Sunday, January 26, 2014

Back To It...

As of 1:38 am 26 January 2014 my blog posts are up-to-date with my writing.

Which is kind of a bummer.

I spent last weekend updating the blog instead of making progress on the outline.

However, a nice thing about the blogging is that it reminded me how excited I was 2 weeks ago when I wrote the entries about Subplot 004.  That's not nothing!

I began this night hoping to write some more scenes, though, and I just couldn't be bothered.  I wasn't feelin' it.  But I also couldn't NOT make SOME progress, so focused on getting the blog up-to-date.

And now I'm in a better head-space, creatively speaking.  Just remembering why I was so excited 2 weeks ago seems to have helped.

But I have a few brick walls to dismantle...

Before I started updating the blog, when I looking over my Outline, I noticed that Scene 23 is really begging to be fleshed-out.

--

Sc 23 - PHILIP and TIFFANI learn that CARLTON BRIMES thinks that BRITNEY BRIMES accidentally scratched ARIEL BRIMES and he wants them off the case!

--

That's still my structural place-holder scene.

I know that it's supposed to be a dramatic scene, and it should really shock the Reader when it comes, but I don't really have solid motivation for it.  I've been hinting, so far, that there's something suspicious about Carlton Brimes, but I haven't flesh-ed it out yet.

Also, I know that Britney Brimes is way-into Paranormal Reality TV -- enough so as to make her motivation for calling on CTPI seem a bit suspicious to the ghost-hunters.  ("Does she want our help because of the paranormal activity, or does she want our help because she hopes we'll get her on TV?")

But I haven't come up with the story beats that let all this play out dramatically.

On the positive side, though, while editing the blog post before this one I realized that Scene 7 can actually be 2 scenes!

--

Scene 06:

Thursday Night - As soon JAMES gets in PHILIP begs him to cover Saturday.  James obviously wants to say "no", argues in his head for a few minutes, then says he'll do it.  RELIEF!  Philip tracks down AMBER.  They banter (maybe even flirt?) for a bit, then Philip dives in: He gives her a jump drive with his scripts and video and begs her to forgive him for not being able to make it Saturday.  Amber becomes an ice queen.  Philip tries to explain that he wouldn't do this if he had a choice.  Amber asks, rhetorically, "Why should I care of you bail on the show?"   He's not bailing, he just can be here Saturday.  "That's fine", Amber says, but Philip knows it's not fine.


Scene --:

At the TV station, PHILIP visits AMBER's office.  He wants to apologize again for Saturday.  Amber apologizes instead for her behavior: Amber is barely holding this show together, scrounging every bit of advertising she can con out of someone because the General Manager keeps hinting the show doesn't make enough money to keep it on the air, and Philip not showing up Saturday seemed like maybe he sensed the ship was sinking and was going overboard before it sank beneath them all.  A little flirtatiously, Amber asks if Philip DVR-ed the show.  He did, and he loved her changes to his segments.  Amber says she had to tweak his scripts a little because the way he writes is so... HIM.  (She makes it sound like a compliment...and maybe a come-on.)  Philip has to get back to work.

--

See what I did there?

Now Scene 6 is (theoretically) a bit more shocking because Amber's actions don't have any obvious motivation.  If I have the Reader's attention, they should be wondering why she would go from hot to cold with Philip just because he wants a day off.

Then the next time they see her, she has warmed back up to Philip, and the Reader and Philip now discover what motivated her behavior.  So now Amber is a much more interesting character, and since the scene ends with her flirting with Philip again, the Reader likes her again, only much more because she's not only a person who can admit she was wrong, but we now understand that she endures stresses that she (usually) keeps away from the rest of the review-show crew.  She's now a strong-but-human character.

And it's going to suck SO HARD when Philip discovers that he has to ask for another night off! MWUHAHAHAHAAAAAAA!

Had I realized this last week I would have been excited that I now have 28/40...but I really should be closer to 38/40 by now.  :(  I would like to begin February with a finished outline, and start writing pages on February 1st, but that's not looking very likely.

It's not impossible, though!

What I accomplish tonight and tomorrow night will tell the tale.

With my schedule at work, I really can't count on having the energy to do any writing before our after.  Especially since Tuesday is a 12-hour shift, so I have to get to sleep early Tuesday morning so I can wake up early Tuesday night, which means I'll probably be pretty beat when I get off work Wednesday morning.

Anyway...  What else has me stumped?

OH!  I should explain the Tangie/Amber thing!

It's simple, really: I realized that with Tiffani being my primary supporting character, I needed to change Tangie's name to something that doesn't start with a "T".  I couple of days ago I watched Iliza Shlesinger's WAR PAINT comedy special, and the name "Amber" popped up and I thought that might be good for Tangie's new name.

Viola!

Oh, wait...  The baby's name is Ariel...

...however, the baby is sort of more a prop than a character, speaking functionally.

You know what?  I think I'll leave it for the first draft.  I'll see if any of my Beta Readers notice it and/or have a problem with it.  I really like the name Amber for Philip's producer, and I like the name Ariel for the baby.  If anyone brings it up after the first draft, I'll change it, but for now I'd rather worry about getting the outline finished.

But how?

OMG this post is becoming SO LONG!  I wonder if I'll even bothering posting it.  Or maybe I'll need to cut it down.

For now I'll just keep writing.  Maybe I'll come up with something.

So Carlton doesn't want to introduce Britney to the investigators because he thinks she's a little wacky.  But I need the investigators to meet Britney so I can have Scene 19 where Philip catches her talking to Doddy and then Doddy touches his hand.  And I would rather not move it because that's a raise-the-stakes scene in its current position, so I have about 5 scenes in which to Convince Carlton to let her be present for the next investigation.

Come to think of it, I have 5 scenes to convince Philip to take another day off...

I have an idea...

Jim Butcher (author of THE DRESDEN FILES) recommends a Scene/Sequel approach to writing a novel.

According to his method, the "Scene" is a section of the story wherein stuff happens.  The "Sequel" is that immediately follows, wherein characters react to what just happened.

Now, this approach is expandable and collapsible.  You can work this within a scene, or within a sequence, or within the story as a whole.  In this context, I'm applying it to the story as a whole.

The first 7 scenes are about getting Philip to investigate the Brimes family's house.  The next 6 scenes are the investigation.

So maybe I spend the next 5 (or so, depending on what I need) scenes in "Sequel" mode, letting Philip and Tiffani see what they've got to work with, and building up to Philip having to ask for another day off.

I have this idea that maybe Philip will be forced to investigate on another Saturday, but he will work it so that he can record the movie-review show, then meet CTPI at the Brimes' home.  This keeps him in good with Amber, but it's probably pushing James to a breaking point.

It's worth exploring.

Done blogging.  Time to write.

Saturday, January 25, 2014

Subplot 004

As I write this it is 4:52 pm Tuesday 14 January 2014.

I'm still so jazzed about what I accomplished yesterday in terms of furthering the story AND in terms of allowing you, quasi-curious reader, to share in my process that I'm giving it another go.

Today's work?

You remember those Subplots I kept failing to come up with?

Well I want to give it another go!  Now that I really like my Hero, and now that I know what his daily life is like, I want to explore that!

I think it's not a bad idea to start by integrating Philip's daily life and backstory into my existing outline, then add new scenes from there.  (I'm currently at 26 out of 40 scenes; if I create 4 new ones I'm 3 quarters done!)

The first scene that I can slip Philip's daily life into is Scene 3: TIFFANI tries to recruit Philip to help with this case.  (This scene has been BEGGING for this subplot!)

As the scene reads, it probably won't change in its outline form:

--

Sc 03 - TIFFANI wants PHILIP to investigate a case.  The Brimes Family are being tormented, but Tiffani's group -- Central Texas Paranormal Investigators (CTPI) -- can't solve it.  It's too powerful to be residual or intelligent ghosts, it is actually hurting the family and their daughter, but 2 religious cleansings have failed to exile whatever it is, and no Catholic churches in the Central Texas area will area will sanction an official cleansing.  Seeing that Tiffani is desperate, Philip tentatively agrees to look at the evidence Tiffani's group has collected.

--

I could scribble a couple of notes on the page, just to remind myself of key words and phrases when I'm writing, but this contains the pertinent story information.

However, I do want to rewrite this scene in terms of the subplot and back story, just to make sure I have it in my mind.

--

Sc 03 - TIFFANI meets PHILIP at a food cart.  She asks how the movie-review show is going and Philip says it's fine.  Tiffani says Max and Noel miss him; he misses them, too.  Yeah?  Yeah, Philip misses all of it, the coffee, the sitting for hours in the dark, trying to act like a responsible adult around clients, meetings at (insert cool Austin restaurant), the whole thing.  Tiffani asks if he can help them out with one more case.  Philip jokingly asks is there's any chance it's on a weeknight and Tiffani says "no" but rushes into the pitch: The Brimes Family are being tormented, but the group -- Central Texas Paranormal Investigators (CTPI) -- can't solve it.  It's too powerful to be residual or intelligent ghosts, it is actually hurting the family and their daughter, but 2 religious cleansings have failed to exile whatever it is, and no Catholic churches in the Central Texas area will area will sanction an official cleansing.  Philip wants to help, but James (the other overnight guy) hates working on his days off and Saturday is when they tape the show.  But Philip can see that Tiffani is really, really hoping for Philip's help, so he offers to look at the evidence CTPI has collected.

--

Okay, maybe I'll rewrite the outline, too.  It looks like it might all fit on a printed-out page.

I already like the way this scene plays so much better!  I never had a problem with it before -- though many writing texts will warn against exposition scenes, I think they're compelling reading when done well -- but adding the back story and character information makes the scene more human, more personal.  If I'm good, I can play the awkwardness of this conversation so that the Reader maybe wonders if there's something romantic between Philip and Tiffani.  I don't yet know if there is or ever will be, but in Scene 3 it can't hurt for the Reader to wonder, right?

Now my next Subplot scene is definitely Scene 7 -- that gaping hole in the beginning of my outline.  But can I slip Philip's day job into any  other scenes before that one?

Scene 4: Philip reviews the evidence?  Nope.  He needs to be at home and undisturbed for that.  He'll take the whole day and really give this all his attention.

Scene 5 is Philip meeting Carlton, so there's no wiggle room there.  At that point, the game is on.

BUT WAIT....!

Scene 5 is just a "tour".  Philip's meeting Carlton, getting a sense of him face-to-face, and having a look at the layout of the house.  The investigation hasn't stated yet.

If Scene 2 takes place on Monday and Scenes 3 and 4 take place on Tuesday, maybe Tiffani worked it out so Scene 5 takes place Thursday or Friday night before Philip goes to work!  (or Saturday, for that matter!)

So Scene 6 -- Philip and Tiffani talk about the case -- could take place over breakfast early Sunday morning after Philip gets off work (before he goes to bed) or Monday, Tuesday or Wednesday night.  Philip can have been agonizing over this for days, knowing that he should investigate this case but wishing he could think of a way to wriggle out of it!  Maybe at the start of Scene 6 he thinks has has found a way, but talking to Tiffani he just can't say "no".

This is cool because it gives the audience that monomyth "The Hero Declines The Call To Action" story beat that audiences are so familiar with (because of Hollywood's obsession with Campbell...or, really, with Lucus's success).

The more Philip tries to wriggle out of the case, the more the Reader KNOWS that he's going to investigate.  But more than that, I have been giving them a taste of the paranormal since Scene 1, so by Philip STILL trying to find a way to say "no" 6 scenes in, the Reader might even be growing a little impatient for him to stop stalling and accept the case already!

Why is that a good thing?

Because then the audience WANTS to see the investigation!  When Philip shows up for the investigation with Tiffani and CTPI, the Reader is a little RELIEVED.  "Finally," they might feel, "we can get on with it!"

The way the outline read before, Philip investigating the case felt (to me, anyway) inevitable.  As it always has been.  This whole novel is predicated on Philip investigating this case.  This case was invented to be investigated, and Philip is who I created to investigate it.

And the audience knows that.  They bought the book because they know that Philip is going to investigate this case.  They started reading so that they can find out how Philip solves the case.

But sex is always better with foreplay.  And the best foreplay starts long before the clothes come off, even before the date begins!

So let's see how this looks in outline form:

---

Sc 06 - PHILIP meets TIFFANI to talk about the case.  He's going to tell her that can continue helping them on his days off, reviewing evidence or whatever he can do, but he just can't get the time off work, but Tiffani launches right in with the background: New house, no recorded deaths or psychic trauma.  Whole neighborhood was an empty field before that.  This fact interests Philip, but he won't say why just yet, he's still going to beg off the case.  Tiffani is worried this might be "inhuman", but since "civilian" cleansings didn't work, there might be nothing CTPI can do for the Brimes family.  (During their, the 2nd, cleansing, CTPI utilized an ordained minister, so they're up against the wall.)  There is another aspect that makes Tiffani want to solve the case for the Brimes family, but she doesn't want to taint Philip's opinion.  Philip starts to explain that he can't do it, but the look on Tiffani's face won't let him.

---

I like it!  :D

Just a couple of tweaks and the scene now plays with some emotion!

Now, as you read this, at this point I still don't know how this scene played out in the finished book.  I'm excited because when I get to the day I write this scene, I will read this description and be able to slip into that writing trance that makes this job so much fun and write the shit out of this scene!  But when I'm in that trance, I don't know what's going to happen.  And I also don't yet know what will happen after the first draft's finished (I haven't even completed the outline yet) or what will happen when I rewrite the book after that or, if I'm very lucky and sell this to a publisher, what an editor will say about this scene.

But the only thing that matters is that I had a scene I felt comfortable writing, and now I'm actually excited about it!  THAT is "the process" and that is what we're shooting for.  We want to make ourselves excited about writing this thing!

We'll worry about what the Reader actually thinks much, much later.  The Reader isn't here to hold our hand through the loneliness and insecurity.  Right now we have CRAFT, we have process.  We know, if we're honest and generous with ourself, when we do something well and when we do something better, and we're trusting that for the time being.  This should be part of the PLAY for us.

Listen to me, getting all mentor-y.  As I write this I'm not even published, so how about I step off my high horse and remind myself I'm still figuring all this out?

Okay, so Scene 7...

After the way Scene 6 now plays, I'm already wondering if I won't be inverting these two scene.  Maybe I need Scene 7 to convince Philip (and the Reader) that Philip CAN'T do the investigation.  Because I know that Scene 7 is just going to be him talking to that producer he's crushing on and her becoming unhappy with him.  I also know that JAMES (whoever James turns out to be) is going to give him a hard time.

If Scene 7 comes before 6, it motivates Philip's attitude at the beginning of Scene 6.  Then when he caves, we cut straight to Scene 8: The investigation.

But let's outline Scene 7 first, and then decide...

---

Sc 07 - Thursday Night - As soon JAMES gets in PHILIP begs him to cover Saturday.  James obviously wants to say "no", argues in his head for a few minutes, then says he'll do it.  RELIEF!  Philip tracks down TANGIE.  They banter (maybe even flirt?) for a bit, then Philip dives in: He gives her a jump drive with his scripts and video and begs her to forgive him for not being able to make it Saturday.  Tangie becomes an ice queen.  Philip tries to explain that he wouldn't do this if he had a choice, and Tangie informs him he doesn't.  She's barely holding this show together, scrounging every bit of advertising she can con out of someone because the General Manager keeps hinting the show doesn't make enough money to keep it on the air, and now Philip is bailing, too?  He's not bailing, he just can't be here Saturday.  "That's fine", Tangie says, but Philip knows it's not fine.

---

Yeah, I'm switching the order of those scenes.

Of course, if I hadn't already considered it, would I have written Scene 7 differently?

Probably.

Actually, I think I had convinced myself to switch the scenes before I had finished explaining to you, probably-not-as-curious-as-I-think reader, why I might switch them.

And now I have a NEW SCENE!!!  27/40!  WrItInG rUlEz!!!  :D

Okay, I need to be thinking about work now.  I mean the day job.  It's 6:19 pm and I should avoid being late if I can.  I'm still excited about this new addition to my outline-writing arsenal, but I think I'm tapped for the time being.

"One hour of work," you might exclaim, "You wuss!"

Yes.  Yes I am.

Now you know why I haven't published a novel before this.  :P

Also, it might be worth considering how in-depth I should go with these blogs.  I mean, publishing what I've done is one thing, but putting all my thought process on the page might actually be splitting my energies.

Maybe not.  It's something to consider, though.

Attitude Map

My friend Denise Broussard (author of BEHIND BARS) and I have a standard weekly Skype meeting set up for...well...sometime between 7:00 pm and 9:00 pm, depending upon how our day has gone.  I think it was back in late November that we started using these meetings as a time to get some writing done.  We catch up on how the other is doing, chat about whatever is we're excited about this week, then we write on whatever we're working on at the moment.  For me, it has been the outline for this novel, but I believe she has worked on a couple of different projects over the course of this time.

I'm writing this at 4:16 pm on Monday, 13 January 2014.  I don't intend to post this until after I have posted Outlines 001 through 003 because I want my posts to reflect my chronological progress through the novel.

But I need to write this right now, because I have to work out a story problem, and I might as well do it here, in the blog -- where you can read my thoughts as they occur to me -- rather than in my composition notebook.  By sharing my thought process here instead of my notebook, we can both benefit from them.

But first, back to two night ago...

Rather than simply reviewing my outline and trying to add more scenes, I decided for this mutual writing session that I would create a document that I would call an "Attitude Map" and see where that takes me.

The Attitude Map is the invention of John Vorhaus, and he explains it in THE LITTLE BOOK OF SITCOM.  As he explains it, it's another platform document to get you from Story Idea to Outline.  It's meant to be disposable, a means to an end, not an end in itself, just thinking on paper (or the computer screen, like I'm doing now).

Vorhaus' Attitude Map consists of a character's emotions, then a Pivot (and action or change of situation) that alters that character's emotions.  It's a brilliant idea!  It's amazing how much the subconscious mind can create when the conscious mind is distracted by coming up with pivots (as opposed to editing, which often impedes creativity)!

So I decided to create my own version of an Attitude Map, starting with Scene 2 (the scene in which I introduce my Readers to my Hero) and just seeing how far I can get.

It's like this: I would simply write down what happens from scene to scene, making sure to end each scene with a change in the overall situation and/or my Protagonist's feelings about or understanding of said situation.

Here's what I got done Saturday night:

***

ATTITUDE MAP


Scene 2:
PHILIP BLACKWOOD (26) arrives at MISTY's house.  He has brought XAVIER, Misty's neighbor, with him.  Philip explains to Xavier that Misty has been bothered by monthly thumps on her roof that she feared were paranormal.  Xavier laughs, and also seems embarrassed about this.  Philip takes Misty and Xavier out front to show Misty the tree at the edge of Xavier's back yard that hangs over the edge of her roof.  He explains that Xavier has a cat who, once a month when the moon is full, freaks out, climbs the tree and scampers across Misty's roof to get to the Benny family's back yard.  The Benny's have two cats that Xavier's cat, Lilith Puffysox, likes to play with.  But Philip suggests that Xavier explains WHY this happens every full moon... Xavier has a garden in his back yard, and he is Wiccan.  Every full moon he performs a ritual inviting the gnomes to bless his garden.  This activity freaks Lilith Puffysox right out, so she escapes Xavier's yard to play with the Benny's cats, and shows up the next morning on Xavier's doorstep.  Misty had no idea Xavier was a witch; she and Xavier strike up a friendship.  Philip's phone rings: TIFFANI needs a favor.

Scene 3:
TIFFANI's group CTPI is investigating the Brimes family's home.  It's powerful, but not residual or intelligent ghosts.  2 cleansings failed and the Central Texas Catholic church will not sanction a cleansing.  To help TIFFANI out, PHILIP will review the evidence CTPI has and decide if he will take the case.  (She really wants his help, but he is hesitant because he doesn't want to investigate private residences -- they're usually not weird enough for his mind.)

Scene 4:
PHILIP reviews the evidence: It's good.  DODDY, a little ghost girl, converses with the team for a couple of minutes.  Inhuman growl on EVP.  Night table in baby's room moves 17" on IR video.  Small shadow turns into large, menacing shadow on IR video.  There's certainly paranormal activity going on, but is it anything more than typical?

Scene 5:
TIFFANI introduces PHILIP and CARLTON BRIMES (25).  Carlton's wife and child are away, and he hopes to wrap this up before they come back.  Philip is supicious: Why is Carlton hiding his wife and child?  Carlton and Tiffani give Philip the tour of the house.

Scene 6:
PHILIP and TIFFANI talk about the case later.  New house, no recorded deaths or psychic trauma.  Whole neighborhood was an empty field before that.  This fact interests Philip, but he won't say why just yet.  Tiffani is worried this might be demonic, but since "civilian" cleansings didn't work, there might be nothing CTPI can do for the Brimes family.  (During their, the 2nd, cleansing, CTPI utilized an ordained minister, so they're up against the wall.)  There is another aspect that makes Tiffani want to solve the case for the Brimes family, but she doesn't want to taint Philip's opinion.

Scene 7:
PHILIP's personal life...

Scene 8:
6:00 pm - PHILIP, TIFFANI, MAX and NOEL arrive to investigate Brimes house.  Philip mentions that he thinks it would be really helpful to talk to Britney Brimes, and that seems to make CARLTON really, really nervous.  (This happens over dinner.)

Scene 9:
6:55 pm - Setup happens, PHILIP & TIFFANI investigate Ariel's Room while MAX & NOEL investigate the Storage Room.  45 minutes of nothing.  (7:45 pm) TIFFANI & PHILIP investigate Parents' Bedroom while MAX & NOEL investigate Parents' Bathroom.  Another 45 minutes of nothing.  (8:37 pm) PHILIP & MAX investigate Guest Bathroom while NOEL fast-forwards through what they have of the Hallway so far and TIFFANI checks her audio to see if she has anything.  45 more minutes of nothing.

Scene 10:
9:24 pm - CARLTON has been surfing the Net in the Study for the last two-and-a-half hours.  He seems nervous (acting suspicious) when PHILIP tells him they haven't found anything yet.  Philip mentions this.  Carlton explains that he never believed in this stuff before, and he's still not comfortable with it now.  But since...since he can't deny it now, he's been noticing all kinds of strange things.  He thought he saw...no, he's sure he saw a black panther at the edge of his property one night, only twice as large as a doberman, maybe larger.  Britney has always been interested in this stuff, as Philip can tell from her DVDs, and a giant back cat doesn't figure into it.  Philip explains that that's not unheard of in the paranormal world, but he senses that there is more to Carlton's unease.  Carlton is hiding something.

Scene 11:
9:30 pm - Noel volunteers to watch the cameras (set up in the Study) while PHILIP, TIFFANI and MAX investigate the Kitchen.  Tiffani leads the EVP session, trying to engage Doddy.  Tiffani's questions are about what it was like when Doddy lived here.  After no responses, Max asks how Doddy died.  (Philip thinks this question is a mistake, but doesn't say anything.)  Max suddenly can't breathe.  They end the session and leave the room, and Max gets her breath back.

Scene 12:
9:51 pm - CARLTON is worried that maybe they should end the investigation for tonight.  MAX absolutely does not want to!  NOEL worries about an entity that would attack Max.  Is it, maybe, that dark thing they saw in the hall last time?  The thing that growled?  (Assuming they are the same entity.)  MAX is excited they're getting a response; it it wants to attack her again, she's not scared.  TIFFANI doesn't want CTPI to stir up anything that they can't deal with, and then leave Carlton here alone afterward.  PHILIP suspects it wasn't an attack: He points out that Max asked how Doddy died; maybe Doddy was "showing" her.

Scene 13:
10:01 pm - PHILIP, TIFFANI, MAX, NOEL and CARLTON are all in the Kitchen trying to contact Doddy.  10:44 pm rolls around with no results.  10:49 - 11:30 pm PHILIP and MAX investigate Ariel's room.  11:40 pm - 12:25 am PHILIP and NOEL investigate the Storage Room.  12:35 - 1:20 am PHILIP and TIFFANI sit quietly in the Hallway.  At 1:48 am Philip and CTPI have packed-up and leave CARLTON, Tiffani insisting he call her cell phone if anything happens or if Carlton needs anything.  They'll review the audio and video they caught tonight and let him know.  As Max and Noel drive off, Tiffani asks what Philip thinks.  He'll let the data inform his opinion, but right now he doesn't see anything especially odd about this haunting.  Tiffani isn't pleased with this assessment -- she clearly wants Philip to come to some specific conclusion about this case, but she won't tell Philip what's bothering her.

Scene 14:


Scene 15:
Tiffani finds out that there was a low-rent apartment complex on the land for a couple of years before the land was bought by the Tiger Group out of Japan.

Scene 16:


Scene 17:


Scene 18:


Scene 19:
PHILIP walks into the kitchen to find BRITNEY staring, silent.  He asks what's up and Britney asks doesn't he see her.  Her?  Britney points.  Philip doesn't see anything.  Britney insists that "she" is right there!  Philip walks slowly toward the spot, his hand outstretched, feeling.  Philip stops cold when he feels a tiny hand grab his own hand.  He reacts physically and AT THE SAME TIME Britney says, "Did you feel that?  She just grabbed your hand!"

***

I started off with Scene 2 being blank, and proceeded to Scene 3.  I didn't know yet how to INTRODUCE my protagonist.  Think of that scene in RAIDERS OF THE LOST ARK when we see a man and 2 natives hiking through the jungle, then one native draws a gun, the man hears it, then out comes a bullwhip to disarm the aggressive native, who then runs away, and then the man turns around and reveals himself to be INDIANA JONES.  We see him in silhouette and obscure closeups until after he has revealed himself to be a badass, and THEN we see his face in a heroic closeup.  This is Introducing the character, and we're supposed to do this with all our important characters: protagonist, antagonist and any significant supporting characters.

So Scene 2 I left blank and proceeded to about Scene 10.

You may notice that Scenes 11 and 12 were already written in the previous outline, but I wasn't sure about their placement.  I initially assumed they would be separated by a scene or two, to draw out the suspense, but I can't seem to make that work, and it may not be necessary, so they are now successive.

After I put Scenes 11 and 12 in my Attitude Map, Scene 13 seemed logical.  I've managed to make a real meal out of Philip's first investigation and, I think, given the Reader a decent sense of what a paranormal investigation actually feels like -- a lot of waiting, and very little actually happening.  Plus, since I'm more than a quarter of the way through the book now, I thought it time to bring in some drama: Tiffani is looking for a specific reaction from Philip that she's not getting, but she's not willing to say what or why just yet.

After Denise and I had been writing for half an hour, we checked in with each other to see how it was going and if we felt like going longer.  I asked her about my Protagonist Introduction scene and she offer a suggestion.

The tone of her scene was more Melodrama -- Philip saved a little girl near a graveyard from a  couple of thugs -- and this novel is playing out more like a Drama, so I thanked her and explained that I couldn't use it.  (I haven't told her much about what I'm working on because an enthusiastic reaction, I have found, can cause me to stop writing just as much as a negative reaction.  She's a very positive person, so if I tell her she may well really like the idea...and then I might feel like moving on to another brilliant idea, rather than finishing this one.  I have psychological issues, have I mentioned that yet?)

But what Denise's suggestion did was get me thinking outside Philip's home or office!  I was thinking of something along the lines of Sherlock Holmes stories, where Holmes meets the person who wants to hire his services, and then dazzles that person (and Watson and the Reader) by knowing all about the person (and probably what they want him for) by just observing the person's clothes.

By getting me to think outside Philip's home/office, Denise opened up the world to me for that Introduction scene!

Then my mind grabbed a memory of something I had been thinking about as I woke up one afternoon recently.  I sometimes hear soft thumps on the roof of my apartment, thumps that could be a critter of some sort running across the roof.  There are trees that overhang my apartment, and I have seen tons of cats, at least one raccoon, and I think I may have seen a possum around here once or twice.  So when I hear those soft thumps, my first thought is "Paranormal?" and my immediate, almost instantaneous second thought is "Critters."

And that's what paranormal investigators do, we try to debunk what others think may be paranormal phenomena.  That's all we can do, because we can't PROVE a ghost/UFO/cryptid unless we catch one on video or in a picture -- and even then a hundred people will pop up to claim it's pareidolia (aka "matrixing") or it's Photoshopped or something else.

As I've observed in a previous post, most "scientific" paranormal investigators stop looking for a paranormal explanation once they've found a reasonable, rational mundane explanation for a phenomenon.  If they can find a mundane explanation, they can bet that that's the explanation the skeptics are going to go with, regardless of the personal claims of the original experiencers.

But what makes Philip different is that he's willing to look deeper, and in the case of Scene 2 of this novel, he actually finds the paranormal cause of the mundane phenomenon.

This is useful for a couple of reasons:

1. It reveals (hopefully) just how very clever Philip is, and...

2. ...it lets the Reader know that even though this is a Mystery novel (a genre which generally frowns upon supernatural solutions to the mystery) the solution to MY mystery WILL be supernatural.  If the Reader isn't on board with that, they can comfortable close the book after Scene 2.

Okay, so that's what needs to be explained about my Attitude Map.  But that's not why I was inspired to write this post now.

I want to consider my story's progress...

I'm still not sure why Philip is hesitant to take this case.

When Philip was Alex, he didn't want to take the case because he was trying to distance himself from the paranormal as much as possible (except the paychecks, of course) so that he could have a career as a "serious journalist".

But Philip LOVES the paranormal.  And he clearly likes Tiffani.  So why is he trying to weasel out of this case?

My initial structure for this story has him doubting whether or not there is anything paranormal about what the Brimes family is experiencing.  But the way the story's playing out so far, there is clearly genuine activity going on.  Philip knew that before he agreed to take the case, just from reviewing CTPI's evidence.

So why?

When I was making my pro-Outline argument, I observed that the main difference between a short story and a long-form story is the twists and turns, the different directions the story verges off in before reaching its conclusion.  Those twists and turns are motivated by the characters' motivations.

More than that, the drama is motivated by the characters' motivations.  They need to want different things, and those wants can't be fulfilled until the end of the story, or else the Reader doesn't feel fulfilled.

I have (sort of) got Tiffani's motivation: She needs this haunting to be legitimate because she doesn't want to have to report the Brimes parents to Child Protective Services for possibly endangering their daughter (the unexplained scratches).  I sort of, kind of have Carlton's motivation: He's secretly afraid that his wife accidentally scratched their baby and is using the paranormal stuff as an excuse.

But I don't ave Philip's motivation at all.

Now that I'm thinking out loud, it occurs to me that maybe this has to do with Scene 7...

I know, from a lifetime of watching TV and movies and reading novels, that I need Philip to have a subplot that is just (or mostly) about him as a person.  I need his life to be altered by this mystery, preferably in a way that at first seems detrimental, but then turns out to be for the better.

Since Saturday, I have been toying with the idea that these personal scenes might involve Philip going to a professional psychic in hopes of increasing his psychic abilities.  The running joke would be that the more he tries to be psychic, the more wrong his predictions/insights/whatever are.

But as I state the problem, I'm thinking more and more that maybe this investigation is taking Philip away from something he wants or needs to do.

The idea I'm having at this moment is that maybe Philip has a paid speaking engagement at paranormal convention, and maybe the longer this case drags on the more chance he will miss it?

I still don't know how Philip makes his money.  I know he writes books, but unless you're Stephen King you don't necessarily make a living writing, especially writing paranormal non-fiction.  (Even authors who write mainstream science texts don't make their living that way; the market is too specialized, there aren't enough readers out there who want to read those books.)

So if Philip has a day job like I do, maybe he's taking time off from it to investigate?

I'm an overnight master control operator for a TV station.  (Three channels, actually, all broadcast out of the same station.)  When I joined Texas Spiritis Paranormal Investigations I worked Thursday, Friday, Saturday and Sunday (10-hour shifts, so I get a 3-day weekend).  For the first year I used vacation days for investigations; usually two, one for the investigation and one to review the audio, video and pictures looking for anomalies that could be paranormal evidence.  (After the first year, I talked to my coworkers and we shifted my schedule so that I can be off on weekends.  Now I'm always free for an investigation at a moments notice.)  (Btw, investigations tend to happen on the weekend, since it's usually the one time the clients and investigators have the time to do it; everybody involved has a job to go to during the week.)

So if I gave Philip my job -- which I can write about with confidence and detail --  then maybe his job is suffering because of all the time off he requires?

A possible problem with that scenario is the fact that a TV station is a bit like a conveyor line in that the station broadcasts 24/7, regardless of who is actually pushing the buttons.  The only way his job suffers is if the other overnight operator is getting tired of giving up his days off.

I work with really great people in my department, but maybe Philip doesn't.

In fact, come to think of it, I would be the asshole of the department when it comes to filling in!  I always tell everyone to make me their last option, because I value my time off more than the overtime pay!  So what if the weekend overnight operator who has to fill in for Philip is an exaggerated version of me?  On his days off he does something that he really, really enjoys doing and he gets pissed when he can't do it?

Another way to raise the stakes is if Philip has an additional responsibility that he, alone, takes care of, and that the other overnight guy doesn't want to.  I'm thinking, specifically, of the couple of years in which one of my stations had a local movie review show.  I'm a really good editor -- I learned by plugging two VHS machines into each other, then I learned to cut reel-to-reel tape by hand, then I learned the AVID non-linear system, and I am pretty quick to adapt to other systems.  So when the producers of this movie-review show were looking for editors to cut theatrical trailers -- usually 90 seconds to 2 and a half minutes long -- down to 1 minute, 45 seconds or even 30 seconds -- I volunteered.

I want this story to take place in real-life Austin, TX, but I wouldn't use the call letters of the station I actually work for.  So maybe not only the call letters are different about the station Philip works for?  Maybe one of the channels he broadcasts currently has a local movie-review show!  And if it does, Philip could be an editor for that show!

OR... to make matter more intense, maybe Philip is one of the hosts!

Well...that's not likely to fly.  If he were one of the hosts, he would probably be replaced because of his schedule.

OOH!!!

MAYBE THAT'S THE SUB-PLOT!!!

Bare with me...

Okay, so Philip used to be with CTPI for a couple of years when he was 23 and 24.  During that time he wrote a few books about the paranormal, and they sold astoundingly well (in paranormal non-fiction terms) so that he actually got a little extra spending money.  But two or more of those books became sort of definitive in the field (because they were easy for non-investigators/non-researchers to follow, and yet they covered a wide range of topics).  Then a cable Paranormal Reality TV show producer contacted him to use some of his work as background material.  That show did okay, and maybe that producer got a second series going.  He pays Philip to be a researcher for this show, too, but this is an ANCIENT ALIENS style show, so Philip gets bumped up to on-camera "talking head"!  Since he lives in Austin, he Skypes in -- like Bill Birnes on UNSEALED: ALIEN FILES -- and now he makes enough money to put a little away in savings!  Then this (cable) TV exposure convinces the producers of the local movie-review show that Philip can do the co-hosting job on the show, and that's been working out for him so far!

He has been co-hosting the show for 2 years now, during which time he has been forced to step away from CTPI.  Tiffani didn't want to lose him, but she understood that this is a career opportunity for Philip.

And Philip can still research his books, he just does it during his days off -- Monday through Wednesday.  He can't join CTPI for investigations, but he can do as much research as he likes, and even investigate if he can find someone to let him into a location during the week.

As I see it, Philip goes into work early on Saturdays to tape the show.  I figure he normal goes into work at 8:00 pm (like I do), and I figure the movie-review show probably tapes around 5:00 pm -- it's a half-hour show, and the Production department wand to be done before the 6:00 pm news broadcast, so there's a half-hour transition time, unless something really bad happens and they have to re-start taping.  (Usually though, such shows are treated as though they are airing live, and any flubs just get dealt with; it would take something REALLY HUGE to cause the director and producers to stop taping and start over.  It almost never happens, so, functionally, these shows are treated as live events. ("Live-To-Tape" is the industry term.))  The reason the show tapes at 5:00 pm is because the types of people who do this show are Promotions type people who are used to Monday-Friday, 9-to-5 hours, and they always have plans for Saturday night.

OOH!  And I can write a version of this SUPER-HOT, SUPER-COOL producer/host I worked for in real-life when I was editing for the actual show this is based on!  It'll be awesome to hang with her again, even if it's a fake her.  (She has, sadly, moved on since then.)  I had an itty-bitty crush on her.  But Philip can have a huge, raging crush on her fictional counterpart!

AND...!!!

She's not going to be happy with him since she has to find a replacement for him for one or more of the shows during the course of this novel!!!  :D

Reality Check:

I just realized that Philip can't be a regular host.  Part of hosting a movie-review show is going to see movies.  Media screenings tend to be held on the weekend...when Philip is working.

So maybe he just has a regular segment or two.  The first thing that comes to mind is a "trailer-review" segment.  Philip helps pad the show by reviewing the coolest and least-cool trailers on the Internet this week.

Then, thinking about the Internet (which wasn't in full swing back when I was editing for the real-life movie-review show), Philip could further pad my hosting an Internet Buzz segment!  He could talk about a movie or movies that have particularly strong "buzz" this week.

The benefit of Philip hosting these segments is that he can have done the video-editing and writing needed for these segments during the week, so that it would be much easier for someone to simply role his clips and read his copy off teleprompter.  But the segments would, naturally, be harder on the person reading the copy because, since they didn't write it themselves, they wouldn't be able to hit the emphasis that Philip wrote into it -- they would come off sounding a bit "wooden" or "stiff".

THIS IS FRICKIN' GENIUS!!!

Mind you, I am not judging myself to be a genius, nor am I judging the quality of the material to be better-than-average.

I mean, yeah, I've got a huge ego and am a pretty big fan of me.

But what's awesome is that when I sat down to write this post (about 2 hours ago) Philip didn't have much of a life outside solving this mystery, and I didn't have any legitimate dramatic tension going on!

BUT NOW...!!!

AND... I'm excited by the fact that I got to share it with YOU, semi-curious reader!  You watched it happen AS IT HAPPENED!  :)

I would LOVE to be sitting in the room with Joss Whedon or Aaron Sorkin as they hash out a story problem, and watch them go from problem to solution!

I can only apologize that I am not Joss Whedon or Aaron Sorkin.  :(

But the point of this section of the blog is to let you in, as intimately as humanly possible, into the process of how this novel is getting written.

The closest I have seen before was Russell T. Davies' & Benjamin Cook's DOCTOR WHO: A WRITER'S TALE, in which Cook and Davies exchange emails during the course of the 4th season (and actually a bit further) of the current DOCTOR WHO.  Davies reveals A LOT about his process in that book, and in the first edition of the book you can even read early drafts of script pages, to compare them to what actually made it to air.  (In the second edition, they had to jettison the draft pages to make room for more email exchanges, since the second edition covers the year of specials wrapping up David Tennant's tenure as the Doctor.)

As I've been doing these posts, I have become aware that even posting different versions of the outline don't let you in as intimately as I would like to, because there is a lot of thinking that goes on between each version, and the more time that passes between drafts of the outline the more the details of why I made each choice become more hazy.

But with this post, I have actually succeeded in showing you my process!

Now, is it the "right" process?  Am I going about this the "correct" way?  Is this the way you should write your novel/screenplay/whatever?

No, of course not.

If you find something in here that helps your writing process go more smoothly or be more fun, by all means use it.

But no two people write alike.  (Unless, maybe, they're staff writers on the same show.  But even then, I doubt it.)

Denise and I couldn't be more different in the ways we approach writing, and we sometimes collaborate.

But I'm thrilled that I got to share how I do what I do with you because you can now analyze what I do, compare it to what you do, and see if there's anything helpful you can gank from me.  :)

Okay, need to go to the "day job" now.

Outline 003

With all the failed subplots, I was kind of bummed out about Alex.  I wasn't really feelin' him.  He just wasn't someone I wanted to hang out with.

I don't remember precisely when I got the idea -- I believe it was a smoke break at work, because I didn't have time to actually work on the outline, but ideas were still flowing through my mind anyway -- but it occurred to me that another way to go with my protagonist was that he LOVES the paranormal...  Maybe he even wants to develop his latent psychic abilities!

So if that's the case, maybe his name IS Philip Blackwood!

So instead of Alex's comedic quirk being that people know him as Philip and want him to investigate paranormal mysteries even though he is trying to distance himself from the field, Philip is Philip and he LOVES investigating the paranormal and his comedic quirk is that he wants to be psychic but he just isn't!

This take on my protagonist refreshed the whole project for me!

I would MUCH rather hang out with Philip than Alex, and therefor I believe it's a safe bet that the Reader probably would, too.

And maybe I didn't need to worry about a subplot for my protagonist.  Maybe I should just work on him solving the mystery and see how that plays out.  Worst-case Scenario: I read the first draft and decide not having a subplot was a mistake.  If that's the case, there's always the second draft to make it right!  :)

My first step was to update my Outline:

***

PHILIP BLACKWOOD MYSTERIES #1
Outline 003


Sc 01 - BRITNEY BRIMES (25) is in the kitchen and sees a LITTLE BOY out of the corner of her eye.  She doesn't hear anything, just turns to see the boy running out of the kitchen.

Britney follows the boy, but he's not in the living room.  She walks on to the storage room, and finds the Little Boy standing there, staring at her, looking unhappy.  She tells him she's seen the little girl, but never seen him.  The Little Boy doesn't answer.

Does he know the little girl?  Is he is her friend?

The Little Boy says, "I'm not a boy," his voice deepens, his eyes become dark sockets, and he morphs, "I'm the Debbul."

Britney screams and flees.

Sc 02 - PHILIP BLACKWOOD (26) is very clever, great at unraveling mysteries by recognizing which clues belong to which aspects of a tangled mystery.  His friend TIFFANI BELLE CHRICHTON (27) shows up to ask a favor.

Sc 03 - TIFFANI wants PHILIP to investigate a case.  The Brimes Family are being tormented, but Tiffani's group -- Central Texas Paranormal Investigators (CTPI) -- can't solve it.  It's too powerful to be residual or intelligent ghosts, it is actually hurting the family and their daughter, but 2 religious cleansings have failed to exile whatever it is, and no Catholic churches in the Central Texas area will area will sanction an official cleansing.  Seeing that Tiffani is desperate, Philip tentatively agrees to look at the evidence Tiffani's group has collected.

Sc 04 - PHILIP review's evidence:

1. A little girl, DODDY, actually converses with the team for a couple of minutes.

2. An inhuman growl is heard in EVP.

3. A night table in the baby's room is moved 17 inches on video.

4. A small shadow turns into a large, menacing shadow on IR video.

Philip is intrigued enough to help.

Sc 05 - TIFFANI takes PHILIP to meet CARLTON BRIMES.  Britney and Ariel are at Britney's mothers.  If possible, Carlton would rather wrap this up before Ariel comes home.  (This is unrealistic, but Philip holds his tongue, though Tiffani is uncomfortable with this unrealistic expectation, too, he can tell.)

Ariel's Room: Ariel scratched, furniture moving.

Kitchen: Little girl seen.

Storage room: Little boy turns into "the devil".  Growl EVP.

Parents' bedroom: Aural conversation with Doddy.

Parents' bathroom: Banging on inside, not heard outside.

Guest bathroom (near Ariel's room): Guest pushed into shower.

Hallway: Shadow IR video.

Sc 06 - PHILIP and TIFFANI talk over the case: This is a new house and the Brimes are the second family to live there.  No trauma from the previous tenants.  Before that, this land was empty.  So no history to explain ghost phenomena.  (Which strengthens the "demonic" possibility more.)

Sc 07 -
Sc 08 -
Sc 09 - PHILIP isn't sure if either CARLTON BRIMES or BRITNEY BRIMES are sane... How can he fulfill his promise (to help them out) to Tiffani?  TIFFANI wants his help because she and CTPI, by law, have to inform Child Services if they think one of the parents caused Ariel's scratches.

Sc 10 -
Sc 11 -
Sc 12 -
Sc 13 -
Sc 14 - Tiffani finds out that there was a low-rent apartment complex on the land for a couple of years before the land was bought by the Tiger Group out of Japan.

Sc 15 -
Sc 16 - PHILIP walks into the kitchen to find BRITNEY staring, silent.  He asks what's up and Britney asks doesn't he see her.  Her?  Britney points.  Philip doesn't see anything.  Britney insists that "she" is right there!  Philip walks slowly toward the spot, his hand outstretched, feeling.  Philip stops cold when he feels a tiny hand grab his own hand.  He reacts physically and AT THE SAME TIME Britney says, "Did you feel that?  She just grabbed your hand!"

Sc 17 -
Sc 18 -
Sc 19 -
Sc 20 -
Sc 21 -
Sc 22 -
Sc 23 - PHILIP and TIFFANI learn that CARLTON BRIMES thinks that BRITNEY BRIMES accidentally scratched ARIEL BRIMES and he wants them off the case!

Sc 24 - This is PHILIP's excuse to quite the case... But he can't.  He has to figure this out for his own reasons!

Sc 25 -
Sc 26 -
Sc 27 -
Sc 28 -
Sc 29 -
Sc 30 - PHILIP knows that BRITNEY didn't accidentally scratch ARIEL!

Sc 31 -
Sc 32 -
Sc 33 -
Sc 34 -
Sc 35 -
Sc 36 -
Sc 37 - PHILIP makes a deal with the ELEMENTAL: Inside belongs to the Brimes family and outside belongs to the Elemental.

Sc 38 - PHILIP explains to POE that he doesn't have to protect Doddy anymore, no one can hurt them where they are now.

Sc 39 - PHILIP explains all.  The BRIMES Family is safe here.

Sc 40 - TIFFANI and PHILIP are having lunch to discuss how the Brimes family is doing now.  Tiffani asks Philip one final question about the Brimes case...

Sunday, January 19, 2014

Subplot 003

Subplot 003


Sc C1 - ALEX is depressed about his career.  No one knows him as Alex Kane, investigative reporter; to the world he is Philip Blackwood, paranormal researcher.  He's trying to distance himself from the paranormal field, and besides, he's in the wrong head-space to work with a haunting, he's vulnerable.

* But TIFFANI tells him there's a 2yo involved and the family is genuinely scared. [Alex goes from depressed to concerned.]

Sc C2 -

*  [Alex goes from concerned to worried.]

Sc C3 -

*  [Alex goes from ]

Sc C4 -

*  [Alex goes from ]

Sc C5 -

*  [Alex goes from ]

Sc C6 -

*  [Alex goes from ]

Sc C7 -

*  [Alex goes from ]

Sc C8 -

*  [Alex goes from ]

Sc C9 -

*  [Alex goes from ]

Sc C10 -

*  [Alex goes from - to depression disguised as happiness.]

Sc C11 -

*  [Alex goes from ]

Sc C12 -

*  [Alex goes from ]

Sc C13 -

*  [Alex goes from  to - inspired.]

Sc C14 -

*  [Alex goes from ]

Sc C15 -

*  [Alex goes from ]



P - Inspired, Fearless
C - Worried
N - Depressed
E - Depression suppressed, disguised as happiness

***

This is a pretty interesting document, to me.

I had forgotten all about it.

After Subplot 002 I ditched Leela and decided to focus on Alex's personal journey through the story.

When he was living with Leela, I knew more about who he was.  I didn't like who he was, but I knew who he was.

(Actually, looking at the scene-numbering system, it looks like I might not have abandoned Leela 100%... maybe just 98% at this point.)

So I created this document in order to let Alex "cross the street", so to speak, and see if I could get to know him better.

This is a more literal application of John Vorhaus' Attitude Map than I would (it turns out) be employing in a week or two.

The Attitude Map is a method of generating story moments by placing the character in a specific situation, then dropping a Pivot on her -- a change in the situation that, subtly or drastically, changes her emotional state.

So one ambitious night I creates this list, intending to fill in all 15 scenes with...SOMETHING...

Clearly, it didn't work.

The plan was a good one, but since I knew so little about Alex -- and, for that matter, the Mystery he was meant to solve -- I just couldn't come up with anything.

It happens.

I don't call it Writer's Block anymore (thanks to Mr. Vorhaus), I call it "Not Knowing Enough About My Characters And My World".

And in this instance, I believe I chose to simple not write this night.

Now, in the past a night like this might have lead me to seriously consider abandoning the project altogether.  But for whatever reason, staring November 2013 or so, I got it into my mind that I WILL publish this year.  So I didn't worry about the utter failure, I simply accepted it as what is -- now, in this moment -- and that what is will change, sooner or later.

I am not condoning not-writing.

But I'm going to take a different tack than many how-to-write authors:

Sometimes there's nothing to write, and sometimes it's just an excuse.  You know the difference.  When you're pro, you'll have deadlines, and the more you fail to write the harder it will be to make those deadlines when your career gets going.  And if you fail to write consistently, you will never become a professional writer.  Or, if you've sold a story, you'll stop being a professional writer.

...OR....

...here's a horror story to send a chill down your spine...

...you will begin trying to be a writer when you are 22, and you will fail to become one until you are 43 years old!

Now, in addition to reading about how-to-write since 1992, I have written screenplays and shorts and unfinished novels, and I've been blogging since May 2005.  So I have been toiling in my obscurity, honing my writing skills and sharpening my understanding of the craft.  And I've been living life, and I've been working my day job.

But I've also come to an understanding that a novel is merely a stack of pages that tell a coherent story.  That's it.  I mean, it's better if that coherent story is GOOD and told well!  But in the end, it's just a stack of pages.

In the 1980s when I first started reading about writing (William Goldman's ADVENTURES IN THE SCREEN TRADE: A PERSONAL VIEW OF HOLLYWOOD AND SCREENWRITING) I had this in-born ideal that professional writing was some magical calling, like you would have to pull a sword out of a stone to be able to do it.  And for over 2 decades I was sort of looking for the stone wit a sword sticking out of it, but I never found it.

Then it finally sunk in: A professional writer is someone who writes a stack of pages (the appropriate number of pages for the medium they're written for, and in the correct format for that medium) and THAT'S IT.

This novel is my first stack of pages.

This blog is sharing with you, curious reader, HOW I wrote that stack of pages, as I write them.

And the above platform document represents a question: Do I write today, or not?

Actually, it's more like a series of questions:

Do I write RIGHT NOW?  If not, why?  Do I write later?  WILL I, realistically, write later?  Am I not writing because I'm not inspired?  Am I not writing because I need to do more research?  If I don't write today, will I (realistically) write tomorrow?  If I don't write now, will I finish this project by the deadline?  If I don't write right now, will I finish this project next week?  Next month?  Next year?  Next decade?

Can I be happy with the results if I don't write now?

John Vorhaus, in HOW TO WRITE GOOD, suggests that we "observe ourselves writing".  I've had 21 years to observe myself writing, so when I created this document and failed to fill it out I would make progress the next day or the next week or two weeks from then.  I know not only what my writing "looks like" when it's going well or when it's going poorly, I know what it "feels" like.  This determination to publish in 2014 feels different (more "solid", more dependable) than any other project has felt ever before for me.

How well do you know what your writing "looks" and "feels" like?

If I come off preachy, it's because the only way to fail is to quit... but... if success is a marathon (and I have it on very good authority that it is) then you absolutely DO have some control over how long that marathon lasts.

*pmb*

(That's the sound of me hopping off my soap box.)

Despite the failure of Subplot 003, I am about to get a shot of inspiration to revitalize this project...

Subplot 002

Okay, so Alex has a girlfriend, and his friend that wants him to work on this case happens to be a female.

There's an obvious "love triangle" subplot that suggests itself immediately.

Now, there are some storylines that are definitively "hack-y", granted.  However, I personally believe that a writer is just as much a hack for not exploring "obvious" or potentially cliched storylines when they seem inherent to the characters and world of the story.

It's my observation that what makes writing feel "hack-y" isn't the storyline one explores, but HOW it is explored.

So I felt that I would be remiss if I didn't at least explore the love-triangle possibilities inherent in the current set-up of my story.

Who knows?  Maybe I would find something fresh and original!

NOTE: I just want to point out the logic in my scene-numbering system.  At this moment I was hopeful that maybe, possibly, exploring the love-triangle might yield material that was good enough to take the place of what sucked about Subplot 001.  If that happened, I might mix Sc B1 with Sc A5 and follow that with Sc B3, and on until I had a piece-meal subplot outline that, when I turned it all into novel pages, would interweave with the mystery scenes as though each scene grew from the one before and into the one that follows.  (This is part of the magic of the Outline -- you can Frankenstein it together however you need to, but when you turn it into pages, it feels organic!)

***

Subplot 002


Sc B1 - ALEX likes working with TIFFANI because she's a great investigator.

Sc B2 - LEELA is jealous of ALEX working with Tiffani.

Sc B3 - ALEX tells LEELA that Tiffani won't be doing much on the case.

Sc B4 - TIFFANI invites ALEX to review the evidence at her place because she's got all the equipment.

Sc B5 - ALEX invites LEELA to the evidence review.  Surprisingly, she agrees.

Sc B6 - LEELA keeps interrupting the evidence review and being rude to TIFFANI.  ALEX makes an excuse to take LEELA home.

Sc B7 - ALEX breaks up with LEELA.

Sc B8 - ALEX is enjoying not having to deal with Leela's drama.

Sc B9 - AELX'S MOM calls ALEX, demanding to know why he would pick ghost hunting over his girlfriend.  He's lucky (in Mom's opinion) to have had a gf who would put up with ghost and goblins and little green men.

Sc B10 - ALEX apologizes to LEELA and tries to make it right.  But she doesn't want to get back with him just yet.  She needs more time to think.

Sc B11 - TIFFANI sympathizes with ALEX's problem.  Her boyfriend broke up with her over how much time she spends on investigating.

Sc B12 - After the case, ALEX and TIFFANI have dinner, as friends.


***

...and I believe you will agree that I DID NOT find a new path through this tried, old subplot.

First of all, I still hate Leela.

Her behavior is more juvenile than high school, it's downright junior high!  I know a lot of amazing women, and some of them have a certain addiction to the drama (as do many of the men I know), but I don't believe any of them are quite THIS immature.

Besides, I don't want to write immature women!  I don't care how many may exist in today's culture, I don't want to create a character that drama-queens can look to and go, "See!  She acts just like me, so what's the problem?"  I would prefer to write women more like my friends, women who serve as an example of something to strive for, not a reassurance when one falls short.

We all hear stories about friends of friends worse wives/girlfriends are just a nightmare.  But those girls don't remain that way for their entire life.  Life knocks us down and rams us into brick walls until we take the hint and grow up a little bit.  And most of the women I actually interact with are the type of women a dude WANTS to have in his life!

So it is becoming clear to me that Leela needs to fucking GO.  She's a bad design, she doesn't depict real women.  She feels like the type of woman a teenage boy creates, not the type of women a MAN associates with, much less creates!

Still, if you look at all the empty spaces I have in Outline 002, you will agree that it might not be a bad idea to keep looking for a subplot to help fill some of those spaces up...

Subplot 001

Okay, I don't remember if this was late November or early December, but for a while I was trying to learn more about my protagonist by creating subplots for him.

This is sort of adapting the John Vorhaus technique of learning about your character by having them cross the street and seeing what they do, rather than write up a complex biography about who what they were like growing up.

I actually used a structure tool from THE LITTLE BOOK OF SITCOM by Vorhaus to help me shape and evolve the subplots.

My first thought was to give Alex a girlfriend that he lives with, and have his investigation come into conflict with he relationship.  I was hoping that this might allow me the chance to explore realistic, on-going relationships -- as opposed to the usual entertainment trope of introducing characters and watching them fall in love over the course of the story.

In the course of maybe an hour or two, here's what I came up with...

***

Subplot 001


Sc A1 - ALEX agrees to help TIFFANI with the Brimmes Case.

Sc A2 - LEELA TOTALLY thinks that ALEX should take the Brimmes case!  But he should make it his NEXT BOOK!

Sc A3 - ALEX chooses to ignore LEELA's suggestion.

Sc A4 - LEELA withholds sex and affection from ALEX.  If he's not concerned about her needs, why should she care about his?

Sc A5 - ALEX approaches the BRIMMES FAMILY about doing a book -- he'll change all the names and details, etc.  CARLTON BRIMES is appalled at the suggestion!  If he knew this was about Alex selling books he never would have let Alex into his home!  Alex retracts the request.  He makes an excuse and Carlton feels better -- still a bit apprehensive, but a bit placated -- and the investigation is still on.

Sc A6 - ALEX tells LEELA one of his publishers has agreed to buy the book, but only after it's written.  (This is a bald-faced lie so that Leela will drop the matter for now.)

Sc A7 - LEELA is super-sexy and super-affectionate to ALEX now that he has a book deal for the Brimmes case.

Sc A8 - ALEX makes an expensive purchase for the case.

Sc A9 - ALEX discovers that LEELA has made an expensive purchase in anticipation of the book-deal money that she believes is on its way.

Sc A10 - A bill comes up that LEELA expects ALEX to pay, but he can't pay it because of his purchase, and she can't pay it because of her purchase.  How can Alex not have enough?  Alex has to fess up to the lie about the book deal...

Sc A11 - TIFFANI listens to ALEX and his problems with Leela.  Tiffani holds back telling Alex that he should break up with Leela because she's not right for him.

Sc A12 - ALEX gets a loan from his DAD.  Dad uses this as an opportunity to tell Alex that he thought Leela would straighten Alex out, make him grow up.  Dad's doing it out of love and concern, but he makes Alex feel like a loser.

Sc A13 - ALEX surprises LEELA by taking care of the bills and buying her something else.  Leela is super-happy and has sex with Alex.

Sc A14 - TIFFANI and ALEX talk after the case.  Tiffani refrains from telling Alex that the center cannot hold...

***

You'll probably agree with me that this just feels too Sitcom-y.  It doesn't feel real.  It feels like a writer trying to fill pages.

Moreover, I don't like Alex any better than I did.

I'm still trying to get enthusiastic about this novel and about this character.  I want this novel to be the first in a series, so I want to really enjoy spending time with Alex.  I like Tiffani, but she's not my center, she may not be around for the next novel.

And I fucking HATE Leela!

What a bitch!

Alex is my surrogate in many ways, and if he's dumb enough to stay with Leela he's a sucky surrogate.

This book is meant to be fun to write and fun to read.  I feel like this subplot drags the whole thing down.

It's not that I don't want to make my protagonist unhappy; that's what writing is.  John Vorhaus suggests that we learn to delight in making our characters miserable for the sake of comedy (or, in this case, drama), and I'm on-board with that concept.

But this subplot is too much.

If nothing else, both Alex and Leela pick up the "Idiot Ball" early on and toss it around for the majority of the storyline.

So sometime later (I don't recall whether it was a day or two later or a week or two later; sorry) I gave the subplot another shot...

Outline 002

PHILIP BLACKWOOD MYSTERIES #1
Outline 002


Sc 01 - BRITNEY BRIMES (25) is in the kitchen and sees a LITTLE BOY out of the corner of her eye.  She doesn't hear anything, just turns to see the boy running out of the kitchen.

Britney follows the boy, but he's not in the living room.  She walks on to the storage room, and finds the Little Boy standing there, staring at her, looking unhappy.  She tells him she's seen the little girl, but never seen him.  The Little Boy doesn't answer.

Does he know the little girl?  Is he is her friend?

The Little Boy says, "I'm not a boy," his voice deepens, his eyes become dark sockets, and he morphs, "I'm the Debbul."

Britney screams and flees.

Sc 02 - ALEX agrees to do TIFFANI a favor an investigate the BRIMES Family's case.

Sc 03 - ALEX and TIFFANI meet with CARLTON BRIMES.  Carlton and Tiffani fill Alex in on the history of the case.

Sc 04 - ALEX explains to CARTON BRIMES (and TIFFANI) that it may not be possible to figure this case out.  We just don't know enough about the paranormal.  He tries not to get their hopes up.  But Carlton just really ants answers, and Tiffani believes in Alex's abilities (which is probably false hope, though Alex doesn't want to out-and-out tell her that).

Sc 05 - TIFFANI doesn't want to pressure ALEX to help the Brimes family, but he can tell she's forcing herself not to pressure him.

Sc 06 - First Investigation Begins: ALEX, TIFFANI and her team...

Sc 07 -
Sc 08 -
Sc 09 - ALEX isn't sure if either CARLTON BRIMES or BRITNEY BRIMES are sane... How can he fulfill his promise (to help them out) to Tiffani?

Sc 10 -
Sc 11 -
Sc 12 -
Sc 13 -
Sc 14 - Tiffani finds out that there was a low-rent apartment complex on the land for a couple of years before the land was bought by the Tiger Group out of Japan.

Sc 15 -
Sc 16 - ALEX walks into the kitchen to find BRITNEY staring, silent.  He asks what's up and Britney asks doesn't he see her.  Her?  Britney points.  Alex doesn't see anything.  Britney insists that "she" is right there!  Alex walks slowly toward the spot, his hand outstretched, feeling.  Alex stops cold when he feels a tiny hand grab his own hand.  He reacts physically and AT THE SAME TIME Britney says, "Did you feel that?  She just grabbed your hand!"

Sc 17 -
Sc 18 -
Sc 19 -
Sc 20 -
Sc 21 -
Sc 22 -

Sc 23 - ALEX and TIFFANI learn that CARLTON BRIMES thinks that BRITNEY BRIMES accidentally scratched ARIEL BRIMES and he wants them off the case!

Sc 24 - This is ALEX's excuse to quite the case... But he can't.  He has to figure this out for his own reasons!

Sc 25 -
Sc 26 -
Sc 27 -
Sc 28 -
Sc 29 -
Sc 30 - ALEX knows that BRITNEY didn't accidentally scratch ARIEL!

Sc 31 -
Sc 32 -
Sc 33 -
Sc 34 -
Sc 35 -
Sc 36 -
Sc 37 - ALEX makes a deal with the ELEMENTAL: Inside belongs to the Brimmes family and outside belongs to the Elemental.

Sc 38 - ALEX explains to POE that he doesn't have to protect Doddy anymore, no one can hurt them where they are now.

Sc 39 - ALEX explains all.  The BRIMMES Family is safe here.

Sc 40 - TIFFANI and ALEX are having lunch to discuss how the Brimmes family is doing now.  Tiffani asks Alex one final question about the Brimmes case...


***

This was during the initial slow-going stage.

According to the Properties of this file, it was created on December 7, 2013 at 11:22:20 pm.  Technically, that's the day before the Properties of "Outline 001" claim it was created, so I'm not sure I can trust those dates.  But that's a month and 12 days ago, which is revealing enough.

If you've been following my narrative so far, I suspect this is fairly self-explanatory.

So shall we move along?

:)

"The Tangle" and "Mystery Solved"

"A wise man doesn't necessarily know all the answers, 
but a wise man knows how to find them."
- Jack Edwards

(My dad might have been quoting someone else when he said this to me, 
but I got it from my pops, so that's my attribution.)

I need to jump back a couple of steps...

Before I started working on the outline, I needed to figure out what I call "my genre" -- which essentially included the world in which my novel would take place and the tone of the novel -- and then I needed to figure out who my Protagonist would be.

Since me genre would be Paranormal Mystery (making my protagonist a detective), I new I couldn't proceed without knowing what the mystery was.

I could proceed, in fact.  But it would have been (I know from experience) unwise.  I had a structure to guide me through the outline stage, but that structure was more of an emotional map for the Protagonist and the Reader:

1. Protagonist asked to solve unsolvable mystery.
2. Mystery turns out to be more unsolvable than originally realized.
3. Protagonist has a viable clue.
4. Victim is covering for someone else, wants Protagonist off the case.
5. Victim is mistaken in assumption, Protagonist knows real solution.
6. Protagonist solves case, everyone happy with solution!

That's kind of a sloppy paraphrasing of the original structure (which I am, at the moment, too lazy to look up because I've got a lot to get through just now), but you can see that it doesn't actually contain any of the details of the mystery or the solution.

The most assured way to fail to complete any long-form work of fiction is to not know where you're going.  Novelists may well argue with me -- stating that they just keep writing until they have a satisfactory resolution, and then honing their resolution in the rewrites -- but I am going from my own experience of what has caused me to lose interest in a project halfway through and jump to a brand new project.  If I don't feel confident about how my story will end, I simply cannot write it.  (That doesn't mean the ending can't get better as I develop, write and rewrite it!  It simply means I don't want to invest the time without at least a fairly good ending.)

So after ascertaining who my Protagonist is, I needed to come up with first the Solution to my mystery, and then the False Solution.

This is worth explaining...

Remember me going on about how the most boring path through a story is a straight line from the Protagonist setting out to achieve her Goal and the Protagonist attaining said Goal?  Well and almost equally boring path is watching the Protagonist wander without any clue of where she is headed.  The Protagonist begins with a plan of action, and idea that causes her to believe she has a chance at attaining her Goal, and that's what tells the Reader that the game, as it were, has begun.

Now, the first action the Protagonist takes will be a false step and will end in failure.  That's good, because the Reader and the Protagonist feel the emotional stakes have just been raised.  They (Protagonist and Reader) are more invested in the Protagonist's eventual success.

Thus, the "False Solution".

The False Solution is what the Protagonist and Reader go into the story thinking needs to be done in order to attain the Goal.

Now, as the story unfolds, the Protagonist and Reader will realize that the problem is deeper and more complex than originally assumed.  As the Protagonist learns more, her actions become increasingly effective, and at the Climax the ACTUAL Solution reveals itself.

But from the Protagonist's first action right up to the Climax, the protagonist is trying to achieve the False Solution (assuming it to be the real one).

So after I knew who my Protagonist was, I sat down and created two "platform documents" -- documents intended to help me climb to the next "platform" of development, and then be altered or discarded, as necessary, once I ascend to the platform after that.

I called the first "Mystery Solved":

***

MYSTERY SOLVED

- The main ghosts are 7yo Dorothy "Doddy" Roberts and her brother 5yo Paul "Poe" Roberts.

- Doddy and Poe were murdered by their unbalanced mother in 1998, after the 23yo Crystal Roberts (nee "Chase") was abandoned by her husband 22yo husband (of 7 years) Reynold "Rain" Roberts.  Crystal was a worrier and a fighter, and Rain was a party-er.  After 7 years doing "the right thing" (to the best of his understanding of is) Rain allowed sexy 20yo Brandi Combes to talk him into "reclaiming" his life. and he left the drama-addicted Crystal for the easy-going Brandi.  Crystal beat both her children until they died (Doddy died when Crystal stomped on her chest and Poe died when Crystal shook him to death) and killed herself while incarcerated and on trial for the man slaughters.

- So Doddy sometimes manifests collapsed lungs on the living.

- Poe watched his sister die, and thought he should be able to protect her when Mommy turned into the monster (Poe could see her rage and anguish in her aura, and she didn't look to him the way she usually did (except when she was mad)) and knew he was "the man of the house now" from something his mother had told him over and over in the days immediately following Rain's abandonment.  He knew he was supposed to "take care of Doddy and Mommy", and he deeply regrets that, in his state of shock and confusion and fear, he failed to take care of Doddy.  So now that they have been dead for 16 (or 15) years, he manifests demonic phenomena to scare the living and protect his sister.

- The Lakes End Estates is owned by Tiger Group, a group of lawyers in Chicago who create developments on the outskirts of expanding cities.  None of the representatives of Tiger Group have ever been on the property; their business has been done by phone, Skype and email.  The contractors hired by Tiger Group to develop the Lakes End Estates all got a weird feeling on the land, but none of them would admit this to their bosses, who are paying them slightly more than an Austin development firm would pay.

- The land that the Lakes End Estates is built on contains a vortex between dimensions.  What we call ETs and fairies (higher and lower dimensions) both gain easy access to Physical (or 4-D) Reality here.  Before white settlers, Native Americans honored this land as sacred, and not to be breached idly.  Early settlers simply didn't take notice of the land -- though none of them would articulate a reason why they didn't feel like settling here, they all privately agreed that there were surely better places to settle.  Later, urban developers might choice not to expand out in this direction for the same unnamed reasons early settlers did.  (Not an articulated unease, really, just a vague, un-examined preference not to.)  Since the Tiger Group never visited the land (and since our society does not take "instinct" or "funny feeling" seriously) the land was finally developed in 2008.

- There is an ancient, ageless "elemental" or "fairie creature" that roams these parts via the "vortex" or portal on this land in 15, 35, or 40 years cycles.  (A record of this elemental's visits going back as long as man existed would (if such a record existed) reveal a sporadic pattern of paranormal phenomena that would boggle the human mind, and probably not seem connected at all.)

- What we call "Extra-Terrestrials" enter 4-D Reality here, both in craft and without them.

- A "fairie" type being that takes the form of a large black cat (not dissimilar to a "Bigfoot" creature, but humans have no reason to guess that) enters 4-D Reality here.

***

I cleverly titled the second "The Tangle", and I reproduce it below:

***

THE TANGLE

- 27yo Carlton Brimmes doesn't believe all this "paranormal" stuff.  He's actually afraid that his 25yo wife Britney Brimmes might be watching too much of that stuff on TV.  Carlton is afraid that when Britney showed him the scratches on their 2yo daughter Ariel's left side that Britney did it accidentally and is using the accident to fuel her weird paranormal fantasies.

- Carlton allowed a ghost-hunting demonologist (he's agnostic and Britney is Baptist) to bless the house in hopes that it would allay his gorgeous wife's overly-active imagination.  He didn't really believe there was anything going on.  But when Carlton got slammed against a wall by an invisible force, he agreed to a full exorcism.

- The exorcism -- again, conducted by the demonologist of a different (though, granted, more professional-seeming) ghost-hunting team only stirred up the activity more, Carlton came to accept that there is SOMETHING going on in their home.

- No Catholic churches in the Central Texas area will authorize an official, Papal-sanctioned cleansing of the property.

- Since Carlton's mind has opened to the reality of the phenomena, he has become almost as obsessed with it as his wife.  He now genuinely fears for the safety of their daughter Ariel, as well as the couple themselves.

***

For "The Mystery" I wanted to invent a set of circumstances that would mash together to create a combination of phenomena that any ghost-hunting group would assume to be demonic.

In ghost-hunting there are Residual Hauntings (psychic imprints on an area that replay themselves in 4-dimensional space-time), Intelligent Hauntings (presumed to be the earth-bound spirits of deceased people), Poltergeist (the "noisy" spirits with more power than residual or intelligent to affect the physical world, but popularly though to be fueled by an "agents", usually a girl in or nearing puberty), and Non-human or Inhuman entities (meaning spirits that never walked the Earth as humans, but usually a euphemism for "demons").

A ghost-hunting group can reassure a family about Residual Haunts by simply explaining that the phenomena can't hurt them.

For an Intelligent Haunt, the group can encourage the family to recognize that they, the family, have a right to live in their home and the ghost doesn't, and encourage the family to actually speak to the ghost out loud, asking or demanding that it stop whatever phenomena is disturbing them.  (9 times out of 10 this works.)

For most Poltergeist cases, the phenomena ceases when the human agent is removed from the location, and the phenomena usually ceases permanently after a few weeks/months.  So ghost hunters can inform the family about what the current theories are -- which usually makes the family feel safer immediately -- and encourage them to "wait it out".  (This seems to work.  Also, psychological counseling for the human agent helps dampen or eliminate the phenomena.)

For an Inhuman "infestation", however, a reputable ghost-hunting group will recommend a ordained minister or priest perform a cleansing of the property.  Many groups have such a person as part of their immediate or extended staff, but many more do not -- they may have a so-called demonologist on their team (being someone who has read quite a lot about demons in religion and mythology, but is not ordained by an established religious institution) but not an actual member of the clergy, and so they conscientiously step aside from such cases, helping the ordained clergy however they can, but mostly trying not to make the situation worse.  But the way one knows if a case is demonic is because religious cleansing actually works.

However, there is another form of Inhuman activity that is not covered in the popular literature (meaning, mostly, Paranormal Reality TV shows).  This is the "fairy" variety.  Fairies, elves, gnomes, brownies, pixies, nymphs, sylphs, salamanders and undines are all a bit too "woo-woo" and New Age-y to be popular by the nouveau paranormal investigator, and the fact that one's only sources for information about the denizens of "Fairy World" are, literally, ancient fairy tales makes the "scientific" paranormal investigator a bit squeamish.

So here is what I was going for in this case:

Ghosts can pretend to be evil (growling, appearing in frightening visages, maybe even causing lightweight objects to fall), but they can't really injure humans.

Fairy entities can move large objects and shove living humans around, but they can be exorcised by religious cleansing.

So I wanted tn Intelligent Haunting and an Inhuman Haunting that appeared to be demonic (only the phenomena didn't stop with a religious cleansing), and I also wanted to bring UFOs and cryptids into the mix (because ghost hunters do not know as much about either as they do about ghosts).

Leading to "The Tangle" document...

Since I was still in Creative Mode (as opposed to Editor Mode) I attempted to begin to understand the False Solution by creating scenes the victimized family would experience, and then seeing what False Solution those scenes suggested.

As this is meant to be a document of my process creating this book, I should add that I spent maybe 30 or 45 minutes on each document, stopping when I just wasn't "feeling it" any more.

If I had a writing partner, we probably could have doubled or tripled the length of each document, but I was satisfied with what I had come up with, for a few reasons:

I knew (or, at least, expected) that new details would come up as I outlined scenes and/or wrote the pages, and I also knew (expected) that these details would likely change as I outlined scenes/wrote pages.

I also knew that even if the information remained 100% in tact, I wouldn't use all of it.

Consider, specifically, the information about Doddy and Poe.  I don't imagine there is any way even Sherlock Holmes could dig up the kid's parents' names, much less figure out the exact circumstances of the children's deaths.  Paranormal investigation just never plays out that way.

(And it's worth noting, too, that if no one else reads this book, I want paranormal investigators/researchers to be able to enjoy them.  I suspect that there is a huge non-investigative audience out there who will enjoy this story, but if I'm wrong about that, I'm fine with it.  So I would rather, in this instance, write a novel that 5 paranormal investigators really enjoy than a novel that a hundred non-investigators enjoy but that those in the field scoff at.)  (Though it's just as likely no one will love this and everyone who reads it scoffs.  That's the risk one takes when one publishes.)

So I wanted to produce information that I might dip into, as it were, to give my Protagonist enough clues for him to decide what actions might best help the Brimes family.  (NOTE:  You'll notice as we go that the "Brimmes" family will become the "Brimes" family.  I think at first I was going for a "Brothers Grimme" type old-world name, and then I decided to simplify it.  My Protagonist's name is going to change, too, and I'mm tell you about why.)

I believe it was a week or so later that I sat down with my "The Tangle" document and crafted a scene that became my Prologue, which I jotted in my composition notebook.  (Which excited and encouraged me quite a bit.)

Then maybe a week later, as an exercise as much as anything else, I crafted 3 scenes from the information in "The Tangle", the third of which found an immediate home in my outline...

Tuesday, January 14, 2014

Outline 001

PHILIP BLACKWOOD MYSTERIES #1
Outline


Sc 01 - Prologue...

Sc 02 - ALEX agrees to do TIFFANI a favor an investigate the BRIMES Family's case.

Sc 03 - ALEX and TIFFANI meet with CARLTON BRIMES.  Carlton and Tiffani fill Alex in on the history of the case.

Sc 04 - ALEX explains to CARTON BRIMES (and TIFFANI) that it may not be possible to figure this case out.  We just don't know enough about the paranormal.  He tries not to get their hopes up.  But Carlton just really ants answers, and Tiffani believes in Alex's abilities (which is probably false hope, though Alex doesn't want to out-and-out tell her that).

Sc 05 - TIFFANI doesn't want to pressure ALEX to help the Brimes family, but he can tell she's forcing herself not to pressure him.

Sc 06 - First Investigation Begins: ALEX, TIFFANI and her team...

Sc 07 -
Sc 08 -
Sc 09 - ALEX isn't sure if either CARLTON BRIMES or BRITNEY BRIMES are sane... How can he fulfill his promise (to help them out) to Tiffani?

Sc 10 -
Sc 11 -
Sc 12 -
Sc 13 -
Sc 14 - Tiffani finds out that there was a low-rent apartment complex on the land for a couple of years before the land was bought by the Tiger Group out of Japan.

Sc 15 -
Sc 16 - ALEX believes the BRIMES House is haunted, and knows why the religious purifications didn't work!

Sc 17 -
Sc 18 -
Sc 19 -
Sc 20 -
Sc 21 -
Sc 22 -
Sc 23 - ALEX and TIFFANI learn that CARLTON BRIMES thinks that BRITNEY BRIMES accidentally scratched ARIEL BRIMES and he wants them off the case!

Sc 24 - This is ALEX's excuse to quite the case... But he can't.  He has to figure this out for his own reasons!

Sc 25 -
Sc 26 -
Sc 27 -
Sc 28 -
Sc 29 -
Sc 30 - ALEX knows that BRITNEY didn't accidentally scratch ARIEL!

Sc 31 -
Sc 32 -
Sc 33 -
Sc 34 -
Sc 35 -
Sc 36 -
Sc 37 - ALEX makes a deal with the ELEMENTAL: Inside belongs to the Brimmes family and outside belongs to the Elemental.

Sc 38 - ALEX explains to POE that he doesn't have to protect Doddy anymore, no one can hurt them where they are now.

Sc 39 - ALEX explains all.  The BRIMMES Family is safe here.

Sc 40 - TIFFANI and ALEX are having lunch to discuss how the Brimes family is doing now.  Tiffani asks Alex one final question about the Brimes case...


***

Okay, as straight-forward as this may look for a first stab at the outline, some of this needs explaining, as some of it was harder than it looks.

So I came up with the character of TIFFANI BELLE CRICHTON as a paranormal investigator who would urge Alex to look into this case.  Tifani is the leader of an Austin, TX paranormal investigation team (I didn't have a name for them yet) who has been trying to help out the poor Brimes family.

the reason "Tiffani" isn't "Tony" is painfully obvious: I might want to foster a romantic interest there.

In fact, the episode of CASTLE that I ganked this structure from is Season 6, episode 7, "Like Father Like Daughter".  In that episode ***SPOILERS*** Castle's daughter, Alexis, is deeply disappointed in his actions and his fatherhood has lost that sheen of magic and perfection that it had previously held for her.  For the first time ever (or, since we've been peeking in on the Castle family), Richard Castle appears to his daughter like a flawed, imperfect man.

Then this episode happens, and her idealistic need outweighs her sense of disillusionment (and maybe even betrayal), and she asks he pops for a favor... and IMPOSSIBLE favor.

Now, I knew going in that I couldn't deliver THESE emotional stakes.  I have spent 5 years watching the relationship between Richard and Alexis develop, and when she dresses him down at the end of the previous episode, my heart dropped like a bolder!

But F. Paul Wilson starts off his Repairman Jack series (THE TOMB, 1984) with a jilted romance that blossomed and then died before the first page of this first novel.  ***SPOILERS***  The romance then re-blossoms over the course of the first and following novels.

I didn't want to steal that particular character dynamic...but I wasn't above it, either.

I wanted my options open.

Maybe Alex and Tiffani have some history, and his desire to attract her (or win her back) might be good motivation for him taking a paranormal case when he's desperately trying to get out of the professional paranormal game.  he want's to be a LEGITIMATE journalist, dammit!  He wants to be taken seriously!  This paranormal stuff just keeps dragging him back down!

Alex needs proper motivation to investigate a paranormal case, and the Reader needs to be invested in his investigation.

Also, Scene 1...

It just says "Prologue".

This may actually be the last thing I came up with for "001".

With every project I have begun in the last 2 years I have dedicated a 100-page, wide-ruled Composition book.  This is where I write general notes about the project.  Sometimes these notes are bits of dialog, sometimes they're character descriptions, sometimes they're doodles, and sometimes they are complete scenes.

I got this inspiration one night at work, when most of this outline was filled in as you see it above, that would be a PERFECT "James Bond"/"Indiana Jones" Open...

---

BRITNEY BRIMES (25) is in the kitchen and sees a LITTLE BOY out of the corner of her eye.  She doesn't hear anything, just turns to see the boy running out of the kitchen.

Britney follows the boy, but he's not in the living room.  She walks on to the storage room, and finds the Little Boy standing there, staring at her, looking unhappy.  She tells him she's seen the little girl, but never seen him.  The Little Boy doesn't answer.

Does he know the little girl?  Is he is her friend?

The Little Boy says, "I'm not a boy," his voice deepens, his eyes become dark sockets, and he morphs, "I'm the Debbul."

Britney screams and flees.

---

Actually, this requires a bit more explanation...

See, I was using HOW TO WRITE A DAMN GOOD MYSTERY NOVEL: A PRACTICAL STEP-BY-STEP GUIDE FROM INSPIRATION TO FINISHED MANUSCRIPT by James N. Frey.

I TOTALLY recommend it, by the way!  EXCELLENT book for first-time novelists!

Frey lays out this process of writing Character Biographies and the like that can easily take an aspiring writer from having no story AT ALL to having the strong beginnings of a story, and then developing it into a full-fledged novel!

An EXCELLENT work!

But I have been a follower of John Vorhaus since the 1990s, and Vorhaus has a different approach: Come up with a character, and force him to cross the road to learn more about him.

This is an over-simplification, of course, but the basic idea is that you can learn more by simply writing your character in action than you can with the most in-depth of character bios.

But when I started this novel, I was still following Frey's advice a bit.  I decided that if I was going to have a couple of ghosts, I should know who they were and how they came to be ghosts.

So one day, in my Norcom Composition notebook dedicated to this novel, I created who these kids were in like and what lead to their death and why they are so perplexing as ghosts.  (Remember that the premise for my Paranormal Mystery series is that these paranormal phenomena will look to regular investigators like one thing but Alex will figure out that they are something else.  A coupe of something elses, actually.)

So I created the story of 7-year-old Dorthy "Doddy" Roberts and her 5 year-old brother Paul "Poe" Roberts.

I created an unstable, young, lower-class mother and a no-good father, and circumstances that lead to the father leaving the mother and the mother (drama-queen and drunkard that she is) accidentally killing her kids.  (I say "accidentally", but she did it on purpose; she wouldn't have if she were sober, but sobriety wasn't part of her lifestyle.)

Based on an actual haunting (I heard about on a Spooky Southcoast or Darkness Radio podcast), I decided that the younger brother, in death, would try his naive best to protect his slightly older sister, even though they are already ghosts.

Good story, right?

Better still, a little boy's spirit can do things that the little boy could only imagine while he was alive!  He can change his apparent form, change the sound of his voice, he can come off as a demon from Hell to a suburban family who have never seen a ghost before!

And going off other real-life reports, I figured that Doddy would be very friendly and talkative (as much as she is able) to the Brimes family, and any investigators they might let into their home.

So you have a nice, friendly little girl ghost -- who provides plenty of "evidence" for paranormal investigators to capture -- and a sullen, defensive little boy ghost who can make himself look and sound like the Devil himself.

I'm also playing on another, more subtle aspect of paranormal investigation:

Fundamentalist Christians keep telling us that what we're interacting with aren't the ghosts of the deceased -- because all those spirits get stored up somewhere until Jesus walks the Earth again, at which time the corpses will burst out of the graves and the Chosen will ascend to Heaven -- but demons in disguise.  They warn us that demons are patient, and even what we think are the spirits of deceased, innocent little girls are really demons pretending to be those little girls, waiting until we make ourselves vulnerable to devour our soul.

No disrespect to the Christian faith, though I have my doubts about certain aspects of fundamentalist Christianity.  (I am a big fan of Jesus and His teachings, but I have my doubts about the infallibility of the Bible itself as the one-and-only message from God to humanity.)

So in this Cold Open, if you will, I am directly playing upon a certain fear of a certain belief-system within the paranormal community.

I want to muddy the waters as much as possible right at the beginning.  I want every Reader to bring as much of their own personal baggage as they choose to!  This is my first novel; I want to capture as many readers as possible!

Now, the way the first novel is going to play out, Alex (and me) is much more open-minded toward the paranormal, and so his conclusion (and mine) is not so fire-and-brimstone.  But the point of this series (if it becomes a series) is o challenge what we THINK we know about the paranormal, and hopefully get us talking about the subject in more open forums.

There is something going on out there, and dogmatic worldviews -- be they religious or scientific -- have prevented an open discussion.  Not every culture is like this, and ours doesn't have to be.

End of sermon.

But I wanted to point out how my personal knowledge of the paranormal field provided me the "happy accident" of creating on a much more subtle level than I could have done intentionally. If a film production company bought the rights to adapt my novel and wanted to take out that first scene, I would fight strenuously to keep it in because it accomplishes much more than it, at first glance, seems.

Moving on...

Okay, the rest of the outline seems pretty self-explanatory.

It's worth explaining that while ghost hunters don't believe in Bigfoot and Crptozoologists don't believe in UFOs, NOBODY is willing to talk about fairies (known to a few open-minded researchers as "elementals").  Fairies just  too much pop culture stigma.  Ask a random person what a fairy is and he/she will describe Tinker Bell; but fairies can be tall or short, positive or malign, gorgeous or horrifying.

And if you do your paranormal due diligence, there is actually no reason to discount them as purely folklore or "superstition".  Respected paranormal researchers have encountered fairies, and "elementals" might explain some paranormal phenomena that doesn't fit into the standard Residual Haunt, Intelligent Haunt, Poltergeist, or Demonic classifications.

My goal with this series is to (hopefully) get people thinking about the paranormal in a new way.  And I want to give them a platform from which they can do that.  I mean, "muggle" is a word now!  It means more than "non-magical human"!  It has developed its own nuance!  If I'm lucky believers and non-believers will be able to reference these stories as an entry way for more deep debates about the paranormal.

That's if I'm REALLY lucky.

If I'm only slightly lucky, then I'll merely redefine the role of the paranormal as it's written by Fantasy authors.

And, of course, if I'm not lucky, no one will read these novels, or this blog.

;)