Back in November of 2009, I attempted to write 50,000 words along with other crazy people around the world. National Novel Writing Month is every November and it’s a mad rush to the finish.
The people at Ravenshead Software sent me a full version of Write It Now 4 (WrIN4) to use during that crazy month. I didn’t get to 50,000 words this year, but I gave the software a thorough 10,000-word thrashing. The software held up well.
There are more than a few software packages out there for writers. One could spend hundreds of underpaid and overworked writer dollars on these applications. Before I delve into my review of WrIN4, just know that none of these programs will write your novel or short story for you. They can help with organization, though.
The WrIN4 application, available for Mac and Windows, is deceivingly simple. The menus and tabs are easy to understand and use, but behind these screens are added drag-and-drop features that make editing almost fun. The Tools menu has helpful things in it like “Create Random Character,” which will create a character for you based on typical story archetypes. For example, the software created the character “Alexandre” for me, and gave me this description:
“Created with the Archetypes personality data using the Character type ‘Trickster’.Alexandre needs to make people happy. He loves surprises. Recently Alexandre worked as an entertainer.
Bart in ‘The Simpsons’ is a typical example of this.
Alexandre is fairly tall. He has a cheap coat. He has smooth skin and is extremely presentable. His hair is expensively cut. Alexandre looks strong and is extremely wiry. ”
That’s probably enough to put you over the top of your writer’s block wall right there.
I could play with the Tools section all day. I particularly like the built-in Thesaurus and reading level assessment (under “Story Readability”).
I kept in close contact with Ravenshead services throughout the month of November. Here were some of the finer points that I’d like to see addressed in the software:
*Can’t add images into the text. We are now in a multi-media age. Writing software needs to catch up. There are times we writers will want to place an image, for example, a picture of a molecule, within the text. You can’t do this with WrIN4, and I don’t know if competing software can do this either.
*The + and – buttons at the bottom of the left-hand column are teeny tiny and their function was a bit confusing. What was I adding? What was I subtracting?
*The program makes you save again to exit. This is ok for most folks, but I find it annoying to have to click through another menu when I’ve already saved the document 2 seconds earlier.
Ravenshead said that they’d look into these complaints and see if they could tweak things before their update release.
One last note: I don’t think the pricing is great. It’s more expensive than Scrivener, another popular writing program (mac only, though). I think they can lower the price a bit to be a bit more competitive.
UPDATE: Jan 23, 2010: Rob from Ravenshead wrote this in an email to me:
Hi Christine
Thank you for the review of WriteItnow 4.
For the next release we’ve changed the expand/collapse tree icons so
they are less confusing.
For the release after that we’ll add an option to add photos to most tabs.
I’ll also look into smarter save options on exit. The program keeps a
constant checksum for the story which can be used to show if it has
changed (and a save is needed). We used to use this to optionally show
the ’save now?’ dialog on exit. It may be time to re-introduce this.
Regards
As a continuation of my previous post on Happiness, I’ll talk a little bit about Positive Psychology (PP) and the lessons we can learn, as writers, from this emerging field (perhaps in a way you might not predict, though.)
In 1998, the American Psychological Association’s then-president, Martin Seligman, used the term “Positive Psychology” to describe a new trend in Psychology research: the study of how humans become and stay happy. Dr. Seligman was tired of mental illness being the sole purpose of Psychology research and practice; He wanted Psychology to study more of what makes and keeps people happy instead of only mending the sick. PP has been the trending topic in Psych since then. Graduate students are clamoring to study topics like resiliency, decision-making, sense of control, character strength and uplifting traits. Journals publish more and more studies about the effects of “learned optimism.” Books like Stumbling on Happiness by Dan Gilbert are topping New York Times’ bestseller lists.
Like with all emerging fields, PP has its critics. The biggest and strongest critique of PP is that the field isn’t regulated. Any person can stick the term “Positive Psychologist” on the end of their name and claim to know how to apply the concepts that certified scientists and counselors developed. This means that every “life coach” kook is all over the Web promoting themselves as a “PP Counselor,” and no law or national certification program is barring them from doing so.
Another critique that is of lesser strength but more relevant to us as writers is the type of personality PP seems to attract. Those kooks on the internet and late-night infomercials are the most slimy of the bunch, but from an outsider’s view it does seem that the PP people have drunk the kool-aid. PP people are very gung-ho and tend to be exuberant evangelists for the field. The majority of them are do-gooders at heart; they want people to be happy and they think they’ve found science that can help.
Do you know a person like that? A person who stresses the positive so adamantly that it becomes unbelievable or in the very least, annoying? Your answer to this question will probably have more to do with your own place on the cynical scale than with the PP-type you’re remembering, but nonetheless let’s take a look at that character more closely. This person isn’t a snake-oil salesman; they are what I call a Believer. For reasons they usually aren’t too familiar with themselves, Believers truly feel that their solution is the answer to many people’s problems. How does a first encounter with a person like this go? What are you thinking? What would by-standers think as they listened to your conversation?
One thing about people who are enthusiastic about life is that they are usually magnetic. They light up a room, they are always surrounded by a crowd. People naturally gravitate toward other people who are happy and seem in control. But what happens when you get close enough to see that they are just trying a tiny bit too hard to be legitimate? What if the consistency or substance isn’t there? How does that character keep up the charade? How do you see it? How, if there is truly no substance, do you as a reader discover it? Will it be in the Believer’s frayed pant leg or missing button? Will it be in the quick glance down she makes after every human encounter? Just like the emerging field of PP, every character must have cracks in the armor. Even the Truest-Happiest-Believer-of-All-Things-Positive has a ding in the shield. What is it? Does the critique of that person’s belief-system hold water? Could the character make a journey over time to mend the damage?
You need both positive and negative forces in opposing characters for your novel or work of fiction to be memorable. Chart which side, positive or negative, your character will fall on. No middle ground. You can make a sliding scale (using a common measurement tactic from Psychology), but you still must divide the scale into two halves. The scale can have two of any extremes (e.g. Grape Jelly Fan vs Strawberry Jelly Fan), but you need to put each of your characters on that spectrum.
If PP had its way with your characters, they would test them on a variety of scales to diagnose current states and predict future behaviors. PP would look at self-efficacy (which is like “agency” – the ability and belief that one can accomplish tasks and goals on their own), resiliency (the ability to bounce back from trauma) and perhaps even sense of humor and daily laughter rates. The science behind PP is the same as a lot of Personality, Developmental, and Behavioral Psychology, they are just choosing to measure different traits. As writers, we tend to go into the dark sides of characters; It’s almost easier to write drama than it is to write pleasantries. But having no happy characters, or people who are optimists that promote achievement and satisfaction in others, isn’t giving your novel the opportunity for some significant conflicts.
I recently received a comment about the lack of commas in my writing. This is just a quick post to say that my comma decisions are deliberately made. I choose a flowing style when I can; this means I forgo putting commas in common places.
In the 1700’s, commas were much more common. Those writers dropped commas in places you didn’t realize existed. Eventually, the pauses were dropped in favor of a smoother style. We English writers will use fewer commas as time goes on. My general rule is to first think of eliminating ambiguity, then concentrate on the flow of the piece (flow is a very close second, though). Writing is meant to convey information and emotion. If you’re sure you are impressing people with the unambiguous meaning of your words, then make sure the tone of the work leaves the right impression as well. You want the reader to walk away with a feeling in their gut that comes from information in their head (and yes, I know I used “their” there, instead of “he” or “she.” That’s another post topic I’ll approach someday).
Here are some different areas around the web I visited today that talk about comma usage.
***After a long hiatus, Wacko Wednesdays are back! Each Wednesday, I’ll outline a human quirk or phenomenon in the study of Personality Psychology. I’ll provide information, links, and my own experiences to help you along in your goals of writing memorable characters.***
“We hold these Truths to be self-evident, that all Men are created equal, that they are endowed by their Creator with certain unalienable Rights, that among these are Life, Liberty and the pursuit of Happiness.” -United States Declaration of Independence, Philadelphia, Pennsylvania, July 4th 1776.
Happy Muffin!
Happiness research has taken the Psychology world by storm. If you search any book site for the word “Happiness,” you will see a plethora of books written on the subject. Lately I’ve been reading Stumbling on Happiness by Daniel Gilbert. It’s academic research and theory about attaining happiness and how our judgment about what will make us happy in the future is ridiculously skewed by our present thinking.
This book and the advent of other titles in the positive psychology area have inspired me to think about how we, as writers, paint the picture of our characters’ states of happiness. By looking at your MC and her goals in terms of her motivations and methods of attaining happiness, you can paint a deeper picture of what drives us all.
I’m sure you are familiar with the basic story arc: Main character (MC) starts out with a status quo, then challenges galore are thrown at the MC, lots of roadblocks stand in the way of achieving the new happiness goal, MC overcomes, is a changed person. The end. Today for Wacko Wednesdays I’ll run down two phenomena that researchers, namely David Myers, have identified as influencing a person’s happiness, namely Relative Deprivation and Adaptation.
Phenomenon #1: Relative Deprivation
“when we compare ourselves with those less fortunate, we can, however, increase our satisfaction. As comparing ourselves with those better-off creates envy, so comparing ourselves with those less well-off boosts contentment.” -David Myers
Lately I’ve been reading A Tree Grows in Brooklyn, a classic piece of American literature that portrays a devastatingly poor family and their survival struggles in 1900’s New York. It’s actually making me feel quite good.
Yes I know that sounds bad. But here it is: My husband, my two kids and I live in the smallest house in our neighborhood. We live on my husband’s salary as I’m a full-time mom, but we truly have more than enough. Still, this suburban life and the American consumerism gets to everybody. We are inundated with ads to buy more stuff, we read stories of neighbors’ huge home improvements, we hear kids describing their African safari vacations. It’s an affluent area and it seems, at times, that we aren’t keeping up with the Joneses.
The unfortunate Nolan family portrayed in A Tree Grows in Brooklyn, truly has nothing. When they mention clothes, they mean one pair of pants and one shirt for a man and one dress for a woman. Can you imagine? I look at my closet full of plain, solid-colored Old Navy t-shirts and feel loaded (wealthy, not drunk). When the Nolan family mentions meals, they mean oatmeal with no milk or fruit. I open the freezer each morning and lazily wonder which hunk of meat I have to make that night. While they want for decent immune systems, we struggle to fight our ever-expanding waistlines. This book makes me feel so fortunate that I may start it all over again once I’m finished! This is Relative Deprivation at work. How rich you feel is totally dependent on who you are comparing yourself to. Compared to the Nolans (or many real people in this economy), my husband and I are doing great! Compared to our friends the doctors, with their big house and insanely lavish vacations, we’re struggling.
photo by Drawsome on Flickr
What do most good ol’ Amurrricanz do when they feel like they are poorer than everyone else? Apparently they buy lottery tickets. Recent research has shown the Relative Deprivation phenomenon in full-swing in lottery ticket buyers. If people are feeling deprived, they make the trip to the local bodega to pick up their Pick 6’s. If they feel better off than their neighbors, they don’t buy lottery tickets.
Here are the questions you can ask yourself about your MC’s Relative Deprivation feelings: Is she better or worse off than her neighbors, peers, family members? When does she feel better off and when does she feel worse? What makes her feel superior? What kinds of behaviors result from those feelings? How does she make herself feel better in the short term? Does she eat? Does she steal their watches? Does she retreat into her packed charity-ball schedule? How does her current state of feeling deprived influence her dreams for the future? Does she coast when she feels affluent or better off in some other way? Coasting is what most of us do once we achieve a certain goal or milestone. That brings us to Adaptation.
Phenomenon #2. Adaptation
“I’ll never get used to anything. Anybody that does, they might as well be dead.” ~Truman Capote, Breakfast at Tiffany’s, 1958, spoken by the character Holly Golightly
Adaptation is what happens when a person has hit a windfall, achieved a goal, or just plain got lucky when that Good Samaritan pulled him out of the path of that oncoming bus. We adapt to having an inheritance, being a college graduate, or being alive to wander into the bus lane again. The “new” becomes the “same old.” Lottery winners, on average, aren’t significantly happier than the rest of us when they are surveyed 5 years later. We dream about California living but apparently Californians register on the same levels in happiness scales as the rest of us. (See Daniel Gilbert’s book). We adapt to the new status quo.
When my husband and I moved from Center City to the house in the suburbs, we didn’t see it as the smallest one in the neighborhood. We saw it as huge and wondered how we’d ever fill it with furniture. We had just moved from a trinity on Naudain street, banging our heads each time we came down the skinny and treacherous spiral staircase. The kitchen in that all-stacked-on-top-of-each-other house was tiny and there was no room for the baby I was carrying. But that house on Naudain was a palace compared to our 3rd-floor walk-up at 18th and Pine. Now we are here in the suburbs for almost 10 years, we’ve lost our coveted and elusive guest bedroom to a second child, and we’d like to upgrade to a food processor and a breadmaker if we had the space in our now-tiny kitchen. We’ve adapted. I can read a thousand tragic poverty books (Angela’s Ashes is next), but try as I might, I can’t roll back my “want” clock to the days when we were two grad students living in a 1st-floor alley apartment. Since that hole-in-the-wall had no light, I simply dreamed of having a view of the street.
Here are some questions about Adaptation that you can ask yourself about your MC: Has she had a windfall of luck lately (e.g., landed that dream job, attracted a super-hero boyfriend, or inherited large sums from an obscure aunt)? What happens to her after? Does she adapt and want more? Does desire for more turn into a disease that will be her undoing? When is the exact point where she takes her new life for granted? Does she ever grow enough to notice? Does she freak out, donate her lottery winnings to a bald-cat nursing home and flee to the Himalayas to live a life of solitude? Or, like most of us, does she just treat herself to a 1-million-calorie Frappuccino that week?
In their very basic structure, all of the archetypes and character journeys center around some kind of resolution, some little bit of happiness. Characters are going after a goal; the pursuit and the accomplishment will, they think, make them happy in some way. The goal could be revenge, it could be love, it could be fifty-two cents. They achieve the goal. Everything is coming up roses and they are turning up noses. But then they adapt. Showing your character’s general state of happiness before, during and after the accomplishment of her main goal will help to give life to her and her story. In daily life, we may overlook details, but in general we are conscious to our own state of happiness. The pursuit of happiness drives us. It will drive your character, too. Show us her struggles to reach her personal happiness. Be brave and show us what life looks like for her after she gets all she (thought she) wanted. Be honest with yourself and your characters. As writers, we are obligated to speak the unspoken truth, especially in our fiction. Mix in a little rough Relative Deprivation and astonishing Adaptation, and your writing will come alive.
“Actual happiness always looks pretty squalid in comparison with the overcompensations for misery. And of course stability isn’t nearly so spectacular as instability. And being contented has none of the glamour of a good fight against misfortune, none of the picturesqueness of a struggle with temptation, or a fatal overthrow by passion or doubt. Happiness is never grand.” Aldous Huxley, Brave New World
Here I still sit, straddling the fence between two worlds.
Social media mavens are usually high achieving business people who love marketing, technology and the fast lane of constant connectivity. Writers are lone warriors, working alone for hours a day, with fierce determination at times and horrible block and depression at others. I’ve been drifting between the tech/business and the writer/academic worlds for my entire adult life. Just recently, I’ve noticed that they are slowly beginning to meet. Well, “meet” is putting it nicely.
Most writers don’t have any clue what social media and ‘web 2.0′ are. They have never heard of Chris Brogan (who seemed to call everyone I know last night) or CC Chapman or Jeff Pulver or Twitter or Qik or Seesmic. Writers, then, are like most people. Still in the dark as to what is coming.
Social media mavens don’t have a clue, in general, of what is going on in the publishing industry. They don’t read books much. They are on-line, but they haven’t moved over to reading entire novels on a screen. Younger generations are more accustomed to this, but social media people would rather listen to a podiobook than go to the library to pick up page book.
Here is one example of a fence skirmish between the mavens and the writers I witnessed recently. Back in November, I wrote a post for my NanoWriMo friends about Book Trailers, mini-movie previews for your written novel (not a movie trailer for a feature-length film based on your novel, but a trailer for just the actual novel). I see it as a great development and marketing tool. It’s combining two arts, film and novel-writing; it could be a new way to get people excited to read. What’s not to like?
But a writer’s group I joined last week in Yahoo has some genuine curmudgeons insulting the new art and practice of the Book Trailer. I didn’t jump into the discussion; I can sniff out unchangeable minds in a listserv like a police dog screening for coke. I’ll allow them their culture and stay perched on the fence (the view is usually pretty clear from up here anyway).
If I thought the writers would listen, I’d say that a more relevant and useful discussion would be to address concerns about the reading experience. For example, let’s chat about casting. Many writers purposely avoid describing their character’s physical characteristics so the reader (i.e. ‘user’) forms their own mental picture. A trailer may hinder the novelist’s intent to engage the user’s imagination. We can also chat about plot twists and spoilers. A trailer, in using film’s unique way of portraying human nuance and slight communication, may give away basic plot structure. We could talk about human psychology and storytelling in film and novels for hours on these questions alone. But to get to these discussions, more writers have to approach the fence. Right now, it’s mostly back-turned resentment. On both sides.
As you know, I’m a big fan of social media, blogging, vlogging, and technology in general. But the mavens need to take a step closer to the fence, too. Writers study human nature. They tell tales that give insight and into our past, present and future lives. They speak to our spirit, our very core of existence. Just because you have your own .tv channel doesn’t mean you have the skills to produce that magic that comes from consuming a great story or poem. Reach out to some writers in your village, whether it be a webtown or hometown. Appreciate their talents, and they’ll adopt your strategies and include you. Social media stories will show up in literature that will be more relevant to your lives (which is why the soul seeks out art). I am writing my novel with social media in mind. I’m not the only one.
Writers, get involved. Get into blogging and podcasting, even if you are just consuming it. You belong in this social media wave even if the mavens wonder why you don’t “produce content.” It is up to writers to come out of their shells and accept new media into their space. Listen to the new stories and see the new art around you. These people can inspire you, get you work, and market your book.
Neither side is evil and neither side is sinless. But together, I think we can raise the level of literacy across all platforms and cultures. And, as we all know, more literacy means more peace.
I’m out. Gotta keep riding this desperado fence until I find a place I can call home.
I’m teaching myself the art of fiction, so I expect a learning curve. Plotting BEFORE one writes is probably easier than what I’m doing, which is trying to fit a commercial plot onto what I have already written. This month I’m determined to outline the plot I’ve been working on for my novel.
My plan is to have a solid and very detailed outline of the novel before November 1st, then I can spend National Novel Writing Month writing the needed scenes. Officially, I think NANO encourages working on a new piece of work, but they mean that you must start the month with zero words and then [hopefully] finish with 50,000.
I have more than 100,000 words written for the novel, but most of them are not usable toward a finished product. Character and setting development came out of those words, so they aren’t “a waste.” A very tight, forward-moving commercial plot is what I’m after, not a long, drawn out, stream-of-consciousness mess that a lot of my 100,000+ word work currently is.
Novel writers usually fall into one of these two categories: outliners and typers. Some don’t write a word of their novel until they have an outline of the plot. Other writers concentrate on just getting some words and characters on the page and letting that stream of consciousness develop. I started this novel at NANO in 2004. I reached my first 50,000 words then, but as I kept adding to that pile, I realized my story and my plot weren’t coherent nor forward-moving. Taking part in NANO again without a detailed plot line will give more more disjointed writing. Some interesting developments may come out of it, but stream-of-consciousness gives diminishing returns after 100,000 words. If I keep writing, the story will veer so far away from my original plan that I will have to scrap it all. Already the story has to be reigned in. Hence, my need for a solid outline.
I’m running into two major problems: Being self-taught, I really don’t know how to plot, and being a full-time parent is my current occupation; it lends few opportunities for chunks of hours that I need. Changing the way I work, almost changing my whole personality, is proving to be my major roadblock. Writer’s block I don’t have, discipline-block I do. I must write in 5-minute snippets, have a palm pilot or paper handy for those small strikes of inspiration, keep the characters and their lives in my head at all times, etc. etc. A published novel and a writing career is my dream, and all of this is the tough personal work dreams require. It’s like running a marathon alone, without having trained and without even a single cheering fan. I ask myself if it is worth it everyday. There might not even be a finish line for me; publication isn’t guaranteed. But I’ll forge on. This isn’t a dream that I’m willing to give up.
"You cannot dream yourself into a character; you must hammer and forge yourself one."
Book descriptions on alibris are a great help with getting together a logline and a book description for your own (not written or not finished) novel. A solid logline and short book description are the key starting points to effective novel-length storytelling. Once you have these in place, you can constantly refer back to them if you find yourself blocked.
Timothy Hallihan has a fantastic website about finishing your novel. Here is how he sums up the logline:
A good way to start it is with the formula, ‘this is a story about someone who . . .’ Two examples: “Hamlet” is the story (okay, okay, on one level) of a prince who comes to suspect that his father, the King, was murdered by his uncle. “Oedipus Rex” is the story of a man who tries to sidestep his destiny.
Do that with your idea and then spin it out to a hundred words or so and see (a) what it looks like, and (b) how much you actually know or don’t know about it. And don’t worry if you don’t know how it’s going to come out. It’s much more important to understand the central characters and the basic situation than it is to have the whole story plotted out. (Much more about this later.)
This month, I’ll be preparing for November’s National Novel Writing Month. For some reason, NANO gets me writing with abandon like nothing else. I started my novel at NANO in 2004, and have been working on it when time permits since. This November, I’ll be using NANO time to fill in needed scenes in the story. I found this group on Viddler, and this young lady mentioned the Snowflake method of novel-writing. Here is how the Snowflake method guy, Randy Ingermanson, talks about starting your novel-writing adventures with the creation of a logline:
Step 1) Take an hour and write a one-sentence summary of your novel. Something like this: “A rogue physicist travels back in time to kill the apostle Paul.” (This is the summary for my first novel, Transgression.) The sentence will serve you forever as a ten-second selling tool. This is the big picture, the analog of that big starting triangle in the snowflake picture.
When you later write your book proposal, this sentence should appear very early in the proposal. It’s the hook that will sell your book to your editor, to your committee, to the sales force, to bookstore owners, and ultimately to readers. So make the best one you can!
Some hints on what makes a good sentence:
Shorter is better. Try for fewer than 15 words.
No character names, please! Better to say “a handicapped trapeze artist” than “Jane Doe”.
Tie together the big picture and the personal picture. Which character has the most to lose in this story? Now tell me what he or she wants to win.
Read the one-line blurbs on the New York Times Bestseller list to learn how to do this. Writing a one-sentence description is an art form.
Like many earnest plotters, I’ve started this process a few times. Collecting all of the descriptions and loglines that I’ve written and decidedly merging them into one solid, unchanging descriptor is my next step. I spent most of my day consolidating documents and rogue paragraphs. I hope to have this little gem of a plot-information super-highway paved and completed by the end of the month (an hour, as Mr. Ingermanson mentions, is woefully understated). Then I’ll be ready for NANO, prepared and focussed on only the scenes I need to write to finally enter the homestretch of finishing my novel.
The people at Ravenshead Software sent me a full version of Write It Now 4 (WrIN4) to use during that crazy month. I didn’t get to 50,000 words this year, but I gave the software a thorough 10,000-word thrashing. The software held up well.
The WrIN4 application, available for Mac and Windows, is deceivingly simple. The menus and tabs are easy to understand and use, but behind these screens are added drag-and-drop features that make editing almost fun. The Tools menu has helpful things in it like “Create Random Character,” which will create a character for you based on typical story archetypes. For example, the software created the character “Alexandre” for me, and gave me this description:
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