THE 44 KEY QUESTIONS
CONTENT
How This Guide Can Help You. . . . . . . . . . . . . . . . . . . . . . 1
I. Character . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
II. Plot . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
III. Dialogue . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
IV. Language. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
V. Subtext . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
VI. Miscellaneous. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
The Checklist . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
The Great Big Fat Exercise . . . . . . . . . . . . . . . . . . . . . . . . 13
The End . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
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THE 44 KEY QUESTIONS
HOW THIS GUIDE
CAN HELP YOU
It isn’t easy to evaluate something you have poured your very heart and soul into. Besides,
creative writing is always a pretty personal matter! Nevertheless, this little guide should
aid you in taking a clear and honest look at what you have produced. Don’t be the
400-pound (or 200-kilo) guy, stepping onto the freight scale telling himself that “it’s just
not calibrated well”. Instead, be the lean guy who steps onto his bathroom scale only to
read, “I wish I was like you!” displayed in front of him in crisp, blinking, digitized letters!
When you have finished writing, the first thing to do is to pat yourself on the back and
treat yourself to a nice lump of sugar, stack of clover, some eggshells and rotten apples
or whatever may float your boat: You pulled it off! Next, store your text safely away for
a while – it will be so much easier to judge objectively once some time has passed. Just
relax and engage in some totally different endeavors like snail-training or jumping out of
trash cans in the open street to give people a good scare. Even sleeping on your writings
for just one single night makes a huge difference already, for while you are sleeping, your
brain is out there in open space busily solving your problems. Now if you put your script
aside for one or two full weeks, you will get an even clearer picture!
Finally, when you are ready, take this very list and go over it point by point, taking a
good, close look at your writing and putting this one question to yourself: Are you truly
happy with the result?
Be very honest there! The list below should help you to look at your writings from different
angles by splitting the happy-question up into various parts.
If you are not happy with some aspect of your writing, then what is it that you could do
better? Think about it for a moment: Which approach would leave you more satisfied?
You have one big advantage on your side, which is that you probably love reading and
have, over time, developed a great intuition about storytelling – so just trust it and go
along with it! At the very least, take some notes about how you could improve your
story; after that, you obviously have two options: Rewriting your piece or letting it go
and just incorporating what you have learned into the next one! In any case, you should
definitely execute a couple of writing prompts in the area you want to improve. On www.
ridethepen.com , you can find the very best writing exercises online and completely for
free too, and you will soon have the opportunity to choose from a wide variety of exactly
tailored topics. Take advantage!
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THE 44 KEY QUESTIONS
If you are having trouble answering the questions on this list, ask for a second opinion of
somebody you trust – but make sure it’s somebody who will not sugarcoat their advice
and butter you up (sounds like a recipe!) just to protect your feelings. Your Uncle Albert
has last read a novel in 1964 and would hate to depress you, so leave him out of the
equation! Best are people who know about the value of honest critique and are avid
writers themselves, or at least avid fiction readers.
As an additional option, if you want to get an experienced, fee-based opinion, www.
ridethepen.com will have a review service in place shortly (look out for details under
“Products & Services”).
The subsequent questions are divided into six sections, just like the categories on the
blog.
Now Look at Your Story and Answer The Following Questions:
I. CHARACTER
Examine your MAIN CHARACTERS one by one (for this purpose, consider your main
characters the ones without whom you wouldn’t have a story):
2
1.
Take a look at everything the character says and
does: Does your figure show basic character traits
like you would find in a living person? Does he
display various characteristics that lend him a threedimensional feeling and fit together in a certain,
one-of-a-kind pattern? Each person is unique!
2.
Consider anything we learn about your character’s
back story: Does your reader feel like there is a
background apart from the story to the character?
This is about a character’s personal history
(upbringing, experiences, etc…) as well as his believe
systems (attitudes, values, morals, expectations,
etc…) – does it seem like he was there before the
story started and will be there after it has ended?
3.
Look at any small peculiarities and quirks your
character displays: Does your character have little
mannerisms that set him apart from the crowd?
This is optional and not absolutely necessary, but it
adds a little something like spices add to a dish. Be aware though that just like eating only
black pepper with oregano on top doesn’t make for a very delicious meal, you shouldn’t
overdo it – go overboard and you will have a cartoon character!
THE 44 KEY QUESTIONS
4.
Pay attention to any behavior that seems to not be completely in line with the characters’
basic traits: Can you detect an unexpected feature in your figure that seems to run
completely against what the character stands for, but in its own way still fits in with
who she is? You have to be careful that any contradiction makes sense, but this really has
the potential to create one hell of a multi-dimensional character! If you need an example,
you can probably even come up with one just thinking about your own personality (e.g. a
person whose outlook is very materialistic, but who loves donating to charity, because he
feels like it gives some meaning to his life).
Now examine your MINOR CHARACTERS one by one (for this purpose, your minor
characters are the ones without whom you would still have a story):
5.
Look at everything the minor character says and does: Does your minor character have at
least two or three recognizable basic features and a minimum of background? The more
the merrier, but even a little dose will be okay here. How much you need depends on how
prominently the character appears in your work and also on the length of your piece. See
above for further explanations.
6.
Consider any little tick the character displays: Does your minor character have one
mannerism or quirk that sets him apart from the masses? Again, this is optional but helps.
Don’t put him together completely out of mannerisms though. See above.
For ALL CHARACTERS:
7.
Put yourself into the shoes of a new reader for a moment: Is your character interesting
enough for the audience to really care about? Friend or foe, clerk or freak, it’s all good, as
long as inquiring minds want to know.
8.
Compare the figures in your story: Are the characters in your story clearly distinguishable?
You have a pool of ideas inside of your head – be careful not to draw all of your characters
out of the same deep end of that pool!
9.
Pay attention to what the characters are saying and how they are saying it: Does the
personality of your character fully show through in her speech? What’s moving this
person? What’s her temper, what does she respond to? This question might as well stand in
the dialogue section.
10.
Take into account by which means a figure’s characteristics are introduced: Do you mainly
demonstrate your character’s traits instead of just listing them? It’s the old “Show, don’t
tell!”. You are not just describing Wendy Wonderhoot as a courageous and animal-loving
spirit, no, you get her right in there and show how she saves a little dog off the rails in front
of an approaching train.
11.
Look at the crabs and prawns that appear in your story: Are any of your shellfish wearing
an 18th century masters-of-ceremonies-suit? If yes, make sure the suit got enough sleeve
holes for the pincers and legs. Nevermind, that was a joke.
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THE 44 KEY QUESTIONS
II. PLOT
12.
Pay attention to which event or action leads to which
other event or action: Does the plot seem logical? Is
it quite comprehensible how this, that and the other
thing occurs – or does it feel like it just happens
because the author needs it to happen?
13.
Look at the entire composition of your plot and if
necessary, summarize it on a piece of paper: Does
the structure of your plot make sense? This is about
narrative threads, point of view, timelines and the like
– it’s important it all fits together, in whichever way
it’s supposed to. Is the structure rather simple and
straightforward, or does it contain many serpentines,
subplots, flashbacks, etc… (e.g. say there are a lot
of flashbacks to the day before the story takes place;
would it be a better strategy to just tell the first day and
after that the second day, in chronological order)?
14.
Picture yourself as the reader and think about what
you would expect next at each turn of the story: Does
your plot hold unexpected twists and turns in store?
If it doesn’t, your reader might start playing Russian
roulette out of sheer boredom by page fifteen! A
surprising plot might at first glance seem opposed to
a consistent and logical plot, but both aspects can
actually complement each other very well.
15.
Again, take a look at things from the reader’s
perspective: Does your story, at any given time,
leave open questions to tickle the reader’s
curiosity? It should. Contrary to what most
writing guides will tell you, those questions don’t
have to be about plot (“What’s gonna happen next?”). They
could also be about character (“Why is he so nervous?”), about exploring a condition/
relationship (“Is she his sister, his lover or both?”), or just about the overall atmosphere
(“Gosh, that giant rabbit eating planet earth was fun, I wonder what’s in store next!?”). Do
you keep your reader’s expectations oscillating at all times?
16.
Compare the scenes to each other in regards to tension: Are some parts of the story way
more exciting than others? I hope so, because that means you have a rhythm to your arc
of suspense and, subsequently, to your story. Does suspense ebb and flow?
17.
Evaluate the story scene by scene: Is the plot tight? Is every scene in there to advance
the plot or at least to entertain? Or can you find redundant parts, duplications, loops and
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THE 44 KEY QUESTIONS
empty pages that add nothing? Please let off any hot air immediately and pay attention to
the neon-colored lines on the floor showing you the way to the emergency exits.
18.
In the same fashion, look at each scene separately and ask yourself the very same question:
Is each scene on its own (within the plot) tight? Can you find superfluous parts of scenes
that neither drive the story, nor really entertain, nor add any other core element? Pure
vanities, like ballet slippers on a warthog? Remove.
19.
Try to anticipate what will happen next in the text: Can you get a notion of future events
before they occur? Do events seem inevitable? Ideally, the reader won’t know in advance
what’s going to happen, but will in hindsight say to himself: “I should have known!” Just like
Uncle Albert after you have wrecked his car.
20.
Assess the main turning points of the story: Does the plot bring fresh elements or is it just
a cliché as seen a thousand times before? Does it not have more tricks up its sleeve than
any given telenovela or does it stand on its own, bringing something original to the table?
Then again, if you are actually writing a telenovela, go ahead and make it about Wendy
Wonderhoot not being able to decide between the guy she admires and the guy who cares
so much about her…
III. DIALOGUE
21.
Read the dialogue aloud and pay attention: Is your dialogue realistic? Do people really talk
that way or does your dialogue sound too ponderous, stilted, restrained, exuberant, cheesy,
bloodless, etc…? Does it sound like
textbook-talk?
22.
Think about the ways emotion flows
back and forth in your dialogue: Does
your dialogue make sure to follow
emotion as opposed to following
logic? Is it “illogical” enough? People
most often respond in affects, not in
logic, so most of your dialogue should
not be too straightforward, but instead
take twists and turns, circling its topic,
bumping into it and wandering way
past it.
23.
Read your dialogue again: Can you
easily distinguish the characters just
by the way they are talking? Do your
characters all have their own unique
ways of expressing themselves? Consider their vocabulary, rhythm of speech and tone of
voice. In case of doubt, as if I hadn’t mentioned it before – reading aloud always helps!
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THE 44 KEY QUESTIONS
24.
Take a look at the content of your dialogue: Is the dialogue tight? Just like with plot and
scenes, don’t leave any superfluous stuff in there! Everything has to serve some purpose at
least and several purposes ideally. Make sure to throw out any meaningless platitude and
empty cliché (“How are you?” – “Thanks, I’m fine, and you?” – “I’m fine too, thanks!”). This
is even more important for screenplays, as time is scarce and movie audiences don’t show
the slightest tolerance for any dead air.
25.
Look at what the characters do while they are making conversation: Are your characters
engaging with their surroundings as they speak? Yes, dialogue is a full-contact sport! This
can mean making use of a prop or a setting; it can mean moving around, interacting with
other characters on the side or even just a simple change of body posture. The characters
don’t have to do that every single time, but it sure adds another dimension, as they are not
talking in a vacuum anymore. Whether they are cleaning a stove or fumbling around with
a Rubik’s cube – keep them occupied!
26.
Ask yourself how much fun it is to read this: Does the dialogue entertain? In the midst
of checking for all the rights and wrongs, don’t forget what you have probably, after all,
written this for: To keep yourself and anybody reading entertained!
Several of the questions about dialogue will be expanded on in depth in the series “The
Seven Pillars of Dialogue” on the blog, so watch out for those articles!
IV. LANGUAGE
27.
Compare the various passages of the text: Does the text decide upon one coherent
style? Whether you are employing a very pictorial language or are playing with words,
whether your style is very austere or very
emotional, you should generally stick
with it.
28.
Consider how easy it is to read your style:
Is the writing as clear as seems fitting?
This is what needs to go: Any expression
that just sits there to make the passage
sound more sophisticated, any pushy
adverb, any overcomplicating passive
voice. Did you omit any unnecessary
subordinate clauses? Tell things as
straightforwardly as your style permits!
Let simplicity be your first and foremost
choice.
29.
Try to detect any figures of speech or
catchphrases in your writing: Is the
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THE 44 KEY QUESTIONS
language free of clichés? This means any language that doesn’t come straight out of yourself,
but was handed down to you by common patterns of speech (e.g. she was sleeping like a
baby; he had some skeletons in the closet, etc…). While you are sweeping your text, make
sure to throw out any cheesy or melodramatic expression as well!
30.
Examine the way you are describing things: Do you show the reader how things are and
not just tell him by slapping a label on? Does the language use specific, concrete words
when illustrating something? Specific language lets the reader enter much deeper into the
world of your fiction. It’s not a “tasty dish,” but a “creamy banana sorbet with chocolatedipped cherries on top.” Wanna try?
31.
Inspect any metaphor you can detect: Do the metaphors and other figurative language
sound right? Common pitfalls include mental images that are not interesting, out of
proportion, incongruous or just plain meaningless.
32.
Look at the variety in the length of your phrases, length of your words and in punctuation:
Does the language have a certain rhythm to it? Or is there just one phrase patched
onto the next one with mental superglue to provide information? Take your pick from
period, exclamation mark, question mark, colon, comma, hyphen, suspension mark, and
semicolon! Rhythm is grace is poetry.
V. SUBTEXT
33.
Take a look at what you want to express: Is there a basic theme to your story? If you want
to write something of quality, this matters. Your “theme” is not some great, mythical thing
sitting on a mountaintop that needs to be worshipped; it’s just an angle you are coming from,
a feeling your reader might get
after reading the story. Does
your tale evoke associations?
Is there some meat to it?
34.
Look
at
the
various
components your story is
made up of: Do the elements
of the story each represent an
aspect of the overall theme?
Take a close look at all parts
of the story: This includes the
characters, their looks, their hats, cars or offices; it includes actions and events, which is
figure skating and fireworks; any animals or objects; any space the characters are inhabiting,
whether it’s opera stages, flying saucers or landscapes; the weather; or any incorporeal
meta-structure like ideas, plans, rules or morals; and basically anything else – you name it,
it’s already a willing part of the structure! Now does each element play its role, contributing
to the basic idea like a little piece of a mosaic?
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THE 44 KEY QUESTIONS
35.
Consider any symbols the text employs: Do the symbols fit? That broken jockstrap standing
for the hurt of mankind has to go! Remember that anything can be a symbol, from a
character’s handbag or profession to a location or weather condition.
36.
Note what your characters are saying, phrase by phrase: Is what the characters really mean
well hidden under an additional level of conversation? Do the characters just plainly state
what they mean, or is the dialogue multilayered? Again, people talk in emotions. Let the
real meaning be submerged underneath the obvious (e.g.: A woman says, “What are you
doing tonight?” and means, “Ask me out for dinner!”). This plays into the Dialogue section
and might as well have been put there.
VI. MISCELLANEOUS
37.
Consider the perspective of your story: Does the point of view make sense and is it
consistent? No matter if you have one or several narrators, and whether the storyteller is a
person or a neutral entity – is it the best choice? Does the narrator only know as much as
he is supposed to know, and does a neutral narrator refrain from injecting any opinion?
38.
Take a look at how the story treats descriptions: Does the text include all five senses when
describing something? Seeing, hearing, feeling, smelling and tasting make the text vivid
and put the reader right into the front seat. Tickle your reader’s nose, make his eyes pop
out, his ears flutter and his tongue roll down like it’s his red, furry-feeling tie!
39.
Feel out what’s in the air: Is the atmosphere of each scene as tense/vivid/romantic/cool/
etc... as it should be? Is the spooky house as spooky as you had imagined it? Is the funny
mirror maze funny, or does it feel like a sad ladies’ bathroom at a train station? Is there any
additional element that could add to the atmosphere?
40.
Put yourself into the shoes of a reader who knows nothing about the background of your
story: Is the background information introduced unobtrusively? “Unobtrusively” means
it’s brought in so naturally, the reader doesn’t even notice it’s brought in (and not in the hejust-said-it-so-I-know-it way). Also, make sure the info is spread out, not clustered.
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THE 44 KEY QUESTIONS
41.
Take into account how the story transitions from one section to the next: Are the cuts from
scene to scene smooth? Whether they are building on a common element or emphasizing
a sharp contrast – bring them into a relation that adds to the story’s rhythm!
42.
Compare the scenes of your script: Do the scenes offer a variation in length, setting,
depth, pattern, dynamic, format and so on? Variety keeps your piece vibrant and alive.
For instance, you could first have a dynamic, action-oriented scene in which your character
is running after the mail-man, and then, as soon as he catches up to him, a static dialogue
scene, finally to be followed by a short and distressed inner monologue.
43.
Observe how powerfully the beginning draws you into the story: Do the very first sentences
absorb the reader? It could be about the plot. It could be about the character. It could be
about the atmosphere or any curious detail. It could be about a giraffe with a bowtie. Your
start should be like a big “Welcome!” to the reader (it could also be a big “Fuck you!”).
44.
Take a look at the words on your cover page: Does the title sound intriguing? “Intriguing”
means walking the fine line between bloated and featureless, between try-hard and void of
any meaning. Ideally, your title has a bit of mystery to it – but never in a forceful way! This
is a matter of intuition, probably even more so than most other things in writing.
On the next three pages you can find a complete checklist with all of the questions
summarized, to print out for quick reference or in case you are short of napkins:
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THE 44 KEY QUESTIONS
THE CHECKLIST
I. CHARACTER:
1.
Does your figure show basic character traits like you would find in a living person?
2.
Does your reader feel like there is a background apart from the story to the
character?
3.
Does your character have little mannerisms that set him apart from the crowd?
4.
Can you detect an unexpected feature in your figure that seems to run completely
against what the character stands for, but in its own way still fits in with who she
is?
5.
Does your minor character have at least two or three recognizable basic features
and a minimum of background?
6.
Does your minor character have one mannerism or quirk that sets him apart from
the masses?
7.
Is your character interesting enough for the audience to really care about?
8.
Are the characters in your story clearly distinguishable?
9.
Does the personality of your character fully show through in her speech?
10.
Do you mainly demonstrate your character’s traits instead of just listing them?
11.
Are any of your shellfish wearing an 18th century masters-of-ceremonies-suit?
II. PLOT:
10
12.
Does the plot seem logical?
13.
Does the structure of your plot make sense?
14.
Does your plot hold unexpected twists and turns in store?
15.
Does your story, at any given time, leave open questions to tickle the reader’s
curiosity?
THE 44 KEY QUESTIONS
16.
Are some parts of the story way more exciting than others?
17.
Is the plot tight?
18.
Is each scene on its own (within the plot) tight?
19.
Can you get a notion of future events before they occur?
20.
Does the plot bring fresh elements or is it just a cliché as seen a thousand times
before?
III. DIALOGUE:
21.
Is your dialogue realistic?
22.
Does your dialogue make sure to follow emotion as opposed to following logic?
23.
Can you easily distinguish the characters just by the way they are talking?
24.
Is the dialogue tight?
25.
Are your characters engaging with their surroundings as they speak?
26.
Does the dialogue entertain?
IV. LANGUAGE:
27.
Does the text decide upon one coherent style?
28.
Is the writing as clear as seems fitting?
29.
Is the language free of clichés?
30.
Do you show the reader how things are and not just tell him by slapping a label
on?
31.
Do the metaphors and other figurative language sound right?
32.
Does the language have a certain rhythm to it?
V. SUBTEXT:
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33.
Is there a basic theme to your story?
34.
Do the elements of the story each represent an aspect of the overall theme?
35.
Do the symbols fit?
36.
Is what the characters really mean well hidden under an additional level of
conversation?
THE 44 KEY QUESTIONS
VI. MISCELLANEOUS:
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37.
Does the point of view make sense and is it consistent?
38.
Does the text include all five senses when describing something?
39.
Is the atmosphere of each scene as tense/vivid/romantic/cool/etc... as it should
be?
40.
Is the background information introduced unobtrusively?
41.
Are the cuts from scene to scene smooth?
42.
Do the scenes offer a variation in length, setting, depth, pattern, dynamic, format
and so on?
43.
Do the very first sentences absorb the reader?
44.
Does the title sound intriguing?
THE 44 KEY QUESTIONS
THE GREAT BIG FAT
EXERCISE
Now let’s get to practicing all of that good stuff. Here, I have a little story for you:
Isabella is buying groceries at the supermarket. After paying, she notices she has been
carrying a tube of toothpaste in her handbag and has forgotten to put it on the conveyor
belt. So far, nobody has noticed. She decides that reporting it now could get her into
even more trouble and keeps quiet. At the exit, a guy in a hat approaches her. She
suspects it might be the store detective and becomes nervous, but in fact the guy is just
hitting on her. At home, Isabella is still anxious about the episode. Her behavior gets her
boyfriend Paul upset in turn and they get into an argument. For Isabella’s piece of mind,
they decide to take the receipt and return to the supermarket to clear things up. When
they talk to the cashier, they find out the toothpaste was in fact on a “2 for 1” promotion:
As Isabella had officially bought a second one, she didn’t even steal it in the first place.
Scary Toothpaste
SHIT TO DO:
Now based on the story outline above, try the following six writing prompts. There is one
prompt for each section of this booklet. I suggest you really take your time with these
exercises and reserve each one for a different day:
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THE 44 KEY QUESTIONS
Exercise 1: Characterization
■
Write the story and breathe as much life into the main characters Isabella and Paul as
possible! Provide them with some real depth, so your readers feel like they are people
they actually know.
Lend the two of them several character traits, think about where in their characters
these traits could originate from and how they could complement each other. Then pick
spots in your scenes to demonstrate (not tell!) these traits to your audience. Change the
characters’ names, if it helps you.
Forget about the subtleties of storyline, dialogue or anything else – except for where you
feel like you need them for your characterization. Dynamics of plot, your style or else – it
doesn’t matter! This will help you to concentrate exclusively on the characters. Then, go
ahead and post your writing on www.ridethepen.com in the comments section of any
article!
Exercise 2: Plot
■
For this exercise, I want you to expand and/or remodel the storyline a bit. You could add
some characters into the mix (policeman on street, friend on phone, etc…), add some
twists and turns, and of course feel free to change or cut out events. While the story as it
stands does include a climax, it’s not really a breathtaking tale and the whole plot looks
more like a skeleton. So make it more interesting and turn it into something the audience
would actually want to read by adding suspense and additional flavors; put some meat
onto this skeleton’s ribs!
As only plot matters in this exercise, you don’t have to write out the actual story. Just
scribble down the storyline in notes, not even coherent phrases are needed. Concentrate
on plot, forget about all the fancy stuff like dialogue or language, and if you roughly
know the nature of your characters, you will be fine. Just know them like Uncle Albert,
whom you have last seen about two years ago.
Then post on blog!
Exercise 3: Dialogue
■
The outline includes three different dialogues; of course, feel free to add additional ones!
Think about what each character wants in his specific dialogue and how he feels – then
let emotions take their course!
Who needs any plot or language in between dialogues? Just leave them out and
concentrate on what people are actually saying. A wise man once told you to disregard
what people are speaking and to just pay attention to what they are doing? Today, throw
that advice out the window and do it the other way around…!
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THE 44 KEY QUESTIONS
Exercise 4: Language
■
Construct the plot like a 3rd grader, butcher the characters and use dialogue like window
putty, BUT treat the language caring and affectionate like a baby kitten!
You can experiment with this: Which style do you feel like using? Start with a plain,
straightforward style, then you might want to try something different, like distorting
language or making it extremely dynamic and expressive (or any other pen-handling
you wish). The question is: From which angle, through which lens are you describing the
world?
If you are a beginner, this is a very demanding exercise and mainly there to give you the
freedom to explore. Developing a new style within five lines is not possible anyway, so
you really can’t go wrong here. Just try something out!
After the fact – post it!
Exercise 5: Subtext
■
This is not an easy one either, but nobody said you had to be perfect: Pick one single
pivotal message for your story! This could be, “The truth is always worth speaking,” or,
“You should not fight,” or any other angle you want to present the story’s events from.
It’s like shining a spotlight on a certain aspect of the raw story elements I gave you
above.
Tell your story from that one single angle! Anything else, like characters, plot, dialogue,
point of view, style, etc… has to fit into your overall concept. If it doesn’t fit, make
it fit!
For example, say you chose the general subtext of “The truth is always worth speaking”:
Now, you could emphasize your point by letting the cashier at the end of the story state
that it frequently happens that people take something with them accidentally, but that
this should never ever be a problem as long as they speak out when they notice. You
could also let Isabella have a little tortured philosophical self-talk on her way home;
you could add a sub-plot in which Paul is also lying to her in an unnecessary way,
because this would also accentuate the theme; or you could go as far as making Isabella
a notorious liar. Choose a theme, then add any additional twist or layer that will highlight
what this story is about!
Again, you don’t have to write the actual full text – just put down a couple of notes on
how you plan to convey your subtext. Use the full range of tools for getting your message
across: Characters, plot, dialogue, style, etc… Like always, feel free to transform the story
completely, so it better suits your needs!
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THE 44 KEY QUESTIONS
Exercise 6: Miscellaneous
■
As a final exercise, you are going to completely turn around the point of view of the
whole story: Tell the tale as Paul is experiencing it! Surely he is occupied by his very
own, completely different set of problems and joys while Isabella is out there at the
grocery store. Then this little theft issue enters his day – describe the argument from his
perspective. What does he feel and think, how does it lead to the decision to return to the
shop? Use the first person, really get into his head and keep in mind the limits of what
Paul can be aware of.
For this purpose though – just as you got comfy! – I want you to write out the whole story!
Inject some life into the characters, especially into Paul’s, create realistic and intriguing
dialogue, mind your language, and if you feel generous you can even sprinkle the story
with some new plot elements!
Then, put some sugar on top by giving this one, your very own Paul-story, an intriguing
title! Go with a liiiittle bit of mystery and let it sound catchy, but no brain-jerk titles,
please. Make it fit. Be imaginative.
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THE 44 KEY QUESTIONS
THE END
And finally, by now, after six exercises, I bet you are really sick of that little story of
mine… I have to inform you though that the fan shop will have coffee mugs and little
magnets with images of toothpaste available soon!
At the very end, let me encourage you to practice, seek out feedback, and practice some
more. Writing is, as you may have already noticed from reading my blog, above all
about relentless exercise! The way you get better is through practicing a ton, accepting
setbacks, and getting up to try again. The good ones got good through falling flat on their
noses, pulling themselves together, dusting themselves off and keeping on trying; so
getting something not right should never be an issue. Perfectionism can be the enemy of
your success (just ask me, I feel like I know from creating this blog…). As they say, you
either win or you learn! And sometimes you do both.
www.ridethepen.com provides you with the perfect platform for practice and feedback,
so don’t hesitate to put any of your stuff online in any comments section! We are doing
our best every month to bring out kick-ass articles about creative writing in which we
cover all sorts of approaches, angles and tricks.
I hope this little booklet will do its part in helping you to improve your skills.
Good luck with your writing, check back with me on the blog to let me know how it
goes – and ride the pen!
PS: All rules exist to be broken...
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IMPRINT:
Unless otherwise noted, all content of this e-book © 2014 Alexander Limberg and Ridethepen.com. No part
of this e-book may be reprinted, distributed or used without written permission of Ridethepen.com. Although
the author and publisher have made every effort to ensure the completeness and accuracy of information
contained in this book, we assume no responsibilities for errors or omissions herein. All Rights reserved.
IMAGES:
“Speech Bubble” © Gstudio Group/Fotolia.com; “Vintage Letter A” © Barbara Bergman; “Sphynx” © siloto/
Fotolia.com; “On the Road” © Jérôme Motte; all other images © Alexander Limberg