Perfect Episode Thirty ♦ The Ferryman

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Perfect, Episode Thirty ♦ The Ferryman

Perfect, Episode Twenty-nine ♦ Saint Jo

George and Anita are spending some time with their new friend Clearie in Saint Jo near the Missouri River. Both Anita and George are trying to figure out what to do next. They could stay in Saint Jo, but there is always the final outstanding clue ‘My pioneers. West. Find me under a red cloud.’

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Perfect, Episode Twenty-nine ♦ Saint Jo

Writing Book Review: Immediate Fiction by Jerry Cleaver

Immediate Fiction: A Complete Writing Course
by Jerry Cleaver

Strengths:

• Offers a complete, easy-to-follow methodology for writing a story that will probably sell – from first page to publication.
• Offers a plan for fitting writing into your busy lifestyle (Ch 12)
• Examines why writers get blocked and what to do about it (Ch 15)
• Includes plenty of exercises to get you writing and thinking about how to write

Weaknesses:

• Some will find the author’s style objectionable for whatever personal reason – too this, not enough of that, whatever
• He may say your sacred writing ritual is bunk – though he regularly says something to the effect, but if it works for you, keep doing it
• An over-emphasis on amping up the drama creates fiction I find uninteresting

Bottom Line:

• Check this one out from your library and see if it/he speaks to you
• Buy a used copy online if you don’t have access to a good used bookstore
• I’d pay no more than $5.00 for a copy

Reaction:
Overall I thought this was a worthwhile read (from the library). Will see if I say, “Gosh, really need a copy to go through the chapter on overcoming writer’s block.” Or maybe something else. I did write down his basic formula (get the book if you want to know what it is) to keep what I’d call his Five Elements of a Successful Story (again, read the book, it applies to everything: short story, novella, novel, play, screenplay, graphic novel, etc) front and center and made some notes – other titles and a couple websites. So that was useful.

Okay, so one of the elements is conflict, but you already guessed that. Here’s my take, my words, of what he’s telling us to do: Don’t just have your character lose his job. Have his boss fire him. And while you’re at it, don’t just have the boss say, “Joe, we need to make some cutbacks. Sorry to see you go…” NO! We need to really pile it on. So not only does Joe’s boss get all nasty, “I’m firing your worthless butt and reporting you to the state regulator for gross misconduct so you’ll never work again.” THEN the mean old boss will conspire with another employee to file a sexual harassment suit against poor Joe AND, just in case that isn’t quite enough drama and conflict for Joe to overcome, let’s go ahead and fill his computer with child porn and call the cops.

Poor Joe!

UGH! Poor reader. When I see this sort of stuff – in print, online, on TV, at the movies – I lose interest and quick. It goes beyond realistic and believable. Maybe that’s enjoyable for others – it clearly sells – maybe you like a movie where A-list stars are dealing with this kind of stuff, but my eyes glaze over and I’m glad I got the DVD from library.

If nothing else, after reading Immediate Fiction I knew what I hate about modern entertainment and what I want to do different. Sure, we still need to connect with characters through showing and emotion. Stories still need conflict and the characters taking action to deal with the conflict – protagonists will fight to overcome; you know what antagonists will be doing. But I yearn for believable characters facing real-life situations. No, not the babysitter bailing at the last minute before the best friend’s wedding – wait, that’s not entirely a bad premise – but definitely not catching the spouse in bed with the babysitter, going medieval on everyone in the county, and then eating the bride for dinner. That’s a bit much.

Unless horror’s your genre.

Perfect, Episode Twenty-eight ♦ Failed Test

Last time George was introduced to his new best friend: a twelve gauge, double barrel coach gun. Kent and Eetu headed north for supplies leaving George on guard duty. Long past their promised return, George heard someone approaching from the west.

Now available:

Perfect, Episode Twenty-eight ♦ Failed Test

Perfect, Episode Twenty-seven now online.

Perfect, Episode Twenty-seven ♦ Twelve Gauge

Out on the plains, George meets a new, best friend. Can he use it when he needs to?

Curious about the hardware? Don’t know what a coach gun is or how it differs from a shotgun? Check out the Stoeger Coach Gun Supreme (good photo, just copyright protected), Cowboy Action Shooting or there is ALWAYS Wikipedia! (the above photo taken by “Commander Zulu" and used there). Such images were inspiration when writing this episode.

Showing

Every writer has loathed the phrase "show don't tell" at some point in developing the craft. It can be one of the harder skills to master - but it takes so long to show something when I can just tell the reader what's happening. True.

Writers need to balance many things, and yes, moving the story along is one of those things. Just don't do it at the expense of your reader's connection with the story nor insult their intelligence. Show them the world and what's happening in it. Let them decide what it means. That's the way I like to think about showing instead of telling.

I really like this quote from Immediate Fiction: A Complete Writing Course by Jerry Cleaver:

Showing: Are the characters acting and talking as much as possible? Are you creating a moment-by-moment, word-for-word experience that's happening right before our eyes with no general statements or summaries? Showing means we always have something we can picture in our mind. It's visual and almost always scene with dialogue.

What can be simpler than that? I mean, in terms of understanding what we need to be doing in our fiction.

Perfect, Episode Twenty-six

George and Anita are leaving Hannibal. Find out where they are going next and how they will get there in

Perfect, Episode Twenty-six ♦ Night Riders