Showing posts with label plot. Show all posts
Showing posts with label plot. Show all posts

Friday, November 28, 2014

Tell me a Whitney

Hello, everyone! Happy NaNoWriMo! And Thanksgiving, that little thing...
They actually have NaNo at my school. I've never tried it, but I did wish I could, homework-related-guilt-free, go to one of the several-hour writing sessions here.
Life continues very rough. Story continues very stubborn. I have now got to the point where I need to tell Whitney's coming out story, and despite everyone's insistence that I don't actually need the story, just the leadup and the fallout, I still feel the need to actually write the thing. I don't know if I want to switch POV or maintain a dialogue setting, but I dont think it matters. I'll write whatever comes out when I write it.
Unfortunately, this isn't a very well traversed blog, and y'all who do read are almost always silent. Otherwise I'd ask for ideas on what you think Whitney's backstory should include (siblings? With what reactions? Quirks? Interesting teachers?) in hopes something will strike a chord and I'll start writing it. Downsides to not being even reasonably well known.
It's also possible I'm counting on the phenomenon which goes, if you complain about something to enough people, the thing will go away. BRB. Going to try to write the thing again.

Thursday, July 24, 2014

Jacket copy and other animals

What's been up with me?
I rewrote the reaction part of the blog posts for the week of the conference so that each event gets 200 words to itself that make sense to an outside reader. I still have 200 words for each person in my group and a 10-page paper, but I feel accomplished.
I also hit the point where I need to really flesh out the backstories of my minor characters so I can write decent conversation, so I've been taking a break from adding words to the novel to do that. I'll probably post some of those--if nothing else, they'll make decent quick links for the sidebar box for new readers.
Finally, I wrote the jacket copy, the summary that goes on the inside cover or the back of a book. People were talking about how hard most writers find the jacket copy, because they're so close to the book they can't figure out what's important anymore. I said, really? I always write the jacket copy first. It's often how I start an idea, before I actually write. It tells me what my book is about. Then I realized I haven't done that in a long time, and I didn't do it for this novel. I thought I'd better do it before I got so married to the novel I couldn't write it anymore. And they're right, or I'm out of practice--it was difficult, but I still think it's catchy. It uses female pronouns because spoilers.



Leandra and her best friend since forever, Jimena, are determined that Leandra’s going to college is not going to cause their friendship to fade. After all, Leandra’s going to be a Spanish major, and their mutual fluency in the language is one of the things that keeps them together. But when Leandra gets there, she meets students who identify as transgender—and quickly figures out that there are words for her growing hatred of everything female about her from her body to feminine words in both languages, including Jimena’s pet name querida. This discovery of a new subculture that she may, by no choice of her own, be part of, unseats Leandra, and her struggle to regain her understanding of who she is may cost her the Spanish language—and Jimena.

Monday, July 21, 2014

Plot photos


Not even sure these'll turn out--Blogger's been giving me trouble with photos. There's supposed to be a picture in the one of Liz's lecture, not there yet, right? Top pic is the subplot diagram I described before. Bottom, well, because I'm writing about college students, I didn't want to accidentally skip days. You know--hey, this period of time covers a Wednesday, Leandra sees such-and-such on Wednesdays, why did they wait to discuss A until Friday? So I took Haverford's academic calendar and my class schedule and plotted the whole thing out on a calendar. It actually really helped and gave me accurate timing as to how much time the story covers--almost exactly two months. Fall break is really nicely timed--so nicely, I might be explicit and say Leandra's a member of the class of 2018.

Inciting incident



 This is the actual text of the inciting incident I turned in for my fellows to workshop.
Querida, Querido, Queride
Recap: Due to an overfull class at home college Haverford, Leandra is sitting in on three sections of the same intro biology class at Bryn Mawr to decide which one to try to get into. This is a common practice.
The 9 am class is on the physiology of feeding, which sounds kind of interesting, and kind of gross, and I decide halfway through that having to get up at the crack of dawn to catch the bus for a 9 am class outweighs the interest. The 10 am class is on invasive species, and much more promising. I decide to stay for the 11 am class just in case it’s even better—I’m over here, after all. Before it begins, a short perky blonde girl sits next to me.
“Hi!” she says. “I’m Eloise. Ella. Who are you?”
“I’m Leandra,” I answer.
“Cool. She pronouns?”
My brain stutters on that, restarts the question to see if it makes more sense the second time, decides it doesn’t, and comes out with, “What?”
“Do you use she/her pronouns?”
“Yes,” I answer—it’s the simple truth, and conveys nothing of the confusion—and what the hell, joy--flooding my lungs, most of which I can’t even put into words. Jimena tells me enough that I look like a boy, but I don’t honestly look enough like a boy that she would need to ask, would she? I mean, I have boobs. And a girly name. Ella appears to be satisfied with the answer, though, and carries on.
“What sort of music do you listen to? I love the Backstreet Boys. I know, I know, they haven’t been really big since the 90s, but their vocals, you know they sang a cappella a lot, which was just amazing, and so many artists these days rely on a sound bite and what the computers can do, I can’t stand modern pop, it just seems so faked all the time, you know? I always have the radio on oldies, but of course I can’t set the radio at work, and it’s always on modern pop, usually from a few years back at least so it’s not the stuff you’re totally sick of at least, I hear the preppers listen to a station that only plays the top like five hits and the rest is talk show, I feel so sorry for them, and I’m sorry, I’m not letting you talk.”
“Alternative, mostly,” I answer the earlier question, deciding it’s not worth to ask what a prepper is just yet. “Anberlin is my favorite band.”
“Why?”
It isn’t disbelief. It isn’t even polite conversation. She’s turned to face me completely, though we’re at a lab table, propped her elbows on the table and nestled her chin in her hands, looking for all the world as though the greatest mystery in the world was what I like about my favorite band. She looks about twelve in that position, though that might be the pigtails and the overall shorts over the purple t-shirt.
“I like a good synthesizer,” I begin, “but mostly it’s the lyrics.” Most people let me stop there and say something else about their music or tell me if I like synthesizer I should listen to Styx (which I have), but Ella just cocks her head at me. “They’re full of really interesting, unusual phrases that can mean some pretty deep things if you listen to them carefully, but you’re never a hundred percent sure what they do mean.”
“Can I have an example?”
“Like, um, ‘it’s not that we don’t talk, it’s that no one really listens and honesty fades.’”
“Ooh.”
“And, “it’s alarming how loud the silence screams no warning,” I add, warming to the sudden attention of this girl.
“That is seriously the best,” says Ella. The professor starts to talk just then—this section is apparently on the evolution of skin. Bryn Mawr has some super odd classes. We don’t talk through the rest of the class (Ella pays as rapt attention to the professor as she did to me), but when it ends, she turns back to me and goes,
“You wanna grab lunch with my people?”
I am kind of hungry. And my OneCard gets me into Bryn Mawr’s dining halls as well as Haverford’s. “All right.”
The main dining hall is about as far from the science building as it gets on this campus, but it’s still only a fifteen-minute walk. Ella continues chattering to me.
“Are you into sci-fi/fantasy at all?”
“Only kind of superficially,” I tell her. “Harry Potter. Marvel movies. Nothing really nerdy.”
“Aw. Oh well. Not like everyone at the Doublestar table is actually in Doublestar anyway.”
“Doublestar?”
“Our sci-fi/fantasy club. It’s awesome, it’s really more of a philosophy club that uses nerdy stuff for evidence. There’s nearly always somebody at the table, so you don’t have to look for someplace to sit.”
“Wait, your sci-fi/fantasy club has its own table? Not in the dining hall?”
“Yeah, in the dining hall!” She laughs. “It’s not official, of course, but if you tell someone who’s Doublestar, or friends with people who are Doublestar, that you’re sitting at the Doublestar table, they’ll know what you’re talking about. Our president is Fearless Leader, and our VP is Lackey. It’s an inherited position. Fearless Leader Hells her successor. Oh, do you know about Hell Week yet?”
“I go to Haverford,” I say, wondering suddenly if she doesn’t know that. She doesn’t.
“Omigosh, you go to Haverford? I had no idea. I figured you were a new froshling. That sucks.”
I am even more confused than before at her remark about pronouns. Ryan’s voice comes back to me: Bryn Mawr is all-girl. But she tells me a little about Hell Week and its traditions, and next thing we’re swiping our OneCards at the checker desk at Erdman. Ella leads me toward a table near the back. It’s got quite an assortment of characters. There are Haverford students, since there’s at least one boy, and I’m relieved. The dude has slicked hair, turquoise glasses and a feather boa. Gay, I’m guessing. There’s someone who I *think* is a girl, with a green streak in brunette hair with eyeliner to match and wearing a sequined shirt. There’s also a couple of way less unusual looking girls, and someone else who might be a girl, wearing a blouse and dark hair in a messy ponytail, sitting several seats down so I can’t tell if she (?) is with the rest of the group.
“Everybody, this is Leandra, she/her pronouns. Leandra, this is not everybody!” says Ella helpfully, dropping her stuff by a chair. The two girls, the dude, and the person with the streak all smile and say hello. I wave and set my backpack by the one next to Ella and follow her to the food. Ella gets hers faster than me, not being overwhelmed by options I guess. I put my food down and tuck in. It’s pretty good for dining hall food.
“So, how many of these people are Haverford?” I ask, figuring that might help me work out some of the sexes.
“None,” says Ella, giving me a weird look. “You’re the only one.”
Wait, what?
“But…” I lower my voice. “That…person, in the boa, looks like a dude.” Ella’s expression goes cold. What did I do wrong?
“Introductions!” she says, a little loudly. “Whitney. He/him pronouns.” Boa dude flaps his hand at me. “Chrys, with a Y. Ze/hir pronouns.” Streaky-hair nods. “Molly, she/her. Fearless Leader, she/her.” The two dull-looking girls wave and smile. The person with the ponytail doesn’t get an introduction, so I guess that one’s not part of the group. “All Bryn Mawr students.”
“Bryn Mawr’s all-female,” I say, completely stuck. Now that I really look, Whitney and Chrys don’t have Adam’s Apples—though there’s no sign of breasts, either.
“Officially,” says Chrys, and Ella’s not the only one who suddenly looks frosty. “But it has rather a large transgender population. Do you have a problem with that?”
“I don’t know what that is,” I admit. The expressions become more wary now than cold.
“We, Whitney and I,” says Chrys, “although our birth certificates say we are female, do not consider ourselves to be girls. Simply put…” Chrys—what’s that pronoun again?—stops and looks a little sheepish. “What’s a way to simply put it?”
“Deep down inside, we don’t feel like girls,” says Whitney. “I feel like a boy. I felt like a boy since I was a little kid and didn’t understand why people kept calling me a girl.”
“Are you a lesbian?” I ask. Everyone cringes except Whitney, who seems prepared for the question.
“Naw, I’m a gay man,” replies Whitney. “I like guys and I wanna be one. Some lesbians like dressing in button-downs and wearing their hair short, sure, but as far as I can tell, they don’t hate their boobs and crave a penis. I do. And it’s not about sex, I just feel wrong all the time without one. And I hate it when people use ‘girl’ or ‘she’ for me, it just feels so wrong, like they’re talking about someone else.”
“How did you go your entire life without knowing this?” bursts out Ella, who can apparently keep silent no longer.
“I don’t know,” I admit.
“’S okay,” says Whitney. “Just use ‘he’ for me and ‘ze’ for Chrys and don’t tell us we’re confused or going to hell or disgusting, and we’ll be good, yeah?”
I nod, because it would be rude as hell to say any of that, regardless of what I feel, and I have no idea what I feel, beyond that I think as soon as I let myself process, it’s going to be terrifying.
Whitney changes the subject, to what I have no idea. I pretend to listen and finish my meal relatively quickly. I make my excuses about needing to catch the bus (which is true, in the sense that I’ll miss it if I don’t leave now, more than in the sense that I actually need to be on it), and bolt. Thank goodness, lab doesn’t start until next week, or I’d be stuck here until late afternoon. The bus seems to take forever, purposely landing the reds at every intersection and waiting an extra second to pull away every time it turns green. When it pulls up by Stokes, I’m first off, making a beeline toward Barclay. Antigony isn’t home, and I thank anyone listening. I am so not in the mood to deal with my type-A roommate. I shut the door and the security of actually being alone washes over me. On its heels follows sheer terror. I lock the door with jittery hands, figuring Antigony has a key, drop my backpack on the floor, toe off my shoes, and climb into bed.
My breath pulls in—and stops, holding there for precious seconds before I force it out again. Deep down inside, we don’t feel like girls. A couple more normal breaths, and the hitch happens again. I can feel my heartbeat, which is way too fast to be accounted for by the walk. They don’t hate their boobs. I do. I burrow under the covers, although it’s early September in Pennsylvania and still breathtakingly hot, and feel marginally better. I hate it when people use ‘girl’ or ‘she’ for me, it just feels so wrong, like they’re talking about someone else. My breath seizes up completely for long seconds, and I can feel a whimper trying to escape my throat. Yes, I think, I hate it when people use girl, she, and more, I hate it when people use ella, chica, even Jimena’s querida, as kindly as it’s meant, is painful. I want Jimena, and I don’t want Jimena, I want the comfort, but I absolutely cannot share this with her. Yes, I hate my boobs. I thought it was the inconvenience, the way I had to be careful what shirts I bought after that, the irritation of bras, the way boys started staring. But I think about it, I imagine being free of them, having a flat chest like a boy’s, and I’m gripped with the urge to take them in hand, dig my nails into them, try to rip them off, and what’s worst is that isn’t a new feeling. My shirt is suddenly suffocating, and I pull it off, unclasp my bra and throw them on the floor. I run my hands over the bare bulges in my chest and I am filled with disgust, old disgust, my hands remind me, as they slide over raised ridges that I know are fading to pink by now, and it’s not that they’re breasts. I like women, as I told Ryan and Gary, and that includes their breasts. It’s that they’re on me. Deep down inside, as Whitney said, do I feel like a girl?
My bones echo a resounding No! and I start to cry.

Thursday, July 10, 2014

Tuesday morning



Matt’s craft talk

Matt differentiated between chronic tension—the emotional baggage a character carries onto scene 1—and acute tension—the plot putting pressure on the chronic tension.
He has someone read the first page of Goodbye, Colombia, and asks us what the busybody character, Aunt Gladys, accomplishes. We decided that she puts up obstacles, shows us socioeconomic class, shows us chronic tension, gives us details about their lives, and tells us about the character of our protagonist.
            “How many ms in omission? One? Omit the second one?” Matt
            He asked us what a climax needs. A peak in tension, we agreed. An answer to the question asked at the beginning. Often, a reversal. Often, it’s a result of a change in character. People take definitive action, which changes things, shuts a door, can’t be undone. And it has to make sense with the rest of the book. For example, says Matt,
            “Harry Potter has to fight Doctor Voldemort.” What if Harry decided to go to dental school instead? The book has not prepared us for a climax surrounding dental school. The climax should arise from the setup from the book, from character. It should involve a power shift. It should be inevitable, yet surprising. And they need to be about the protagonist doing something, not something happening to them. He suggested the idea that each chapter would have a mini-climax.
            In the beginning, says Matt, you set up what your character wants. What is the absolute last thing your character would do? At the end, have them do it.
            “That’s overly technical, it’s not true, but you know what I mean.” Matt
            He had us write a setup consisting of the following: _______ lives in ________ and is a ________and wants __________. Just like Patricia’s. It needs to be a concrete want, he says, something you can hold in your hand. To get into college isn’t good enough. To get into St. Mary’s College isn’t good enough. To hold an acceptance letter from St. Mary’s College in your hand is good enough. Next, you decide what the last thing your character would do is. Finally, you make them a to-do list of five things that they need to do today/every day.
            My choice: Leandra lives in Philadelphia and is a student and wants to write Spanish (gender-neutral) pronouns in a letter to Spanish teacher.
            I on-the-spot invented a Spanish teacher who’s become friends with Leandra, wants to keep in touch, who Leandra can fear telling, but I don’t think I’ll keep her. Leandra can want something more abstract.
            Last thing s/he would do: This I have left blank, but have since decided it would be something along the lines of deliberately hurt Jimena while at the same time compromising his/her own autonomy/integrity/sense of self.
            To do:
1.      Take a biology class at Bryn Mawr
2.      Build a robot
3.      Talk to best friend Jimena
4.      Get the name of the hot person at the next table (Nadie)
5.      Get the people at lunch table to explain about this pronoun thing

Matt asks for someone’s list who didn’t write down their own work in progress because he didn’t want to rip it up. We got: Dr. Jacoby lives in NYC, is a brain surgeon. He wants his yellow belt (eventually black belt). The last thing he would ever do was debated—the kid whose idea it was said ask for help. I think it was eventually decided to be ‘not try for the best’ or something—he’s a neurosurgeon, someone said, he’s a narcissist by design.
1.      Drop kid off at school
2.      Get to hospital
3.      Meet colleague on neuroplasticity
4.      Cook dinner for family
5.      Karate class
Matt decided to shorten the time frame. Now we’re picking the kid up from school. The belt test is tonight.
Plot.
1.      Dog runs away, flat tire, traffic jam, vomit on karate clothes
2.      Emergency surgery one hour before test
3.      Colleague is physically aggressive
4.      Dinner makes them sick
5.      Break hand
Matt decided to up the stakes again. The kid is 17, and also training for his yellow belt. Final plot: He gets punked at work by his neuroplasticity colleague, dog vomits on PJs (both of theirs), his emergency surgery ends in death, car door hurts his hand, the kid can’t break the board at the test, so he, out of love for his kid, throws the test.
We’ll call it Fists of Neuroplasticity.

This’ll have a lot to do with plot for me. I’m putting a lot of thinking into what Leandra’s least likely to do at the beginning of the story. How can I make that happen at the end? How about the to-do list—what small ups and downs can I add to the middle? What kind of definitive action can Leandra take? The way my plot’s been working, it won’t be coming out—none of that will be both important enough and happen late enough. Most of Bryn Mawr/Haverford will know earlier on, and the parents aren’t playing a big enough role. Also, that isn’t deliberately damaging to Jimena, it’s just Leandra choosing self-identity over Jimena, which isn’t really a story. It’s making me think that Leandra needs to be with Nadie. It can be the last straw for Jimena, and it’s a decision that’s more about Leandra trying to figure out who s/he is than the relationship, which is against Leandra’s own autonomy.