M.I.C.E. (Types of Stories)

June 28, 2011 — Pat Bertram

I thought we’d talk about M.I.C.E. No, not the little furry creatures, but Orson Scott Card’s list of types of stories. In How to Write Science Fiction, he says there are 4 types of stories: Milieu, Idea, Character, Event. These are skewed toward Science Fiction, obviously, since he is a science fiction writer, but they seem fit with all stories/novels.

The Milieu is the world — the planet, the society, the weather, all the elements that come up during the world creation phase. Every story has a milieu, but in some stories, the milieu is the point of the story. It follows the basic structure of Gulliver’s Travels — an observer goes to the strange place, sees all the world has to offer, and comes back a new person. The Milieu story obviously starts when the stranger arrives in the world and end when he leaves (or decides to stay for good).

The Idea is about the new bits of information that are discovered in the process of the story by characters who did not previously know that information. Idea stories are about the process of finding the information. The Idea story begins by raising a question; it ends when the question is answered.

The Character story is about the character’s character. It’s about the transformation of the character and the character’s role in society. The attempt to change doesn’t have to be a conscious decision, it can be unconscious, a seizing of an opportunity that takes him in a new direction. The Character story begins when something happens to make the character so dissatisfied with his present role that he begins the process of change. It ends when the character settles into his new role (happily or not) or gives up the struggle and remains in the old role (happily or not).

The Event story is about a change in the universe, a disorder, and the story begins when a new order is about to be established. The Event story begins when when the world becomes disordered and ends when a new order has been established. (Or when the world descends into chaos).

So, are there other basic types of stories? Do your stories/novels fit one of these categories? What is your Milieu, Idea, Character, Event? Most stories have more than one of these elements, so how do they fit together in your stories?

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A Great Love Story

June 10, 2011 — Pat Bertram

I’m working on my grief book, typing up my grief journal entries. I thought this would be a book about grief, but it seems more like a love story, which is so very ironic. Soon after I met my life mate — my soul mate — I quit my job to write. I wanted to tell the story of a great love that transcended time and physical bonds, told with wisdom and beauty. I sat down to write, and  . . . nothing. Back then, I thought all one had to do to write was to sit down, pen in hand, and let the words flow. Well the words didn’t flow. So I put off my dream of being a writer and went about the business of living. Years later, while going about the business of dying (his dying) I started writing again just to get out of my head, to get a respite from my life. I eventually learned how to write, but I always wrote slowly . . . until I started a grief journal and posthumous letters to my mate. Those flowed. And now it turns out that this grief book could be that love story I always wanted to tell. Life sure plays games with us!

Several people have told me they envied me my great love, but I’ve hesitated to tell the truth: it didn’t feel like love. We never had much of a romance. After a few brief years of hope and happiness, our love was sublimated by the constraints of his growing ill-health. It seemed that our cosmic love devolved into the prosaic things of life: cooking meals, doing errands, struggling to keep our retail business alive. And then it devolved further into simply surviving. Getting through the days as best as we could. We thought we’d stopped loving each other. We thought we were ready for the coming separation — he to death, me to life alone.

His hospice nurse, who got to know us both very well, told me she didn’t think he and I knew how much we loved each other. And apparently that was true. That mystifies me — how could we not  have known? We always knew we had a deep connection, though we never understood it and at times we both railed against it in our struggle to maintain our own identities, but we took that connection for granted. And what is that connection if not love?

In my foolish youth, I thought I’d still be able to feel his presence when he was dead, but I only feel his absence, and maybe that’s enough to remind me that love is not all hearts and flowers and passion. It is not what you feel. It is what you do. It is being there for each other. And, until the very end, we always were.

Posted in culture, grief, life, writing. Tags: , , , , , , , . 5 Comments »

Surviving a New Stage of Grief

June 6, 2011 — Pat Bertram

I’ve been working on my grief book, typing what I wrote immediately after the death of my soul mate. Suddenly it seems as if the past sixty-two weeks have melted into oblivion and I’m back there again, newly bereft, wandering in a fog of pain, wondering how to cope with the massive changes in my life. I know I have come a long way because the revisited pain seems bewildering to me. Did I really feel all that? Did I really survive such a terrible time? Apparently I did, because here I am, mostly back to normal. I’m still lonely, though, and the loneliness surges unbearably at times.

Loneliness is the newest stage of my grief, as it is for so many who are coming out of the first numbing months of grief. I don’t know how to cope with this vast loneliness, but I didn’t know how to cope with any of the other stages of grief, either. I just embraced the pain, the anger, the sorrow, and waited for a gentler time. So that’s what I will do with the loneliness. Embrace it and wait for it to subside. Waiting is not all I’ve been doing, though. I’ve been making an effort to be with people, which helps, and so does writing. I’d forgotten how quickly the hours go when one is immersed in words.

I still wonder if anyone will want to read this grief book when it is published. It is so intensely personal. And painful. Yet people who have read my blog posts about grief have found some comfort in them, so perhaps this book will serve the same function. Even if no one is interested in reading my daily struggles to come to terms with the death of my mate of thirty-four years, the book is important to me. It’s a way of binding my grief into a neat bundle so I can get on with my life, though I have been told one never truly gets over such a loss. But we do survive, and that is ultimately what my book is about — surviving grief.

Posted in grief, writing. Tags: , , , , . 15 Comments »

R.U.E — Resist the Urge to Explain

June 4, 2011 — Pat Bertram

There is a maxim in writing called R.U.E — Resist the Urge to Explain. Supposedly, if you show your readers the story rather than explaining it to them, it will allow readers to draw their own conclusions, thereby making readers a part of the story.

In some ways, my novel More Deaths Than One is a simple story. A man returns home after eighteen years in Southeast Asia to find the mother he buried before he left is dead again. Or rather, he finds her obituary in the morning newspaper, and when he goes to the cemetery, he sees a funeral party. He also sees someone who appears to be . . . himself. With the help of an unfulfilled and quirky waitress he meets in a coffee shop, he sets out to discover the truth.

Beneath that simple story lies the question of what makes us who we are. Is it our memories? Our experiences? Our natures?

And beneath that is the real story — a mythic tale of a man who reflects the people he meets back to themselves. This is the story I did not explain. I wanted readers to discover it for themselves, yet I’ve learned (by way of less-than-stellar reviews) that not everyone sees this story. One reviewer, who thought that the relationships were developed with too little explanation, couldn’t understand why the waitress would run off with someone she barely knew. I thought as readers got deeper into the story and noticed more of the characters seeing themselves in the hero (good guys saw good, evil guys saw evil, victims saw a fellow victim, the artistic saw the artist, the soulless saw a drone) that it would be apparent the waitress’s adventure-starved soul saw in him the fulfillment of her dreams. I guess not.

It’s too late to rewrite the story, and even if I could, I wouldn’t. But . . . here’s the question: should I have explained more? Should I have resisted the urge to resist the urge to explain?

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Scribbler’s Retreat Writers’ Conference

April 30, 2011 — Pat Bertram

Scribblers’ Retreat Writers’ Conference
St. Simon’s Island, Georgia
May 12-14, 2011

Through the years, the abundant beauty of the Georgia coast has inspired artists of every stripe, including poets, novelists and playwrights. You too can find inspiration on this beautiful island while enjoying fellowship with other writers and students. During the two-day conference, ten world-class authors, editors, publishers and other literary professionals will impart their own wisdom in a classroom setting.  Each conference begins with an Opening Ceremonies Banquet Thursday evening and ends with an Evening with the Authors cocktail reception Saturday evening. An added bonus — I’ll be there! As you can see, I am one of the speakers.

Phillip Margolin – How to Write a Novel in Your Spare Time 

June Hall McCash – Writing Historical Fiction

Victor DiGenti – Revving Up Your Narrative Drive

Dr. Anya Silver – Writing Poetry: The Enchanted Craft

Denise Tompkins – Effective Query Letter Writing

Ricki Schultz – Online Presence-Building, Made Easy

Jane Wood – Schools, A Niche Market

Pat Bertram – Creating Incredible, but Credible, Characters

Chuck Barrett – Who’s Point of View is It Anyway? How Not to Confuse Your Reader

 www.scribblersretreatwritersconference.org
800-996-2904
King and Prince Beach & Golf Resort

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Advice to Aspiring Writers

April 20, 2011 — Pat Bertram

I just got an email from my high school, requesting my participation in a Q&A for a magazine that goes to parents and alumni. The question they want a response to in 60 words or less is, “What advice would you give to aspiring writers?” Of course I said I’d participate. The only hard part is distilling ten years of research and experience into so few words.

I could go with a single word: “Write!”

I could be cynical and say, “Don’t write unless you have to. It’s a heartbreaking business.”

I could be business-like and say, “Learn everything you can about good prose, story elements, query letters, promotion, and publishing because the competition is fierce — millions of people have written a book want to write a book. But no matter what happens, keep writing.”

I could be philosophical and say, “Start with a single word. That’s how every book through the ages was written — one word at a time. By stringing single words together, you get sentences, then paragraphs, pages, chapters, an entire book.”

I could be more story-oriented and say, “Ask yourself: what story do you want to write? Why? What do your characters want? Why? How are they going to get what they want? Who is going to stop them getting what they want?”

I could plunge into the action and say, “Sometimes it’s hard to find the confidence to bring complex scenes to life, to juggle the many elements that comprise a compelling scene, so plunge headfirst into action. Write fast and fearlessly; let the words fall where they may. You can always clean up the mess in rewrites.”

So, what advice would you give to aspiring writers? What was the best advice anyone ever gave you? What was the most helpful advice you ever read?

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On Writing: Tell, Don’t Show

April 16, 2011 — Pat Bertram

In Description, Monica Wood commented: Don’t enslave yourself to showing. “Show don’t tell” is a guideline, not a rule. Sometimes telling is more effective and thrilling as long as the prose is interesting and engaging.”

As a reader, one of my pet hates is when one character is talking to another, and they retell the entire story up to that point, so as a writer, when I get to a place where one character has to tell another what the reader already knows, I write something like, “and Sam told Sally about the woman who tried to kill him and how he ran off instead of trying to find out who it was.” Avoiding repetition is one reason telling is so much better than showing at times. Makes the story move faster. Might not be immortal prose, but it moves the story along.

The worst offenders of the tell, don’t show suggestion are lawyer books. They spend the first half of the book laying out the story, then the second half repeating that story in a courtroom setting. If a reader can skip a whole slew of chapters and not miss a moment of the story, the writer has not done his or her job. If the writer wants to do the courtroom scene, then make sure what is shown is new. Otherwise, simply tell what went on in a few short sentence and get to the good stuff.

Another time telling is better than showing is if a scene has no conflict, no surprises, no twists. If a character sets out to do something and accomplishes it without any problems, then showing is a waste. Just tell it. Don’t build up to  . . . nothing.

A way to know if it’s better to show or to tell is to decide what you want to accomplish with a scene. If the immediacy of a scene is important, show it. If the reactions of a character who was not involved in the scene are most important, then it’s possible to have one character tell the other what happened and then show the character’s emotion.

When writing More Deaths Than One, I worried that I was cheating readers by doing the big disclosure  at the end via letter (in other words, telling), but the importance of the scene lay not in finding out the truth of who Bob was but in the different ways Bob and Kerry reacted to the truth. It was about them and their relationship more than the deeds themselves. It was also about the emotion of the person writing the letter and how that emotion bound all of them together. So basically, the letter was all about telling rather than showing the disclosure, and showing rather than telling the emotion it evoked.

When do you tell instead of show? (I mean you personally, not writers in general.) How do you make it effective and thrilling?

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Guesting at Grasping for the Wind!

April 11, 2011 — Pat Bertram

I am a guest blogger at John Ottinger’s Science Fiction Fantasy News and Reviews blog, Grasping for the Wind. Please stop by and say hi. It will be nice to have company. It’s my first blog appearance for Light Bringer, my first as a science fiction writer (though to be honest, I’m not sure I am).

I never set out to write science fiction, but a funny thing happened on the way to writing Light Bringer, which was conceived as a thriller debunking UFO myths. I was reading everything I could get my hands on about UFOs and UFO technology, when I came across Zecharia Sitchin’s idea of the twelfth planet. . . .

That’s how my guest post begins. Click here to read the rest of the article.

Thank you!! Your support has always been appreciated, especially now as I am beginning a new phase of my life.

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On Writing: Ruling Passions

April 5, 2011 — Pat Bertram
I once read the whole of Danielle Steele’s oeuvre as a research project. I wanted to see what in her books made her so popular. It was the most excruciatingly painful reading experience of my life. Her writing style is surprisingly amateurish, her characters are not well drawn, she tells and explains instead of showing, and she repeats herself as if she can’t remember from page to page what she’s already said.

But I did learn her secret. Her characters are passionate. They never like or dislike anything. They love and hate, but mostly love. “She ate a piece of cherry pie, and she loved it.” “They had sex, and they loved it.”

She also picks issues people are passionate about, and wraps her story around that, so not only do her characters have a ruling passion, so do her readers. When passions are all consuming, as they often are in her books, they create collateral damage. Maybe that is what makes her characters compelling — readers keep waiting for the train wreck.

And yet  .  .  .  all-consuming passions are not the only way to tell a story. Most of my characters aren’t particularly passionate about their ruling passions, but they do have strong motivations, such as a need to discover the truth, whether their particular truth or a more universal truth.
In A Spark of Heavenly Fire, all Kate wants is a good night’s sleep, but first she has to deal with the death of her husband, and then she has to contend with a state-wide epidemic. Although the forces that drive her are fairly tame, many of the characters in that book have stronger passions. Jeremy is consumed with getting out of quarantined Colorado. Pippi is first passionate about Jeremy, then passionate about escaping with him, and finally passionate about returning home. Dee is passionate about helping the homeless. Greg is consumed with the need for truth. The villain is passionate about his deadly little organism. Turns out the only non-passionate person is my heroine! Yet the story revolves around her.
In How to Write a Damn Good Mystery, James N. Frey tells us that our main characters, both the hero and the villain, should have a ruling passion. Alexander Pope, perhaps the first person to use the term “ruling passion,” wrote: “The ruling passion conquers reason still.”

Seems like an interesting conundrum here — a character must have a ruling passion, and a character should be smart  (or at least working to the best of his or her abilities) yet the ruling passion overrides that. Should make for a good inner conflict.

(This article was compiled from comments I made during a live chat. If you’d like to see the entire discussion, you can find it here: Ruling Passions — No Whine, Just Champagne Discussion #146)

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On Writing: Family

April 2, 2011 — Pat Bertram

If a character has well-defined family members — that never-satisfied mother, that demanding great-aunt, that silent father — then we authors don’t have to create that character. The family does it for us.

The family of Mary Stuart in Daughter Am I truly helped create her. When Mary found out that she was the heir of grandparents she never knew existed, she had to find out who they were so she could find out who she was. Once I set the family dynamic, that determined the character of Mary. Her father was close-mouthed, wouldn’t talk about why he disowned his parents or why he told his daughter they were dead. He also bonded more with his daughter’s fiancé than with her. The mother seemed to be mostly a shadow of the father. Because of this, it was inevitable that Mary got engaged to the guy they liked, and it was also inevitable that she dumped him when she became her own person. And even that “own person” was created by family — turns out she was just like her dead grandfather, with his set of values, a desire to build his own life despite social conventions, and an intense loyalty. Even her “adopted” family helped create her. As she followed her quest to learn about her grandparents, she accumulated a crew of travel companions — all friends of her grandparents — who become a new family of sorts.

Rubicon Ranch, the collaborative novel I’m doing with some other Second Wind authors, is all about family. The birth family who’s been searching for the girl and who fall prey to con artists, the couple who wanted a child so bad that they kidnapped one, the old man who suspects his son of the crime, the woman who suspects her father, the boy who is being abused by his father, the sleepwalker who is still haunted by his dead sister, the woman who is grieving for her dead philandering husband. It’s interesting how the theme of family has evolved in such an extemporaneous project. We never planned this theme, but each of us separately chose to deal somehow with family skeletons.

The family of Bob in More Deaths Than One certainly helped create him, especially since that was the basis of the story. He comes home from an 18-year sojourn in Southeast Asia to discover that the mother be buried before he left is dead again. He goes to her funeral and sees his brother, but they had never been close, so he doesn’t make contact. Bob also sees himself, but a doppelganger isn’t really family, so it doesn’t have any part of this discussion.

Lack of family also helps define characters.

In my just-published novel Light Bringer, two of my main characters found each other when they were searching for their birth parents. Those characters were truly a product of their upbringing and their birth. That is the whole crux of the story — who the characters are and why they were birthed.

How does your character’s family make her who she is? (Or make him who he is.) How do they bind her? How do they set her free? Do they add to her conflicts, either internal or external, or do they help her on her life’s journey?

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