IT’S MARATHON MONDAY IN BOSTON.
Every other third Monday in April that I can remember, I’ve woken up with a school day or work day off, filled with the pleasurable expanse of the day before me. I’ve turned on the TV in time to see the leading runners leave Hopkinton, and then kept it on to see them laboring through the miles, their honest, miraculous, movement through the towns of Massachusetts. Every year before 2013, I was at my childhood home in Newton, and I’d mosey out to Commonwealth Ave in time to cheer on the runners going by. I’d get a special rush of excitement to see the leaders pass, but there was even more pleasure in seeing the steady wave of runners that followed, the swelling phalanx of people surging with good will, with cheer. The joy of their effort was infectious. I think there’s no better sport to be a spectator at than to be alongside the long miles of a marathon. Some of us participate with our cups of water, and are thrilled when the proffered cup we hold is snatched; and others are sure to cheer the loudest when soldiers in heavy packs go tramping by; whoever is our favorite competitor, we get to see him or her, right there, achieving this startling feat of human endurance. There is no wall between us and them; we almost share in their triumphs. That’s yet another reason why the events of a year ago hurt so many of us on so many levels.
The last week has been a fraught one for the city of Boston; inhabitants have been doing their best to honor the survivors, the victims, and to keep our faces turned forward. I’ve noticed how little mention has been made of the alleged bombers themselves. They do not belong to the future of the city, and so we do not even honor their names in this week. In the coming months the trial will no doubt seize hold of our attention, but right now, it’s the marathon we are intent on restoring. The memorials have been respectful, determined, almost upbeat. We’re not looking back. We’ve got our eyes on the finish line.
Last year was the first year I was living in the city proper and so went to the finish line. I saw the winners round that final corner onto Boylston Street, and felt the waves of good will coming from every direction. I went home hours before the disaster struck. This time, I want to be there again; I want to see that first weary face turn the final corner, and the leading runner suddenly begin to sprint, to float on the deafening crowd. After that astonishing trek, the leaders always seem to have something left for a final battle to the finish line. And for all the weary amateur runners who follow him, there is still enough left to cross the line, to raise their arms in triumph. Where does that strength come from?
Will you be at the marathon this year? The crowds are promising to be legendary. Security will be tight, of course; it’s one of those prices we pay these days to feel safe in a modern city. But I don’t think the spirit will be too diminished. From what I’ve seen, this city is ready to make this event an occasion for joy and uplift once again.
Tuesday tips is a category of posts here at Writerly Life that promises to offer concrete tips for improving or kickstarting your writing. The tips that fall into this category are the sorts that you can do today or even right now.
This week’s tip:
Storyboard a Scene
It’s been a while since I sent out a tip for writing at your best, so it’s about time I gave my readers one. Today I’m thinking about techniques used in cinema, and how those techniques can really improve our fiction writing. One thing that cinema has on fiction is its tight, efficient use of plot. Movies usually move more swiftly than novels and just feel “plottier” than the average book. It’s only the most tightly-plotted books, for example, that end up getting translated into movies, and even then they have to be compressed and streamlined, with whole characters and plotlines eliminated, to work on screen.
There’s no reason that we can’t learn from movies and help make our stories tighter and “plottier.” Try using a technique that filmmakers use when planning their scenes. They work in the medium of images, so draw a few boxes on a few sheets of paper — typically two or three to a page, totalling six to eight boxes. Those are the keystone images or moments that will make up just one scene. Start filling in the boxes — what needs to happen in this scene? What are the essential character moments, choices, or confrontations that must happen? If you’re no artist, then stick figures will do fine. Try to picture the scene in your mind’s eye, and picture what the most important transformations will be.
The advantage of this strategy is that it will draw the crucial elements of the scene sharply into the focus, instead of letting you wander all over the world you’ve made before figuring out what you want. The other lesson a good movie teaches us is that every scene is essential: every scene features a furthering of the plot, or a crucial decision being made. It’s immediately obvious when watching a movie when a scene feels like fluff, or is irrelevant. We need that same laser focus in our fiction writing too.
Try storyboarding the scene that you’re struggling with, and report back here to tell us how it goes!
The more I write, the more I discover about my own storywriting strengths, weaknesses, and natural aptitudes. We can learn to improve our weak spots, but it’s also wise to tap into our natural strengths, to go where the writing flows most naturally and beautifully. There are ways you can game your strengths and avoid your weaknesses; for example, if you’re not the best on realistic dialogue, you can avoid scenes of real-time conversations. If description is your strength, then there should be plenty of it! And if you know you struggle to make compelling plots, then that might be the first thing you work on, outlining and planning to make sure there’s a plot in there.
These strengths and aptitudes apply to figuring out what kind of story is the one for you. It takes time and experimentation to figure out what genre really excites you and what topics and characters you excel in capturing. But there’s another figuring-out process you’ve got to go through; you must figure out what length of story suits your writing best.
The more I write, the more I discover that long stories, the kind that carefully build characters’ pasts and personalities and tensions, are the ones that I excel at. I find it deeply satisfying to really get to know a character, to learn gradually of his past and his challenges, and then to see him take on those obstacles with a deep understanding of who he is and what he is up against. This is the kind of story I’m really enjoying reading right now, such as the master of the long short story, Alice Munro.
Long stories can be harder to publish, but it’s still worth it to be the best writer I can be and work on my strengths. That goes for you, too — you’ve got to experiment and try different forms to see which ones are the most successful. You might find you have a knack for flash fiction, or perhaps you’re built for the steady sustained effort of a novel. You’ll never know until you try! A good way to figure out what you want to write is to pay attention to what you want to read. What forms most excite you? Why not try writing in that form?
Are you craving spring? It’s been a hard winter along the east coast this year, as both Bostonians and New Yorkers can attest. We’ve had brutal, biting bold and bitter wind; it’s felt more than usual that Winter was a conscious presence in our lives, breathing its spiteful breath down our necks.
Winter can be demoralizing; I know I’ve holed up a little this season, concentrating on my work, on getting through the week, on binging on food and cheap entertainment on the weekends. Winter encourages us to crawl back inside ourselves a little. But there’s also nothing so liberating as a New England spring, perhaps because we’ve had to suffer a little to earn it. There’s always that first day that looks just as gray as the rest, but when you step outside, you feel an unexpected gentleness in the air, a promise of spring if not spring itself. You still wear your parka and your boots and you end up sweating when you’re outside. The rain washes your old salty coat and washes the filthy crusts of snow down the gutter.
It’s been an especially long winter this year; it had me thinking about one of my favorite books growing up, Laura Ingalls Wilder’s The Long Winter, one of the sequels to the classic Little House on the Prairie. In this epic story, the cold is so relentless and fierce that the entire town runs out of food and wood; Laura must weave knots of straw just to make something that will burn. We folk in the city certainly never have to experience winters like that; the worst of our seasons are gentled and insulated against. But still, we work hard, and we’re out there every day, tramping in our boots. And maybe this week or the next, we’ll be rewarded with spring.
At our second launch party in Boston, we rocked the Middlesex Lounge. We introduced the mission of Two Cities, held a raffle, heard contributor L. Michael Hager read from his work, and met some great new literary friends. Thanks to everyone who came out for the event, and thanks as well to our wonderful writers.
Here’s our reader, L. Michael Hager:
This means that issue 1 is officially launched! You can read it online at our Current Issue page, or you can buy a print copy online at the following link, at Lulu:
Keep following us for more thoughts on the city literary life, and don’t forget to Submit your work for our summer issue of Two Cities Review!
I saw an interesting post on the New Yorker’s Page-Turner blog the other day about a new trend in entertainment consumption that book publishers are trying to capitalize on. We’ve all heard of “binge watching” as the new it term for sitting down and bombing through an entire season of “Battlestar Galactica” or “Orange is the New Black” on Netflix; there’s something absolutely addictive not only in the way the episodes are framed these days, but even in the way they’re queued on our computers, inviting us to watch more and more. Now publishers are trying to make “binge reading” a thing. The Christian Science Monitor has more: read the article here.
Do you think binge reading will catch on the way binge watching has? I think there are two problems with the way the article is being framed; first, likening binge reading to binge viewing is misunderstanding the fundamental difference in thought that occurs when reading and when watching tv; and second, binge reading has already existed long before the advent of television. This may sound a little contradictory, but bear with me.
Happy Valentine’s Day, readers! My return to a regular writing schedule is coinciding with this somewhat fraught holiday, so I couldn’t get away without commenting briefly on it. For lovers, Valentine’s Day is a good marker on the calendar, at least as a way to do something special for our significant others. For the single, Valentine’s Day can be a cause for frustration, bitterness, or resentment, or a reminder of loneliness — but of course, it doesn’t have to be that way. If you’re single and happy to be that way, just let the holiday pass you by. Treat it as one of those many calendar holidays that we don’t really pay attention to, such as Arbor Day or Groundhog’s Day (no offense to the arbor or groundhog enthusiasts out there).
In any case, Valentine’s Day is a chance to think about writing about love and romance. Check out past posts I’ve written about How to Write Romance, How to Write about Flowers, and How to Write Gender in Fiction. And below, check out a new Writerly Life exclusive: the post I wrote only for my ebook, How to Write Sex Scenes. Enjoy, and have a fun holiday, whether you’re alone, with a special someone, or among a crowd tonight.
Hello readers! It’s been an inexcusably long time since I’ve written, but now that the new semester has begun and I have a snow day to catch up, I’m re-committing to Writerly Life. As I’ve written many times in the past, business is no excuse for neglecting the projects in your life that you truly care about. Managing a creative life is about prioritizing, and while it’s certainly possible to be over-programmed, it’s often surprising how much time and energy you can make for yourself in the day if you care enough about finding it.
So although my schedule is more full than it has ever been before, I’m taking that as a challenge to re-focus on what my priorities are. I’m working hard at keeping new writing projects in the works even as I concentrate on polishing and sending out my novel manuscript; and I’m also committed to keeping my online writing going. I’ll keep up with the usual regular updates, thoughts, and tips related to the writing life.
So how do you make room for your creative goals, readers? I’d be delighted to hear what little methods or strategies you have for keeping a thread of creativity in your life.
I’m just back from a three-week trip to Melbourne, Australia, where I traveled to visit the family of friends and get a taste of a new city. I’ve visited the city just once before and had a wonderful time, and this trip was fantastic too. It was just delicious to get some relaxation away from all screens and devices and spend my days eating and walking and exploring. There was nothing fantastically exotic that I saw in Melbourne, besides a trip to the zoo; it is a distinctly familiar city to me, because Australian culture has so much in common with American culture. Specifically, the city of Melbourne has so much overlap with the city of Boston.
You can start with the size of the city, which at a few million, is right around Boston’s size. As an American, you’ll also be surprised to see all the usual fast food places you know lining the busy, pedestrian-friendly streets. (KFC, for one, is huge there for some reason, but you don’t get biscuits — you get chips, a.k.a. American fries). The Australian accent even shares some commanalities with a Boston accent, with its broad a’s and dropped r’s. You’d “pahk your cah” in both Boston and Melbourne. More than that, though, there’s a kind of cultural vibe that Boston and Melbourne just might share; a friendliness, business, and hopping intellectual life that I saw evidence of. We’re both small, but we act cosmopolitan.
Australia and the United States should get along pretty well, because they’re both the slightly coarser, bumpkin cousins of Great Britain, though Australia holds its ties to Britain much closer. Most of the television is British, as is the interest in British celebrities. Some people I hung out with knew all the details of the royal family, for example, whereas I think most Americans don’t know more than the queen and her direct descendants. Australia maintains a close cultural handshake with Great Britain, whereas a lot of America is disdainful or uneasy of any connection to England.
There were perhaps only two major differences I saw in my brief tourist’s view of this lovely city; the first was the proliferation of Asian culture and cuisine, and the second was something more intangible. Because of its proximity to Asia, Australia has benefitted from the things that Asian immigrants have brought with them. Just as Mexican food is accessible and known everywhere in America, Vietnamese, Thai, and Malaysian food is cheap, ubiquitous, and delicious in Melbourne. You can get fast food or street food from most countries of Asia on every street corner.
The second difference might be the most fundamental shift from American to Australian life. From the little I’ve seen, and from what I’ve heard when I questioned Aussies, it seems that Aussies are far more laid-back than Americans. There’s a certain calm, friendly laisse-faire attitude that fills every part of life. Americans are certainly casual about some things, but we are very heated and violently polarized about others. Politics are deadly serious and can divide the nation sharply. The whole time I was in Australia, the people I saw didn’t get too fussed about anything, even when they didn’t approve of the government’s latest doings. It’s a great place to spend a vacation for that reason — it’s just hard to rile the typical Aussie character.
The mirror image of Boston was presented to me in other ways, too — I happened to be there right in the middle of a record-breaking heat wave. I was watching matches of the Australian Open on a 112-degree day. I’d never felt such extreme heat; it was hard to breathe, and impossible to keep my clothes from getting soaked in sweat. This was at pretty much the same time that Boston was struggling through record-breaking lows in the temperature. Go figure.
There were a few moments of startling discrimination that came from some drunk train passengers, but you can find that kind of attitude in America as well. Again, the attitudes of Americans and Australians seem closely intertwined. It’s funny to think of a brother city, a parallel Boston, or a parallel Melbourne, almost exactly around the world.
GREAT news, readers — Two Cities Review‘s Kickstarter campaign has been successfully funded! That means we’ll be able to launch our first issue and give it the support and attention it needs to be great. Thank you tremendously for your support; if you’re a backer, you’ll soon be receiving news via email about what rewards are available and how to make sure you receive them. You can expect plenty of exciting updates to come about our launch parties in Boston and New York and the work that will be appearing in our first issue. But there’s one thing you won’t have to read anymore: that’s me begging you for support!
Spread the word about our first issue, which we are targeting for a March release, and stay tuned to hear more reflections on city life and information about our launch. Thanks again, backers!