The Hemlock Notations

~ The writings of Faust S. Amazing

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Is That An Echo…echo…echo…echo…o…o

18 Monday May 2015

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editing, fiction writing, H. P. Lovecraft, hemlock notations, how do I write, how to write, Samuel Eden, the writing process, writing

So let’s talk about your reading requirements for a second. As a writer one of your main jobs is reading. Ask any professional it’s an important part of the job. Teachers read teaching magazines and look online to see how other teachers taught a subject. Doctors read medical journals to keep up to date on the newest research and medical procedures. You get the picture. As a writer your reading requirements are much more fun because you should read the books in your subject so you know what’s out there. For instance: if you write historical fiction you should read historical fiction; if you write contemporary fiction, read contemporary fiction; if you write horror, read horror. Again picture had.

So you’re doing that. You’ve been doing that. You’ve read so-and-so’s story that inspired you to write in the first place. That’s great. That’s wonderful. That’s exactly what I want to talk about.

As beginning writers it is natural to mimic the writers/stories that inspire us to write. Firstly, I want to say that this is a good first step, a needed first step, in the process to becoming a writer. We mimic to become. As humans it’s what we do.

However, eventually you have to step away from that and actually become.

Recently, in my writing group a fellow writer turned in a couple stories that clearly had been influenced by H. P. Lovecraft. I was more than a bit excited to see them since I too am influenced by Lovecraft. Unfortunately they were so influenced by Lovecraft that I might as well have been reading Lovecraft. I knew the stories weren’t written by Lovecraft, obviously, but the writer’s voice who did write them was nowhere to be found.

That is the downside to mimicry: you don’t get to be you. If I’m, or anyone, is reading a story that you wrote it’s because we want to hear the story you’re telling. It’s your take on the story, your insight, the outlook of the world that only you can provide.

So just keep that in mind as you continue to write. Mimicry is a part of becoming a writer, but only until you wings fully develop, only until you find your sea legs, only until you have the basics. Then the hard part comes, and you have to write as you.

Be you, be well; write you, write well.

You Always Hurt the Ones You Love

13 Tuesday Jan 2015

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editing, hemlock notations, how do I write, how to edit, how to write, Samuel Eden, the editing process, the writing process

I was editing a story the other day. I knew I liked this story, otherwise why the hell would I bother editing it. While I was editing it though I found out that I loved the story.

It’s a leap of a distinction. It was a surprised (like all good love is supposed to be).

This is how I could tell I loved the story. Usually in the editing process I’ve read the story, re-read the story making corrections, and had at least one other person (my spouse, the saint) read and edit the story. So in the “editing process” I’m sitting down and making all the corrections. Since I’ve read the story I’m editing so many times I just scan the pages for the colored ink corrections, delete, add, or change accordingly, move to the next one. However with this story I made the corrections and just automatically started reading the story from that point. It happened several times before I realized I was doing it and why. That’s when I kicked the editing into “serious mode.”

That’s how I know I love my stories. You’ll have your own indicators, but it will happen. ‘But, Mr. Eden, sir. I love all my stories.’ Of course you do otherwise why waste the time on them. You’re their parent, they sprung from you, made you laugh, made you cry, made you frustrated; and like any parent you love every one of the little buggers. But…but…but there will be some you love more than the others.

This brings me to my point: You have to be twice as hard on the stories you love than the others. You have to be twice as hard for reasons I will now talk about. The first is you need to be twice as hard because loving the story like you do you’re probably pulling your punches when it comes to the editing already. So you have to be (what feels like to you) twice as hard, more than likely, to get to the normal editing level of your other stories. Loving Edits the Second Requirement: Remember when I said you need like two to three people reading your stuff, try to double that for this story, just to be sure. Loving Edits the Third Requirement: Listen to every suggestion and change twice. That’s right, even the ones that you realize were just opinions and not critiques. Again this is a just in case measure but it needs to be done, because with the love comes overprotectiveness. You might discount a critique as an opinion without realizing it. When all the critiques and edits are in, and you’ve made all of them. Then you read the story again, keeping an implement ready for more editing. Yes, you have to be critical of your shining baby again.

The reason for all the criticalness is very simple: you want the world to love the story as much as you do. For that to happen, you have to be ready to hack and saw away at your baby so the world can see it in all the glory you did when it had all the rough edges and baby chub.

Trust me there’s nothing more satisfying than putting in all this work on your story, worrying over it in your sleep, editing it and re-editing it, to the point you know there’s nothing more you can do with it; hearing someone say they didn’t like it, and knowing they didn’t like it because they have no taste and not because there’s anything wrong with your writing. Oh, you’ll still want to ram various parts of their facial region with your fist, but what will hold you back is knowing they’re just wrong.
So love all your stories, but keep an eye out for the ones that keep even your attention.

Write well and be well.

You Gotta Chip Away At It

23 Tuesday Dec 2014

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beginning writing, editing, editing process, editing writing, hemlock notations, how to write, Samuel Eden, writers' block, writing

Hello, Everyone! I hope you had a good National Novel Writing Month (or NaNoWriMo, as the hip kids are calling it). For those of you not aware: November is National Novel Writing Month, where people sit down and write a novel in a month. Breaking that down for you in pages 5 pages a day equals 150 pages, which is roughly 2,000-2,500 words a day. Anyway, if you participated then I hope it was a good experience for you.

So NaNoWriMo is the reason I didn’t post in November. Not that I was working on a novel (I had other things piling up on my plate), but because I figured everyone would be posting about writing and didn’t want to overload the Internet on literature. Also I didn’t want to contribute to the distractions of not writing. And again, the afore mentioned pile of stuff I had to get done.

Which brings us to what I want to talk about today; I want to talk to you about writers’ block.

DA-DA-DUUUM!

I know, it’s such a cheery subject (especially for the holidays). I want to assure you: There will come a time when you don’t feel like writing. This is normal. If you do anything for any length of time you will get sick of it. I love writing—LOVE IT—and even I have days where the mere thought of what my character(s) will do next sickens me. One day I was staring at the computer screen, staring at the words from the day before, and just wrote: And they all died. Needless to say I took the day off.

Yeah, you’re going to have days where you don’t feel like writing. Writers’ Block is something else. It’s a persistent condition of being stuck, of not being able to write. No matter what you do you can’t put the next sentence together; can’t get through the scene; are unable to see the characters for the plot (or vice versa).

Don’t be ashamed. It happens to everyone. It’s no big deal. Seriously. It’s okay.

Here’s what I believe (and you may have guessed what it is): You’ve got to chip away at the block. You do this by keeping writing. It doesn’t matter if what you write is crap (in all honestly it probably will be), but you got to keep the writing muscle fresh. Do you know how many tons of earth miners have to move before getting to the good stuff? You should look up the statistics, it’s interesting. The same premise applies here, you keep working the earth until you hit a rich vein of creativity.

It’ll be hard work. It’ll be frustrating. That’s good. Eventually you’ll just want to write something and that’s when the dam will break and the writing will come.

At least…that’s how I do it.

For those of you who’d like a less aggressive approach here’s some things you can do.

1) Do something different with your writing: If you’re a horror writer try writing a fantasy story, or a sci-fi story, or even (GULP!) a contemporary (non-genre) story. The idea here is to keep the writing machine pumping while simultaneously cleaning all the gum out of the gears. Sometimes you can be too mired in a genre its tropes, and beats, and rhythms, and it clogs the thinking. The thoughts get jumbled up in possibilities and just won’t come out. Thinking about how different stories work and are put together can work out the kinks in your brain so you can come back to the story you really want to write with a clear head.

2) Do something different with yourself: Embrace the variety, my friends. Chances are if you’re a horror writer (going of the example from number one) then you watch horror shows/movies, and read horror stories. It’s good to keep up on your field, but this can also gum up the thought gears. Try reading a fantasy, a sci-fi, a historical novel, go to the movies and see a comedy, or a drama. Every once and a while you should, and can, come up for air from the full emersion in your genre.

3) Put the story down and step away: It’s okay. I know you can do it. Put the story off to the side (literally or metaphorically speaking) and work on something else. Move on to the next story you have filed away in your write brain; or you can pick up an old story that needed more work but you moved on because you decided you were done with it (the new perspective might be just what it needed). The point is maybe you need some distance from the story. It’s possible you have the story all outlined, but now that you’re writing it it’s going somewhere else and you’re trying to force it back into the original mold; some time may give the vantage point to see where it went off track, or where the story is going now.

4) It’s a 48 hour bug: It’s possible you just need a couple days to breathe. That’s right, a couple days off and you can hit the keyboard (notebook) hard and finish up the story. I don’t suggest taking more than a week off in the middle of a project. The hardest thing about being a writer is the self-discipline; you don’t have someone over your shoulder keeping you to a deadline, you don’t have to punch a clock, or even put on pants if you don’t want. So keeping yourself on track is a big responsibility.

Okay, here’s how I see writers’ block (and feel free to disagree with me): it’s all about pressure. You putting pressure on yourself to write, to be original, to finish in a certain time, to make it big, TO WRITE. Some pressure is good, it keeps us motivated, but too much can destroy you. Even worse too much pressure can take the joy out of what you’re doing. At the end of the day isn’t that what it’s all about? Enjoying what you’re doing?

Happy Holidays from all us Hemlocks to all you Mistletoes. Enjoy yourselves.

BOO!

31 Friday Oct 2014

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Halloween, hemlock notations, Horror Writing, how to write, how to write horror, Samuel Eden, Superiority Complex, writing, writing advice

Alright let’s talk horror. What makes a good horror story? Think back to the stories that scared, or currently scare, you. What was it about them that sent a chill down your spine?

Monsters? Sure.

Gore? Yep.

Fifteen flavors of death? You bet.

But these are not the things one needs to think about when thinking about crafting a horror story. (Yes, if your story is a ghost story you need to think about why and how they are a ghost and the rules for that, but the core writing of a horror story is what I want to discuss today.) There are two core things to keep in mind when crafting a horror story: atmosphere and claustrophobia.

Again think back to the stories that scare you. What is it about the writing that you see?

Atmosphere (At-most-fear): Descriptions of things and situations are key to setting a creepy atmosphere. Saying your characters visit a cemetery is good. Saying your characters visit a cemetery at sunset is better. Saying you characters visit a cemetery at sunset on the outskirts of town and the silence of its expanse is heavy is best. The more you can draw your readers into the scene the more you can paint them a picture of what it’s like in the world of your nightmares. Descriptions are just one way to add to the atmosphere of your story; don’t forget about your characters. How your characters react to a situation, or setting, can add to the creepiness as well.

Claustrophobia (the fear of enclosed spaces): I don’t mean this in a literal sense (you don’t actually need someone afraid of enclosed spaces in your story). What I’m talking about is your characters feeling that the world is closing in on all sides, or the feeling that they are all alone in the world. Setting can do a lot of the heavy lifting here. Think about Evil Dead, Cabin in the Woods, Cabin Fever, or John Carpenter’s The Thing. These are all movies, but still stories, that place the characters in isolation. Sure the characters could run from the cabin(s), or the research station, but then what? They’ve got miles and miles of nothing around them, while they are “free” to leave whenever they want, they are effectively trapped by their environment. (As an added bonus these environments, if described correctly, can add much in the way of atmosphere to your story). Other films like Nightmare on Elm Street and The Ring (the American version, yeah I know, but I never got around to seeing the original), go about the claustrophobia in different ways. In Nightmare the setting is the suburbs but the claustrophobia is layered first with overbearing parents that restrict their children’s movements and then by transporting the kids into dreams where they are trapped by the environment in the dreams (a house, boiler room, any number of creepy hallways) and in the dream itself. In The Ring the main character is free to go and do whatever she wants, she even lives in a big city, in this case the claustrophobia comes from the time limit placed on her life. Not only the time limit, but as the deadline (ha, ha) approaches she feels more and more isolated from the world around her. As another example think of any zombie story you’ve ever read; the claustrophobia (the main source, not just the hiding out in fortified houses) comes from the fact that the characters may be the only humans left in the world. So again while they could, theoretically, go wherever they want, what would be the point?

If you nail atmosphere and the feeling of claustrophobia for your stories you might not even need an actual monster in the story, the idea of the monster might be enough.

As always when writing horror, think about what scares you and put that on the page. You’re not alone, someone else is probably just as scared of that thing as you.

Happy Halloween!

I’m Prepared to Prepare for the Preparing

01 Monday Sep 2014

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beginning writing, getting started writing, hemlock notations, how to write, Samuel Eden, Superiority Complex, writers, writing, writing preparation

How’s everyone doing today? That’s good (and conversely: I hope it gets better).

Today I want to talk to you about preparation. This goes beyond making sure you have the power cord for the laptop and a refill for a Venti-Grand Pumpkin Seasoned Frappa-Latte hold the Whip. What I want to talk about is preparation for your story.

As with the actual writing process there are as many different ways to prepare for writing your story as there are people who write. We’re going to look at two of the biggest in this post and touch on some others. Research is a part of the preparation, but I have enough to say about just that that it will get its own post.

The first way of preparing is the outline. If you’re unsure how to outline something try this: http://web.psych.washington.edu/writingcenter/writingguides/pdf/outline.pdf . This is a PDF from the University of Washington, it’s straight and to the point. A good way to think of an outline is as a skeleton for your story. What you’re doing with an outline is putting down the bare bones of the story. You then use the outline as a road map, reminding you where the story was going when you first conceived of it. Many writers hang their hats on the obvious and genuine successful utility of an outline. It is a tried and true method of writing preparation. The upside of using an outline is that it is clear and easy to read, everything is right there for you in an order anyone can follow at a glance. The downside I’ve seen with the outline is that newer writers see the outline as an absolute. They believe that because it’s on the outline it has to be in the story, that if they have something as the third scene on the outline it has to be the third scene in the novel. The best advice is to remember that an outline is just prep; if by the time you have some/most of the story down and something you have in the outline doesn’t fit right (or at all) anymore don’t try to force it into your story just because it’s in the outline. If a scene works better later in the story than where you have it in the outline move it. The outline is a static thing, but a story is alive and grows listen to it as much as possible.

The second way of preparing is note taking. Basically this means as ideas about the story come to you you write them down in a notebook. Notes can be as detailed or as sparse as you want, as long as there is enough information down to remind you of what you wanted to say originally. Many writers jot down notes on anything they have at hand (one author-damned if I can remember who now-said he once wrote notes to one of his books in the margins of another novel), but most carry a small notebook with them for when inspiration strikes. I want to state now that this is the method I use. It just works for me because of the way my mind works. My notes will include a character list, with a few sentences about personality/role in the story/some history, but mostly there will be notes on scenes and lines that I thought were cool when I heard them/they came to me. Sometimes the notes for the scenes are a few lines (this happens, then character A does this, and character B is saved/abhorred/dead), sometimes I write the whole scene down because I like what comes to me originally and want to get it all down. The upside of this approach to prep is that it’s much more free form than an outline. It doesn’t come with the same stigma of rigidness as an outline. The downside is this approach can be far less organized than the outline; which means you may have to backtrack during the writing to put in a scene you missed because it’s buried in a page of notes. This happened to me once, I was three-fourths of the way through a story, looking for a note about a line I liked, and found a scene that was supposed to go in the middle of the story. As it turns out after reading the note on the scene I decided not to include it because it didn’t really fit the story at that point. So be warned that you can miss notes, and if you’re the type of person who is disorganized outlining might be a better way to go for you.

At this point I want to bring up that these two types of preparation are not mutually exclusive. There are plenty of writers out there who take notes and before they sit down to actually start writing organize their notes by putting them into an outline. There are writers out there who do outlines and write notes about scenes and characters on it as they go and the information fills in during the writing process.

And again these are not the only ways to prepare for writing. I’ve heard some writers say they just sit down and pound out pages when they get an idea and then go back and take out things and rearrange scenes when they’re done. This can be good for a short story, but I’ve found it hard to pound out a novel (eventually I’ll forget something, which is more annoying to me than taking the time to write down some notes).

I do have a point to make that goes beyond mentioning how people prepare for writing. The point I want to make with this post is: Preparing to write is not writing.

I want to share something with you. I’m acquainted with someone who calls themselves a part time writer. He really likes epic fantasy and so wants to write epic fantasy. A couple years ago, being polite and semi-interested, I asked him how his writing was. He replied that he had some notes for a new story he was excited about. I asked him what it was about, he mumbled a few sentences, and we went on our ways. A couple weeks later I saw him and again asked how the writing was. He replied that he’d finally organized his notes into an outline. That’s cool I said, and again ways were went. Couple weeks later, how’s the writing? He’d found a map generator online and he’d finally settled on a map for his world. Okay. Ways. This time it was a month before I saw him again. How’s the writing? He’s been working on detailed backstories for his characters so he knows how they’d react in any given situation. I stopped asking after that.

I’m not telling anyone specifically how they should write (I like to think of these posts as suggestions to help get people started). However at some point preparing to write your story becomes putting off writing your story. I know for me writing is my addiction. On days I write I’m happy and bouncy, but the longer I go without writing the more irritable I get. So the fact that this person was doing everything they could except writing their story seemed like they were afraid to write it.

So today’s piece of writing addiction advice: Don’t be afraid to write your story. You’re the only one who can.

Superior Free Stuff!

07 Thursday Aug 2014

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fantasyworldwriter.com, free stuff, Samuel Eden, Superiority Complex

Hey, All!

Just to let you know, I’m working with fantasyworldwriter.com for a promotion of Superiority Complex (my first book). If you go to his website and talk to him he can set you up with a free digital copy of the book if you promise to write a review about it.

This is a good chance to get a good chunk of writing from me if you’ve always wanted to but didn’t necessarily have the money to do it.

Enjoy the book, and good reading everyone.

Genres the Niche in Your Market

25 Friday Jul 2014

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Christopher Barzak, Christopher Merkner, F. Scott Fitzgerald, Genre Fiction, Genres, George R. R. Marten, Literary Fiction, Samuel Eden, Stephen King, writing

Alright, y’all, I recently got something stuck in my craw about genres, and what’s considered “literary,” and stuff. A few months ago in a discussion someone brought up literary fiction and the idea that it was a niche market unto itself since only a certain type/amount of people actually read it. The conversation didn’t really go anywhere because most of the people there were literary types. I guess maybe they thought it was a null point since everyone they knew reads literary fiction.

Over the next weeks the subject kept popping up, I couldn’t escape talk about literary fiction and what the people who read it thought about it and genre writing.

Clarification: For those of you who might not know according to Academia there are basically two types of fiction, literary fiction and genre fiction. Literary Fiction refers to books like: Jonathan Franzen’s The Corrections, F. Scott Fitzgerald’s The Great Gatsby, and Christopher Merkner’s The Rise and Fall of the Scandamerican Domestic. Genre Fiction (and this term is almost used in a derogatory sense) refers to books like: George R. R. Marten’s The Song of Ice and Fire series, Stephen King’s IT, and Christopher Barzak’s One for Sorrow.

Here’s my problem with the people in the Literary Fiction corner: they are continuously writing papers and articles about literature. In most of them there is a clear bias towards Literary Fiction and how so much better it is than Genre Fiction. They are clearly arguing that Literary Fiction rules while Genre Fiction drools.

This makes them a bit of dicks for two reasons. 1) This is a one sided argument, because most (not all) of the people reading these papers and articles are other Literary Fiction people (most of the Genre Fiction people are reading something fun). It’s easy to win an argument when you’re the only one arguing. 2) They want people to read but then they’re telling people that how they read is wrong. It’s like a person telling someone they need to eat to stay healthy, watching them eat, and then telling them how they eat is wrong and they should stop until they figure out how to do it better.

Not that there haven’t been salvo’s fired from the Genre Fiction side, and now here’s my two cents. The whole Literary vs. Genre Fiction argument is just plain dumb. And not just for the above reasons. The simple fact is Literary Fiction is a genre. Go into any bookstore or library. There’ll be a section marked Literature (it will be the section that’s empty or populated by some teens looking for a school assignment).

Genres whether they be literature, fantasy, horror, or mystery are there to help people find what they like to read. It’s really quite clear. That’s it. How hard would it be to find the book you want if you walked into a store or a library and it was just a big pile? That’s why some smarty said: “Why don’t we put them in order like the alphabet?” When there got to be too many books for this to be helpful some other smarty said: “Why don’t we group the books that are like each other in the same section and label the sections after the unifying theme?” Hocus-pocus genres were born. And how helpful they are too.

The point of this whole thing: find what you like to read and don’t let anyone stop you.

Not As Many As A Lost Princess But I Do Got Some LINKS

21 Monday Jul 2014

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AJ Sabino, Community, Fantasy World Writer, hemlock notations, Samuel Eden, Teen Ink, writing, Writing Community

Okay, so as you can see I have some links up on the page. I want to talk a bit about them.

First is AJ Sabino. AJ is the first person I met through a convention. He’s a good guy and a talented artist. He actually did the superheroine for the All Ameri-Con flyer this year. If you get a chance give his site a look.

Second, we have Fantasy World Writer. I met Matt at this past convention after sending some e-mails back and forth about him wanting to review my work. He’s got a review up for Superiority Complex that I think is more than fair. He’s a good guy. From what he told me he runs the website as an aside from his day job. And that’s why I love the Internet; it allows you to indulge in what you like/love/are obsessed with and find other people who like/love/are obsessed with the same thing. It’s a great place to build a community or find one. He doesn’t just do books either, he also reviews movies and television shows, and recently setup a calender for release dates on movies and shows and books. Go on over and join the community.

Thirdly of the new links: Teen Ink. A young woman at this past convention told me her story was on their website. After checking it out (search: Raven Darius, the story is Delusional), I spent some time bopping around the site. It’s pretty cool. It encourages teens to write. There ain’t nothing wrong with that. They have both a print magazine and the website. Again I think this is great because of the whole sense of community. When I was a teen and trying to find my voice through writing there really wasn’t anything like this. I’m a fan of anything that encourages people to write. So once again take a look at the site and be part of the community.

Now a word on future links, while I like the distinct lack of clutter on my website I can’t very well rave about building a community through the Internet and then not put links up on my site. So more links will appear, but there isn’t a set list or schedule for that right now. Just keep an eye out. Until next time.

2014 All Ameri-Con

07 Monday Jul 2014

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Akron Comicon, All American Cards and Comics, All Americon, Samuel Eden

Hey, All!

Just wanted to let everyone know that I had fun at the Con. Thanks to everyone for showing up and supporting comics, actions figures, and everything geek-tastic. For those of you who stopped by the table I had fun talking to you. I dispensed a lot of writing advice (and I hope that helped).

For those of you who picked up a card, and are visiting the site for the first time: WELCOME! There’s a free story here that I hope you enjoy, a brief bio of your’s truly, and tons more writing advice along the way. You’ll also find links to electronic versions of the stories I had at the convention if you’d like to take a look at those in your own time.

I just want to say that I’ve enjoyed my time at conventions thus far and it’s all because of the people (you guys and the organizers). I was hoping to head out to The Akron Comicon later this year, but was late in getting my calender organized so I’ll be missing it. I do want to give it a shout out though because it’s an awesome convention. You can learn more about it by clicking here. You can also follow them on the book of face.

I also met a few new friends who’ve inspired me to fiddle with the site controls and try to get some links going to their pages. So hopefully I’ve figured out how to do that by the time you read this post and you can take a look at them. Over there ——————————————————————————————>
I think.

Until next time, keep thinking good thoughts and writing good words.

The Uncle Karl Fix Pt. 2

21 Saturday Jun 2014

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beginning writing, editing, editing process, how to write, Samuel Eden, writing, writing advice

Okay, so enough people have said something about “Uncle Karl” that you’ve (begrudgingly) decided to take a look at the scenes he’s in. Hopefully there’s been a few days/weeks/months between you finishing the writing and you going back to edit. The reason for this is that time can help you get a better perspective on your story. I can’t tell you how many times I wrote something that made complete sense in the middle of the writing, but when I went back through editing I was like: Wait! What?!

So, you’re looking at the scenes with Uncle Karl. The very first thing you need to ask yourself is: What is Uncle Karl bringing to the scene?

Try to be as objective as possible. This will be difficult. Probably at some point during your re-read of the scene you smile because of Uncle Karl. It’s tempting at this point to go: Hey, I don’t know what they (your friends who have been nice enough to read your story to help you edit it and make it better) are talking about. Uncle Karl is great. I’m the cleverest motherfucker here.

Alright, stop right there. Now I’m not saying you’re not clever, and you may be the cleverest one among your group of friends, you might even be the cleverest motherfucker writing about what you’re writing about, but…BUT…what if you’re not? And even if you truly are the cleverest writer to ever write, if people are too distracted by Uncle Karl to notice then in the end it doesn’t matter.

So you’ve re-read the scene with Uncle Karl in it with the question, What is Uncle Karl bringing to the scene, on your mind. Now for the second question: What is the scene trying to accomplish? Thinking of this question re-re-read the scene. Now is Uncle Karl helping or hindering what you’re trying to do in the scene?

Obviously if Uncle Karl is helping then Uncle Karl gets to stay. If Uncle Karl is hindering Uncle Karl gots to go.

You have to do this for each scene individually. I must stress: DON’T GET RID OF UNCLE KARL IN EVERY SCENE BECAUSE HE DOESN’T WORK IN JUST ONE. The reason I bring this up is because Uncle Karl isn’t just taking up space on the page, he’s taking up space in the world of the story. You took the time for the story to have Uncle Karl in it so the story WILL have a hole to fill if you take him out.

This is actually a good segue into the coolest question of “The Uncle Karl Fix”: What happens to the story if you take Uncle Karl out completely? BA-BA-BUUUUM!

For instance what if Uncle Karl is hindering one of your scenes, but he’s there to introduce something that will be important later in the story? So Uncle Karl is hindering the scene but helping the story. Fair enough, but what does taking him out completely do for the story? What if taking Uncle Karl out forces the Main Character to be more proactive? What’s wrong with that?

What I’m trying to get at is that getting rid of Uncle Karl doesn’t have to be a bad thing. It can provide opportunities for the story to grow and move in directions you didn’t expect. From part one I mentioned my most recent “Uncle Karl” was that my story was from a character’s POV and that it just wasn’t working from their POV.

Yeah, I was upset. Something I wanted to do didn’t work. The story sucked. I had my maybe-they’re-just-not-smart/cool/into my genre-enough-to-get-what-I’m-trying-to-do moment, and once I calmed down I started thinking about the other characters in the story. When it occurred to me who’s POV it should be from all these ideas flooded into me about how I could play around with different aspects of the story, things that hadn’t even occurred to me the first time around, things that couldn’t have because the way the story was coming out. All of a sudden the story was breathing and alive again.

At the end of the day that’s all we, as writers, really want isn’t it? To have a story that’s fun to write and lives on its own.

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