas. They do not have to be an idea themselves. This could be about 20 somethings failing to leave home. This could be about birds failing to leave the nest. This could be about ships failing to leave harbor. This could be about ships failing to leave space dock. This could be a story about how vegetables feel when you take them out of the ground and what they're going to do about it. LOL This could be anything about anything that comes to mind when you read this phrase."

In addition, you could think of this prompt as a problem to overcome in a story.

Good luck!  

Year 4 August report.

• I added 3,000+ fresh words to what will likely be my Q4 entry.
• I completed a KYD (incorporated into my Q4 entry)
• One of my Q3 stories to pro markets was returned.
• 2 of my 3 submitted stories to pro markets for quarter 4 were returned.
• Still waiting to hear from 1 story to pro markets for Q3 and 1 for Q4.
• Attended Moon's Flow state webinar and Dreamcaster's August meeting
• Completed a Young Reader course
• started working through Farland's Advanced Story Puzzle course
• registered for a speculative fiction course (starts September 19) and 2 Fyrecon master workshops (in November).
• Submitted to IOTF Q4 [working on the digital art pieces helped calm my Q2 twitching]
• Found out my Q2 WOTF entry got an HM!!! YAY!!! I achieved one of my writing goals!!! Thanks to those who helped by giving my story a read and offering suggestions. And for those who encouraged me.  
• In order to complete Moon's year 39 challenge all I'll need to do in September is a KYD and write a fresh 3,000 word story (and submit my Q4 story after receiving feedback to revise and edit it). I will try to do more than that to finish my year 4 challenge strong.

@empressed I get it now. Thank you! ?

@physa 

Thank you for the suggestion. 

And omg! Yay! Congratulations on accomplishing so much! ❤️ Wow. I need to do more. ?

Check in for September:

1. Finished a 6K story, but set it aside. Realized that it needs to grow into Book 2 of the trilogy I'm starting.

2. Outlined and wrote 7K words on my next novel, an expansion of my Q2 winner.

3. Did a Solarpunk KYD (that's a new genre for me) and expanded it into a flash.

4. Submitted to 10 pro markets.

5. Received one acceptance and one hold.

6. Wait, no, received two acceptances. I won Q2, Volume 39. The biggest acceptance ever!

7. I will not be submitting to Writers of the Future this quarter, as I am now disqualified from entry.

Year Four August report.

1. Wrote about >10,000 fresh words (2 short stories, 1 novel chapter)

2. 1 KYD for current WotF WIP

3. WotF Q4 is almost complete

4. Submitted to 6 respectable markets this quarter

I love seeing all this output, Challenge Beasties! It’s amazing! Stand back and take a gander over the whole year so far and breathe in all your successes. I make the monthly challenges in this workshop tough for a reason—they push you to your limits, and as you stay the course and do the smart practice, you realize these aren’t your limits at all. THAT is how you improve. THAT is how you build toward a career in professional writing. 

Well done all! Special commendations to Amy! Not only on achieving your first HM, but on achieving so many writing things in one month! All that effort will serve you well, as you just proved in Q2! Keep up the great work.?

Okay, everyone. This is Q4, last chance to get into Volume 39, or it’s another year in the trenches. I’ve given you everything you need to succeed. Mind what you have learned. Save you, it can. ?

All the beast!

Beastmaster Moon

Well, I did at least get three times as many submissions made this month. I'd hoped to get one more out today, but it ain't gonna happen because I'm not sending out something that dissatisfies me. I did a KYD, wrote a 3k story and rewrote two other 3k stories.