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<big>2013 Writing Improvement Month Event</big> | <big>2013 Writing Improvement Month Event</big> | ||
FltAdmlWolf> Margaret is a published Star Trek & scifi author, You can find her list of books here: http://amzn.to/Y3vgde<br> | FltAdmlWolf> Margaret is a published Star Trek & scifi author, You can find her list of books here: http://amzn.to/Y3vgde | ||
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DiegoHerrera> Our first question: When writing for a character or group of characters over an extended period of time (up to and including novel length), what do you think is the best way to keep them interesting?<br> | DiegoHerrera> Our first question: When writing for a character or group of characters over an extended period of time (up to and including novel length), what do you think is the best way to keep them interesting? | ||
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Margaret Bonanno: I do flashbacks. Hint a little in Chapter 1, then drop a “When he was a child, he…” in a subsequent chapter. That kind of thing.<br> | '''Margaret Bonanno:''' I do flashbacks. Hint a little in Chapter 1, then drop a “When he was a child, he…” in a subsequent chapter. That kind of thing. | ||
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DiegoHerrera> So slowly reveal information about them instead of letting it all slip in one go?<br> | DiegoHerrera> So slowly reveal information about them instead of letting it all slip in one go? | ||
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Margaret Bonanno: Sprinkle little bits about the character through the narrative is I guess what I’m saying. Oh, yeah. Don’t want to get bogged down in a whole lot of narrative at the beginning. Just tease a bit. | '''Margaret Bonanno:''' Sprinkle little bits about the character through the narrative is I guess what I’m saying. Oh, yeah. Don’t want to get bogged down in a whole lot of narrative at the beginning. Just tease a bit. | ||
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DiegoHerrera> Our second opener: If writing for an inhuman character such as an alien or monster, how would you go about communicating that inhuman quality in writing?<br> | DiegoHerrera> Our second opener: If writing for an inhuman character such as an alien or monster, how would you go about communicating that inhuman quality in writing?<br> | ||
Margaret Bonanno: …you try to do it through dialogue. Think of the number of times Spock has made bemused observations about human behavior. That’s really what aliens are about – holding up a mirror to what fools these humans be. <br> | '''Margaret Bonanno:''' Good one! Depends on just how alien it is. If it’s *really* different, start with the physical stuff. For instance, I’m fascinated by sea creatures. Created a species of telepathic jellyfish in *Preternatural* and tried to see the world through their eyes (or non-eyes, as happens to be the case). Did the same for a species of giant intelligent earthworms in *Unspoken Truth*. Start with the physical differences from humanoids, and try<br> | ||
'''Margaret Bonanno:''' …you try to do it through dialogue. Think of the number of times Spock has made bemused observations about human behavior. That’s really what aliens are about – holding up a mirror to what fools these humans be. | |||
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DiegoHerrera> Great! I can imagine that writing for a race of telepathic jellyfish must have been quite a challenge!<br> | DiegoHerrera> Great! I can imagine that writing for a race of telepathic jellyfish must have been quite a challenge!<br> | ||
Margaret Bonanno: Give you an example: When I was a kid (See how I did that?) I inherited a bunch of old storybooks from a babysitter. One was a collection of fairy tales from Czechoslovakia. Real Grimm-type stuff, not the Disneyfied version. One story was about a princess who’d been kidnapped by a witch, who steals her eyes. Stumbling around the cabin while the witch is away, the princess finds a chest full of eyes, and starts trying them on…<br> | '''Margaret Bonanno:''' Give you an example: When I was a kid (See how I did that?) I inherited a bunch of old storybooks from a babysitter. One was a collection of fairy tales from Czechoslovakia. Real Grimm-type stuff, not the Disneyfied version. One story was about a princess who’d been kidnapped by a witch, who steals her eyes. Stumbling around the cabin while the witch is away, the princess finds a chest full of eyes, and starts trying them on…<br> | ||
Margaret Bonanno: The first is a pair of eyes stolen from a wolf. Through them the princess sees a world that’s blood red and fraught with terrors. She takes the eyes out. The next pair of eyes is from a fish. The princess sees the world as if underwater – dark and full of horrifying sea creatures ready to eat her. She throws them aside…<br> | '''Margaret Bonanno:''' The first is a pair of eyes stolen from a wolf. Through them the princess sees a world that’s blood red and fraught with terrors. She takes the eyes out. The next pair of eyes is from a fish. The princess sees the world as if underwater – dark and full of horrifying sea creatures ready to eat her. She throws them aside…<br> | ||
Margaret Bonanno: Finally she finds her own eyes. That’s all I remember of the story (the princess probably kills the witch a la Hansel and Gretel, but that wasn’t important to me). The part about “seeing through another’s eyes” was what stuck with me, and that’s what I try to do…whether it’s an alien or an atypical sort of human. <br> | '''Margaret Bonanno:''' Finally she finds her own eyes. That’s all I remember of the story (the princess probably kills the witch a la Hansel and Gretel, but that wasn’t important to me). The part about “seeing through another’s eyes” was what stuck with me, and that’s what I try to do…whether it’s an alien or an atypical sort of human. <br> | ||
AlleranTan> Hi Margaret! My question is: Do you have a specific style guide you follow, or any particular style you adhere to or recommend? For example, I don’t capitalise the word “Human” if there are no other species in the story, but I do if there are (e.g. Toralii, Kel-Voran, Human). Just to muddy the water some more, I don’t capitalise ‘human’ or any other species/race in my fantasy work at all (orc, kobold, human). | AlleranTan> Hi Margaret! My question is: Do you have a specific style guide you follow, or any particular style you adhere to or recommend? For example, I don’t capitalise the word “Human” if there are no other species in the story, but I do if there are (e.g. Toralii, Kel-Voran, Human). Just to muddy the water some more, I don’t capitalise ‘human’ or any other species/race in my fantasy work at all (orc, kobold, human). What is your preference?<br> | ||
'''Margaret Bonanno:''' Good question! I don’t think I’ve ever capitalized Human, though I would probably capitalize “Earther” if and when I used it. And of course I adhere to the Pocket guidelines when it comes to Vulcans, Klingons, etc.<br> | |||
Margaret Bonanno: Good question! I don’t think I’ve ever capitalized Human, though I would probably capitalize “Earther” if and when I used it. And of course I adhere to the Pocket guidelines when it comes to Vulcans, Klingons, etc.<br> | |||
DiegoHerrera> Guidelines laid down by the publisher, is that right?<br> | DiegoHerrera> Guidelines laid down by the publisher, is that right?<br> | ||
AlleranTan> My understanding is that it’s the difference between common noun and proper noun, since “wolf” and “fox” aren’t | AlleranTan> My understanding is that it’s the difference between common noun and proper noun, since “wolf” and “fox” aren’t capitalized, but say, Timber Wolf is.<br> | ||
Margaret Bonanno: Yes.<br> | '''Margaret Bonanno:''' Yes.<br> | ||
AlleranTan> But I know author preference does play a part in it all.<br> | AlleranTan> But I know author preference does play a part in it all.<br> | ||
Margaret Bonanno: Probably right, AlleranTan. And for my original aliens, I tend to make up silly names.<br> | '''Margaret Bonanno:''' Probably right, AlleranTan. And for my original aliens, I tend to make up silly names.<br> | ||
DiegoHerrera> Do you have a method for doing it?<br> | DiegoHerrera> Do you have a method for doing it?<br> | ||
Margaret Bonanno: Well, the name for the giant intelligent earthworms is Deemanot, which is an acronym for – wait for it – nematode.Oops, I meant “anagram,” not “acronym.”<br> | '''Margaret Bonanno:''' Well, the name for the giant intelligent earthworms is Deemanot, which is an acronym for – wait for it – nematode.Oops, I meant “anagram,” not “acronym.”<br> | ||
DiegoHerrera> I see! So based on a scientific term. Sounds like a good way of picking names that make sense.<br> | DiegoHerrera> I see! So based on a scientific term. Sounds like a good way of picking names that make sense.<br> | ||
Margaret Bonanno: Yep. Then there were the jellyfish in *Preternatural*. Their name for themselves is S.oteri. If you pronounce the “S” as “ess,” you get ess-oh-TER-ee, as in “esoteric.”<br> | '''Margaret Bonanno:''' Yep. Then there were the jellyfish in *Preternatural*. Their name for themselves is S.oteri. If you pronounce the “S” as “ess,” you get ess-oh-TER-ee, as in “esoteric.”<br> | ||
DiegoHerrera> We often have to create alien races for our collaborative writing here, so that approach will come in handy for our writers. <br> | DiegoHerrera> We often have to create alien races for our collaborative writing here, so that approach will come in handy for our writers. <br> | ||
Alex_Richards> Hello Margaret. When writing, I often find myself relying heavily on dialogue to set a scene rather than descriptive text/exposition. My question is twofold. First, how would you advise someone in my situation to be more inventive with their exposition, and second, what do you feel is the right balance between dialogue and narrative text?<br> | Alex_Richards> Hello Margaret. When writing, I often find myself relying heavily on dialogue to set a scene rather than descriptive text/exposition. My question is twofold. First, how would you advise someone in my situation to be more inventive with their exposition, and second, what do you feel is the right balance between dialogue and narrative text?<br> | ||
Margaret Bonanno: The answer to both, IMO, is: When you’re done, read it aloud. If the dialogue conveys the information you want it to, but also sounds as if it is real people talking then you’ve succeeded. You want to avoid the Victorian melodrama effect of the maid stepping downstage to tell the audience what’s going on. The same thing with finding the balance between narrative and dialogue. You’re wise in understanding that too much narrative can read like a lecture, and you want to avoid that but, again, when you’ve finished a scene that’s a mix of narrative and dialogue, try reading it aloud. You’ll know if it “sounds.” <br> | '''Margaret Bonanno:''' The answer to both, IMO, is: When you’re done, read it aloud. If the dialogue conveys the information you want it to, but also sounds as if it is real people talking then you’ve succeeded. You want to avoid the Victorian melodrama effect of the maid stepping downstage to tell the audience what’s going on. The same thing with finding the balance between narrative and dialogue. You’re wise in understanding that too much narrative can read like a lecture, and you want to avoid that but, again, when you’ve finished a scene that’s a mix of narrative and dialogue, try reading it aloud. You’ll know if it “sounds.” <br> | ||
DiegoHerrera> Do you find reading aloud is a good way to run a self-edit as well? I.e. to pick up on any grammatical anomalies etc?<br> | DiegoHerrera> Do you find reading aloud is a good way to run a self-edit as well? I.e. to pick up on any grammatical anomalies etc?<br> | ||
Margaret Bonanno: Definitely. Can’t tell you how many times I’ve found typos, words omitted, or general “WTF were you thinking????” glitches in my work. It’s a sad fact that you can’t always proofread your own text, because the eye sees what it wants to see. So reading aloud helps there, too.<br> | '''Margaret Bonanno:''' Definitely. Can’t tell you how many times I’ve found typos, words omitted, or general “WTF were you thinking????” glitches in my work. It’s a sad fact that you can’t always proofread your own text, because the eye sees what it wants to see. So reading aloud helps there, too.<br> | ||
KaliNicholotti> Hello Margaret and thanks for coming! My question is this. How do you motivate yourself to write, especially when you don’t feel especially like writing? Have you ever had to force yourself to just sit and write?<br> | KaliNicholotti> Hello Margaret and thanks for coming! My question is this. How do you motivate yourself to write, especially when you don’t feel especially like writing? Have you ever had to force yourself to just sit and write?<br> | ||
Margaret Bonanno: LOL – it helps to have a contract and a deadline, as in “You’re getting paid for this. The clock is ticking. Get on with it!” Then again, sometimes the work itself just pesters you to get done.Right now I’m working on something on spec. No contract, no money, just tinkering with an idea. And I’ll be in the middle of something else entirely, when I have to grab a pen and scribble a thought on the edge of a crossword before I lose it. Generally, if you want to write, you’ll write. If you don’t, you’ll make excuses. And some days it’s better to just tidy a closet or work in the garden. Hope that helps, Kali.<br> | '''Margaret Bonanno:''' LOL – it helps to have a contract and a deadline, as in “You’re getting paid for this. The clock is ticking. Get on with it!” Then again, sometimes the work itself just pesters you to get done.Right now I’m working on something on spec. No contract, no money, just tinkering with an idea. And I’ll be in the middle of something else entirely, when I have to grab a pen and scribble a thought on the edge of a crossword before I lose it. Generally, if you want to write, you’ll write. If you don’t, you’ll make excuses. And some days it’s better to just tidy a closet or work in the garden. Hope that helps, Kali.<br> | ||
Vie> Firstly, welcome to the chat today – thanks for coming! I’d like to ask how you approach writing for an established series – Startrek for an obvious example – do you research the existing material first and draw ideas from it? Or do you come to it with an idea and see how that could be explored within the context of the existing material? Thank you in advance.<br> | Vie> Firstly, welcome to the chat today – thanks for coming! I’d like to ask how you approach writing for an established series – Startrek for an obvious example – do you research the existing material first and draw ideas from it? Or do you come to it with an idea and see how that could be explored within the context of the existing material? Thank you in advance.<br> | ||
Margaret Bonanno: Trek is actually the only media tie-in I’ve done (though I’d love for there to be a series of nuBSG novels. Ron Moore, are you listening?), and I have the advantage of being hooked on the Original Series since the beginning. In some ways I know these characters better than some people in my Real Life however, when it came to mixing in characters from several series, as in *Catalyst of Sorrows*, I had to go back and rewatch episodes and read other novels (and the reference books – they’re very helpful) Because readers will catch you out if you make mistakes, so you have to be extra, extra careful! But, yes, research is essential regardless of what you’re writing. It’s just that with Star Trek it’s fun as well!<br> | '''Margaret Bonanno:''' Trek is actually the only media tie-in I’ve done (though I’d love for there to be a series of nuBSG novels. Ron Moore, are you listening?), and I have the advantage of being hooked on the Original Series since the beginning. In some ways I know these characters better than some people in my Real Life however, when it came to mixing in characters from several series, as in *Catalyst of Sorrows*, I had to go back and rewatch episodes and read other novels (and the reference books – they’re very helpful) Because readers will catch you out if you make mistakes, so you have to be extra, extra careful! But, yes, research is essential regardless of what you’re writing. It’s just that with Star Trek it’s fun as well!<br> | ||
Vetri> A science fiction story may well include a protagonist from a very different culture to the one they are operating in, even if they are otherwise quite similar to those around them. What sort of methods would you use to convey some of that, without letting it overpower the rest of the narrative?<br> | Vetri> A science fiction story may well include a protagonist from a very different culture to the one they are operating in, even if they are otherwise quite similar to those around them. What sort of methods would you use to convey some of that, without letting it overpower the rest of the narrative?<br> | ||
Margaret Bonanno: I think it goes back to the “through someone else’s eyes” thing I mentioned earlier, because it’s not limited to science fiction and actual from-another-planet aliens…it can be anyone in a strange situation. I think a lot of people become writers – or artists, actors, etc. – because they feel out of place in so-called “normal” society. It’s tapping into that and saying, “Okay, how would I feel if I were the only member of my species on this world?” that’s a good place to start. Or just think of how you felt in a strange situation, Vetri, and work from there.<br> | '''Margaret Bonanno:''' I think it goes back to the “through someone else’s eyes” thing I mentioned earlier, because it’s not limited to science fiction and actual from-another-planet aliens…it can be anyone in a strange situation. I think a lot of people become writers – or artists, actors, etc. – because they feel out of place in so-called “normal” society. It’s tapping into that and saying, “Okay, how would I feel if I were the only member of my species on this world?” that’s a good place to start. Or just think of how you felt in a strange situation, Vetri, and work from there.<br> | ||
Handley> Hello Margaret, thank you so much for coming! Leading on from an earlier question, do you have any advice for someone pitching a novel idea to a publisher that is set in the Star Trek universe? Are there any problems with writing for your own characters in an established (and copyrighted) universe?<br> | Handley> Hello Margaret, thank you so much for coming! Leading on from an earlier question, do you have any advice for someone pitching a novel idea to a publisher that is set in the Star Trek universe? Are there any problems with writing for your own characters in an established (and copyrighted) universe?<br> | ||
Margaret Bonanno: Best advice I can give you there is to check the publisher’s website: simonsays.com I’m not sure what their current policy is regarding Trek novel submissions, but I can tell you it’s never been easy. Basic rule has always been: You must have published something else first. Generally for any kind of publishing in the U.S., you’ll need to have representation through a literary agent. | '''Margaret Bonanno:''' Best advice I can give you there is to check the publisher’s website: simonsays.com I’m not sure what their current policy is regarding Trek novel submissions, but I can tell you it’s never been easy. Basic rule has always been: You must have published something else first. Generally for any kind of publishing in the U.S., you’ll need to have representation through a literary agent. And in recent years, Simon & Schuster/Pocket have undergone some “downsizing,” so that makes it even more challenging.<br> | ||
Cmdr_Karynn_Brice> Thanks for joining us Margaret. Have you ever gotten bored with a Character that you’ve written for a long time? If yes, what (if anything) did you do to make it interesting again?<br> | Cmdr_Karynn_Brice> Thanks for joining us Margaret. Have you ever gotten bored with a Character that you’ve written for a long time? If yes, what (if anything) did you do to make it interesting again?<br> | ||
Margaret Bonanno: Wow, never thought of that, Karynn! If it ever did happen, I’m sure I could think of a creative way to kill them off…unless, of course, they’re one of the Star Trek regulars, in which case I could just not include them in most of the scenes.<br> | '''Margaret Bonanno:''' Wow, never thought of that, Karynn! If it ever did happen, I’m sure I could think of a creative way to kill them off…unless, of course, they’re one of the Star Trek regulars, in which case I could just not include them in most of the scenes.<br> | ||
Hutch> When writing a novel, how far ahead do you plan? And how much detail do you get into at that stage? Do you leave room for your characters to do the ‘unexpected’ if the story calls for it?<br> | Hutch> When writing a novel, how far ahead do you plan? And how much detail do you get into at that stage? Do you leave room for your characters to do the ‘unexpected’ if the story calls for it?<br> | ||
Margaret Bonanno: Characters often have better insights than the author. Sounds crazy, but it’s very often the case. They’ll smack you upside the head and say “Look, I’d never do that, okay?” Because the outline may be 10-15 pages, but you’re building a 400-page manuscript around it. <br> | '''Margaret Bonanno:''' If I’m under contract (the usual case), I’ll have had to submit an outline, and that serves as a road map to keep me from getting lost (not saying it doesn’t happen, but at least I have a template to get me back on course) But characters do have a tendency to try to go off on their own, and sometimes you can argue them back to your POV, but other times you may as well see where they’re going to take you. Characters often have better insights than the author. Sounds crazy, but it’s very often the case. They’ll smack you upside the head and say “Look, I’d never do that, okay?” Because the outline may be 10-15 pages, but you’re building a 400-page manuscript around it. <br> | ||
AlexMatthews> | AlexMatthews> How do you combat the witers block?<br> | ||
Margaret Bonanno: I’ll do something mindless. As I mentioned, housework, gardening, or taking on a project like painting the living room – something where your hands are busy, but your mind is floating loose. And sometimes I find, at least, that I have to just wait I’ve always envied writers who can write pages and pages every day. I’m lucky if I get 1,000 words on a really good day. And sometimes you get stuck in one of those “Okay, what happens next?” situations, and you really have no clue…<br> | '''Margaret Bonanno:''' I’ll do something mindless. As I mentioned, housework, gardening, or taking on a project like painting the living room – something where your hands are busy, but your mind is floating loose. And sometimes I find, at least, that I have to just wait I’ve always envied writers who can write pages and pages every day. I’m lucky if I get 1,000 words on a really good day. And sometimes you get stuck in one of those “Okay, what happens next?” situations, and you really have no clue…<br> | ||
Margaret Bonanno: I’ve tried tinkering, tossing it out, tinkering again, tossing that out, tearing my hair out, banging on the walls. Finally, you just have to walk away. Do something else, anything else, and the exact thing you need will sneak into your peripheral vision like a cat peeking around the furniture, and you’re saved!<br> | '''Margaret Bonanno:''' I’ve tried tinkering, tossing it out, tinkering again, tossing that out, tearing my hair out, banging on the walls. Finally, you just have to walk away. Do something else, anything else, and the exact thing you need will sneak into your peripheral vision like a cat peeking around the furniture, and you’re saved!<br> | ||
Arden_Cain> It's great to have you here Margaret. How do you avoid placing too much of yourself into the character/s that you are writing. For example, my character here, has morphed into a partial reflection of my real self (history to an extent, personality traits and the like) even though it wasn’t my intent in the very beginning. How do you prevent situations like this to ensure that your characters are all fresh and unique?<br> | Arden_Cain> It's great to have you here Margaret. How do you avoid placing too much of yourself into the character/s that you are writing. For example, my character here, has morphed into a partial reflection of my real self (history to an extent, personality traits and the like) even though it wasn’t my intent in the very beginning. How do you prevent situations like this to ensure that your characters are all fresh and unique?<br> | ||
Margaret Bonanno: Hmm, good question. Depends on what I’m writing. There may be one character who’s most like me, and I’ll go out of my way to make some things as *not* like me as possible. With Trek, that’s easy, because I tend to identify most with the Vulcan characters, and as anyone who knows me can tell you, I am *not* always in control of my emotions. OTOH, the *Preternatural* trilogy was built around a protagonist who’s almost completely autobiographical…except that Karen’s in touch with telepathic alien jellyfish, whereas I’m not. Or am I? <br> | '''Margaret Bonanno:''' Hmm, good question. Depends on what I’m writing. There may be one character who’s most like me, and I’ll go out of my way to make some things as *not* like me as possible. With Trek, that’s easy, because I tend to identify most with the Vulcan characters, and as anyone who knows me can tell you, I am *not* always in control of my emotions. OTOH, the *Preternatural* trilogy was built around a protagonist who’s almost completely autobiographical…except that Karen’s in touch with telepathic alien jellyfish, whereas I’m not. Or am I? <br> | ||
Margaret Bonanno: So if you *want* the character to be recognizable, pull out the stops. If not, then tinker with things. Make your character a different gender. Try a different age, hair color, ethnic background, etc.<br> | '''Margaret Bonanno:''' So if you *want* the character to be recognizable, pull out the stops. If not, then tinker with things. Make your character a different gender. Try a different age, hair color, ethnic background, etc.<br> | ||
AnoraManar> Hey Margaret, thanks so much for taking the time to be here today and answer all of our questions. It’s greatly appreciated I tend to constantly find myself in the same problem over and over again. I always have problems starting my writing. I have a middle and end, but I can’t ever work out the beginning. Any advice on how to tackle that problem?<br> | AnoraManar> Hey Margaret, thanks so much for taking the time to be here today and answer all of our questions. It’s greatly appreciated I tend to constantly find myself in the same problem over and over again. I always have problems starting my writing. I have a middle and end, but I can’t ever work out the beginning. Any advice on how to tackle that problem?<br> | ||
Margaret Bonanno: Happened to me once. I began in the middle of a novel, wrote it to the end, and by then I’d found the beginning. Unfortunately, I couldn’t get the beginning to mesh with the middle without a major rewrite of the middle, so I wouldn’t advise trying that – LOL…<br> | '''Margaret Bonanno:''' Happened to me once. I began in the middle of a novel, wrote it to the end, and by then I’d found the beginning. Unfortunately, I couldn’t get the beginning to mesh with the middle without a major rewrite of the middle, so I wouldn’t advise trying that – LOL…<br> | ||
AnoraManar> Sounds like a plan. I have an outline of ideas all the time, but never seem to have a beginning to put with them though<br> | AnoraManar> Sounds like a plan. I have an outline of ideas all the time, but never seem to have a beginning to put with them though<br> | ||
Margaret Bonanno: How about this: Ask yourself why. Why are you writing this? Why does this story want to be told; why are these characters rattling around in your head? Maybe see if you can work backwards from “this is where they ended up” to “this is where they started.” Maybe that will work. If all else fails, “Once upon a time…” <br> | '''Margaret Bonanno:''' How about this: Ask yourself why. Why are you writing this? Why does this story want to be told; why are these characters rattling around in your head? Maybe see if you can work backwards from “this is where they ended up” to “this is where they started.” Maybe that will work. If all else fails, “Once upon a time…” <br> | ||
Jalana> Hello Margaret, thanks for being here, great to have you Earlier you’ve spoken about alien characters and seeing through their eyes. Though if you do not write from their viewpoint how do you remind the reader of their unique features without getting repetetive? Do you have a trick for that for us?<br> | Jalana> Hello Margaret, thanks for being here, great to have you Earlier you’ve spoken about alien characters and seeing through their eyes. Though if you do not write from their viewpoint how do you remind the reader of their unique features without getting repetetive? Do you have a trick for that for us?<br> | ||
Margaret Bonanno: Little descriptors might help. “He tilted his head before he spoke so that his antennae could pick up the others’ voices…” “Like most of her species, her rapid heartbeat could be seen pulsing in her forehead…" Not all the time, but start with a full description, then abbreviate it as you go along. “Her forehead pulsed…” Or use bits of dialogue from the non-aliens. “Can you believe those extra thumbs? I was trying really hard not to stare at her hands…”<br> | '''Margaret Bonanno:''' Little descriptors might help. “He tilted his head before he spoke so that his antennae could pick up the others’ voices…” “Like most of her species, her rapid heartbeat could be seen pulsing in her forehead…" Not all the time, but start with a full description, then abbreviate it as you go along. “Her forehead pulsed…” Or use bits of dialogue from the non-aliens. “Can you believe those extra thumbs? I was trying really hard not to stare at her hands…”<br> | ||
Silveira> Good evening Margaret, thankyou for coming. Now as one of the non native english writers I admit some times I have trouble “translating” in english what I really mean to say. Any tips to make it easier?<br> | Silveira> Good evening Margaret, thankyou for coming. Now as one of the non native english writers I admit some times I have trouble “translating” in english what I really mean to say. Any tips to make it easier?<br> | ||
Margaret Bonanno: That’s a tough one. Probably the more you expose yourself to conversational English – in public places, conversations with friends, TV and film – the easier it might become. Quite a challenge all the same, and you’re courageous for doing it! Also, reading. The more contemporary [good] fiction you can read, the better. Diego, maybe your group can draw up a reading list of well-written fiction to help your ESL members.<br> | |||
'''Margaret Bonanno:''' That’s a tough one. Probably the more you expose yourself to conversational English – in public places, conversations with friends, TV and film – the easier it might become. Quite a challenge all the same, and you’re courageous for doing it! Also, reading. The more contemporary [good] fiction you can read, the better. Diego, maybe your group can draw up a reading list of well-written fiction to help your ESL members.<br> | |||
Dickens> Hello, as others have said, thanks to spend some time to talk with us. It’s a great oportunity specially for us non-english speakers. When you write about a scene, do you prefer for the scene to lead the characters actions or does the characters with their personality develop the scene? I mean, you prefer them to be drawn by the circumstances or that they force those circumstances<br> | Dickens> Hello, as others have said, thanks to spend some time to talk with us. It’s a great oportunity specially for us non-english speakers. When you write about a scene, do you prefer for the scene to lead the characters actions or does the characters with their personality develop the scene? I mean, you prefer them to be drawn by the circumstances or that they force those circumstances<br> | ||
Margaret Bonanno: Great question! Other writers have different techniques, but my stories always begin with the characters. My very first Star Trek novel, *Dwellers in the Crucible* began with the thought “What if the Kirk/Spock story was told from the POV of two female civilian characters?” The story just evolved from there. First you ask: Okay, who are these people? Then you explore what sorts of situations they might find themselves in, based on who they are.<br> | '''Margaret Bonanno:''' Great question! Other writers have different techniques, but my stories always begin with the characters. My very first Star Trek novel, *Dwellers in the Crucible* began with the thought “What if the Kirk/Spock story was told from the POV of two female civilian characters?” The story just evolved from there. First you ask: Okay, who are these people? Then you explore what sorts of situations they might find themselves in, based on who they are.<br> | ||
Dickens> Quite interesting thought. So you don’t like your characters be forced to a scene or situation where they can’t get out? Or better than like, don’t tend to drive them there?<br> | Dickens> Quite interesting thought. So you don’t like your characters be forced to a scene or situation where they can’t get out? Or better than like, don’t tend to drive them there?<br> | ||
Margaret Bonanno: Oh, on the contrary, I love putting my characters into tough situations, because that shows what they’re made of. Will they be brave, self-sacrificing, resourceful, or cowardly, selfish, sneaky?<br> | '''Margaret Bonanno:''' Oh, on the contrary, I love putting my characters into tough situations, because that shows what they’re made of. Will they be brave, self-sacrificing, resourceful, or cowardly, selfish, sneaky?<br> | ||
Dueld_taJoot> I find I end up using the same physical shorthand over and over, constantly focusing on characters's eyes and eyebrows, mouths and shoulders. I’m afraid it will become some kind of kabuki caricature, which will jar readers into thinking about my lack of technique, rather than about the story. Have you ever found yourself relying too much on some motif? What did you do to find alternatives? Alternatively, what, if anything, has helped you expand your own mental Stock Footage Archive of body language and expression?<br> | Dueld_taJoot> I find I end up using the same physical shorthand over and over, constantly focusing on characters's eyes and eyebrows, mouths and shoulders. I’m afraid it will become some kind of kabuki caricature, which will jar readers into thinking about my lack of technique, rather than about the story. Have you ever found yourself relying too much on some motif? What did you do to find alternatives? Alternatively, what, if anything, has helped you expand your own mental Stock Footage Archive of body language and expression?<br> | ||
Margaret Bonanno: Wow, tough one! Because I do the same thing, especially around eyes and hands. One trick is, after you’ve finished the entire manuscript, do a Search and count how many times you’ve used the same or similar description (“His hazel eyes danced with glee..”) and either find another expression, or just delete the descriptor altogether.<br> | '''Margaret Bonanno:''' Wow, tough one! Because I do the same thing, especially around eyes and hands. One trick is, after you’ve finished the entire manuscript, do a Search and count how many times you’ve used the same or similar description (“His hazel eyes danced with glee..”) and either find another expression, or just delete the descriptor altogether.<br> | ||
T-Mihn> In character creation, is it normal for them to take on a life of their own different from the original plan? As if he/she had become a living breathing person?<br> | T-Mihn> In character creation, is it normal for them to take on a life of their own different from the original plan? As if he/she had become a living breathing person?<br> | ||
Margaret Bonanno: Oh, yes! I’ve had outright battles with some of my characters. Character: “You want me to put my life in danger here? I don’t think I want to do that.” Me: “It’s in the outline. Don’t be so stubborn.” Character: “Easy for you to say! You’re sitting there at your desk, and I’m the one who’s out the airlock. Nope, not doing it!” Most times you let them loose and see where they’re going. Sometimes they’re like balky children, and you have to be the Responsible Parent…<br> | '''Margaret Bonanno:''' Oh, yes! I’ve had outright battles with some of my characters. Character: “You want me to put my life in danger here? I don’t think I want to do that.” Me: “It’s in the outline. Don’t be so stubborn.” Character: “Easy for you to say! You’re sitting there at your desk, and I’m the one who’s out the airlock. Nope, not doing it!” Most times you let them loose and see where they’re going. Sometimes they’re like balky children, and you have to be the Responsible Parent…<br> | ||
Margaret Bonanno: “Listen, I’m the Omniscient Author here, right? I’ve got my finger poised over the Delete button. Don’t make me do this!”<br> | Margaret Bonanno: “Listen, I’m the Omniscient Author here, right? I’ve got my finger poised over the Delete button. Don’t make me do this!”<br> | ||
| Line 398: | Line 394: | ||
Diego_Herrera> So, Melinda, officially, thank you hugely for coming to chat to us on behalf of everyone at UFOP: Starbase 118!<br> | Diego_Herrera> So, Melinda, officially, thank you hugely for coming to chat to us on behalf of everyone at UFOP: Starbase 118!<br> | ||
Melinda Snodgrass: Happy to be here. You guys are fun.<br> | '''Melinda Snodgrass:''' Happy to be here. You guys are fun.<br> | ||
Diego_Herrera> The first of those being – what approaches do you use to make your narrative and descriptive passages involving?<br> | Diego_Herrera> The first of those being – what approaches do you use to make your narrative and descriptive passages involving?<br> | ||
Melinda Snodgrass: Well, for starters I find description agonizing to write. It’s why I much prefer writing screenplays. I have a set designer for all that. So, knowing I’m terrible at it and don’t like it I try to make sure I have 3 of the five senses mentioned and acknowledged in every scene. Touch is one that people frequently overlook, and it’s a useful tool. How does that paper towel feel against your fingers.<br> | '''Melinda Snodgrass:''' Well, for starters I find description agonizing to write. It’s why I much prefer writing screenplays. I have a set designer for all that. So, knowing I’m terrible at it and don’t like it I try to make sure I have 3 of the five senses mentioned and acknowledged in every scene. Touch is one that people frequently overlook, and it’s a useful tool. How does that paper towel feel against your fingers.<br> | ||
Melinda Snodgrass: On to narrative. Are we talking plot and structure? How do you define narrative?<br> | '''Melinda Snodgrass:''' On to narrative. Are we talking plot and structure? How do you define narrative?<br> | ||
Diego_Herrera> For the purposes of our group, anything that isn’t dialogue, so scene scetting, description of actions, that kind of thing. <br> | Diego_Herrera> For the purposes of our group, anything that isn’t dialogue, so scene scetting, description of actions, that kind of thing. <br> | ||
Melinda Snodgrass: Okay. Damn I wish we could talk. This may be a bit rambling. I enjoy writing action scenes and I generally approach them as if I’m writing for Jackie Chan. What can I put in the room that can be used in interesting ways for this particular action sequence. There should have been a question mark at then end of that sentence. Doh! Anyway, the other thing I ask myself is “What does this scene actually do in the book or the movie? Does it move the plot forward? Present a new problem? Explicate character? If it doesn’t do one of those things then it probably doesn’t need to be there.<br> | '''Melinda Snodgrass:''' Okay. Damn I wish we could talk. This may be a bit rambling. I enjoy writing action scenes and I generally approach them as if I’m writing for Jackie Chan. What can I put in the room that can be used in interesting ways for this particular action sequence. There should have been a question mark at then end of that sentence. Doh! Anyway, the other thing I ask myself is “What does this scene actually do in the book or the movie? Does it move the plot forward? Present a new problem? Explicate character? If it doesn’t do one of those things then it probably doesn’t need to be there.<br> | ||
Melinda Snodgrass: One of the best lessons you can learn as a writer is how to “kill your babies”. The other sad fact is that a scene you absolutely love, love, love is probably a terrible scene.<br> | '''Melinda Snodgrass:''' One of the best lessons you can learn as a writer is how to “kill your babies”. The other sad fact is that a scene you absolutely love, love, love is probably a terrible scene.<br> | ||
Diego_Herrera> So, following on from the initial question, and as you’ve mentioned you like writing in the script style you’re the most awesome person to ask – you just wrote a scene that’s too dialog heavy. What do you do?<br> | Diego_Herrera> So, following on from the initial question, and as you’ve mentioned you like writing in the script style you’re the most awesome person to ask – you just wrote a scene that’s too dialog heavy. What do you do?<br> | ||
Melinda Snodgrass: When it’s a script I’m very aware that four lines/sentences is about the right length for dialog. If you find you’ve got more than that it really better important or an impassioned speech of some sort. When I’m writing dialog in a book I try to keep it West Wing short and snappy, a tennis match with the conversational ball bouncing back and forth between the characters. Long speeches over. don’t know why that word didn’t finish<br> | '''Melinda Snodgrass:''' When it’s a script I’m very aware that four lines/sentences is about the right length for dialog. If you find you’ve got more than that it really better important or an impassioned speech of some sort. When I’m writing dialog in a book I try to keep it West Wing short and snappy, a tennis match with the conversational ball bouncing back and forth between the characters. Long speeches over. don’t know why that word didn’t finish<br> | ||
Melinda Snodgrass: As for a scene being too dialog heavy. I love dialog so I don’t think that’s ever a problem assuming what is being discussed is interesting.<br> | '''Melinda Snodgrass:''' As for a scene being too dialog heavy. I love dialog so I don’t think that’s ever a problem assuming what is being discussed is interesting.<br> | ||
Diego_Herrera> Do you represent characters’ internal thoughts as you go along?<br> | Diego_Herrera> Do you represent characters’ internal thoughts as you go along?<br> | ||
Melinda Snodgrass: What I really hate even more than description is internal dialog which you often have to have in a novel. I tend to keep it to a minimum. (And you are a mind reader because I was typing this while you typed the question.) Sometimes I just make the internal dialog obvious and let the characters say the words unless it’s going to ruin a big plot point.<br> | '''Melinda Snodgrass:''' What I really hate even more than description is internal dialog which you often have to have in a novel. I tend to keep it to a minimum. (And you are a mind reader because I was typing this while you typed the question.) Sometimes I just make the internal dialog obvious and let the characters say the words unless it’s going to ruin a big plot point.<br> | ||
Diego_Herrera> Our next question is from Kali: Do you ever feel like you can’t do more with a character?<br> | Diego_Herrera> Our next question is from Kali: Do you ever feel like you can’t do more with a character?<br> | ||
Melinda Snodgrass: Yes. or even better with what they _do_. That whole showing not telling thing which can also become annoying if done in excess. Sometimes there is nothing wrong with a simple declarative sentence telling people what the heck is going on. You write about a character because they are experiencing the most important moments in their lives. Once that is past is there really more story to tell? Maybe not. Some writer’s will say, “that person’s story has been told.” That was the case with Tachyon in the Wild Card books. His story is done.<br> | '''Melinda Snodgrass:''' Yes. or even better with what they _do_. That whole showing not telling thing which can also become annoying if done in excess. Sometimes there is nothing wrong with a simple declarative sentence telling people what the heck is going on. You write about a character because they are experiencing the most important moments in their lives. Once that is past is there really more story to tell? Maybe not. Some writer’s will say, “that person’s story has been told.” That was the case with Tachyon in the Wild Card books. His story is done.<br> | ||
Melinda Snodgrass: Now if conditions change or a new problem arises then that person’s story can start again, but they have to be different when you come back to them. Characters do need to have “arcs” despite that becoming a silly cliche in Hollywood.<br> | '''Melinda Snodgrass:''' Now if conditions change or a new problem arises then that person’s story can start again, but they have to be different when you come back to them. Characters do need to have “arcs” despite that becoming a silly cliche in Hollywood.<br> | ||
Diego_Herrera> You mentioned Wildcard just now and she is a fan. She would like to ask: “One of my problems in my writing is I feel like I don’t create very good plots. How do you keep your plots from falling flat?”<br> | Diego_Herrera> You mentioned Wildcard just now and she is a fan. She would like to ask: “One of my problems in my writing is I feel like I don’t create very good plots. How do you keep your plots from falling flat?”<br> | ||
Melinda Snodgrass: If I’m not passionate about a story/plot then it will feel flat. I’ve never really had that happen because I have always wanted to tell that particular story. Now there are points along the journey when things get dull. What Walter Jon Williams calls Kansas/Nebraska scenes. Dull and flat, but they have to be there or the plot won’t make any sense. What you do is look forward to why you’re tell this story. Why does it matter to you.<br> | '''Melinda Snodgrass:''' If I’m not passionate about a story/plot then it will feel flat. I’ve never really had that happen because I have always wanted to tell that particular story. Now there are points along the journey when things get dull. What Walter Jon Williams calls Kansas/Nebraska scenes. Dull and flat, but they have to be there or the plot won’t make any sense. What you do is look forward to why you’re tell this story. Why does it matter to you.<br> | ||
Diego_Herrera> So if you’re not feeling it, it’s maybe not worth writing?<br> | Diego_Herrera> So if you’re not feeling it, it’s maybe not worth writing?<br> | ||
Melinda Snodgrass: And always remember. The events you are writing about are the most important events in your character’s life. How will it affect them? I think that’s true. Readers and viewers know when you are phoning it in, when you aren’t sincere in what you are saying. I never try to jump on a band wagon or write what’s popular. I write the stories I want to tell.<br> | '''Melinda Snodgrass:''' And always remember. The events you are writing about are the most important events in your character’s life. How will it affect them? I think that’s true. Readers and viewers know when you are phoning it in, when you aren’t sincere in what you are saying. I never try to jump on a band wagon or write what’s popular. I write the stories I want to tell.<br> | ||
Diego_Herrera> On a related theme – Reinard asks, do you have any advice for people who find it difficult to write dialogue?<br> | Diego_Herrera> On a related theme – Reinard asks, do you have any advice for people who find it difficult to write dialogue?<br> | ||
Melinda Snodgrass: Say it out loud as you write it. I look like a crazy person in my office. I speak all my dialog aloud. Another good trick is to have friends read it aloud and you listen. Now that doesn’t mean you want ti to sound just like real conversations with the ums and uhs thrown in, but you want it to flow and to be succinct, but still sound natural. Remember every word you write needs to have a reason to be there. Even dialog. If the person is hedging and talking to cover for something else you need to craft it so that’s clear to the reader/viewer.<br> | '''Melinda Snodgrass:''' Say it out loud as you write it. I look like a crazy person in my office. I speak all my dialog aloud. Another good trick is to have friends read it aloud and you listen. Now that doesn’t mean you want ti to sound just like real conversations with the ums and uhs thrown in, but you want it to flow and to be succinct, but still sound natural. Remember every word you write needs to have a reason to be there. Even dialog. If the person is hedging and talking to cover for something else you need to craft it so that’s clear to the reader/viewer.<br> | ||
Diego_Herrera> Leo HP asks (while we’re on dialogue) – is it difficult to get your characters to sound different when they speak?<br> | Diego_Herrera> Leo HP asks (while we’re on dialogue) – is it difficult to get your characters to sound different when they speak?<br> | ||
Melinda Snodgrass: Yes, that is hard. Especially in scripts because a first reader at a studio reads hundreds of scripts and they read very quickly so they may not notice the change in name. In novels there’s nothing wrong with Jane said, John said. It helps anchor your readers, but it’s nice when readers can tell the difference without the cue. Now, that doesn’t mean you want to write in dialect. Never, ever do that. Only a few masters like Terry Partc... accent made it hard to understand her, or something like that. I really dislike seeing Pleeze ow are you?<br> | '''Melinda Snodgrass:''' Yes, that is hard. Especially in scripts because a first reader at a studio reads hundreds of scripts and they read very quickly so they may not notice the change in name. In novels there’s nothing wrong with Jane said, John said. It helps anchor your readers, but it’s nice when readers can tell the difference without the cue. Now, that doesn’t mean you want to write in dialect. Never, ever do that. Only a few masters like Terry Partc... accent made it hard to understand her, or something like that. I really dislike seeing Pleeze ow are you?<br> | ||
Diego_Herrera> Do you find that makes it difficult to read?<br> | Diego_Herrera> Do you find that makes it difficult to read?<br> | ||
Melinda Snodgrass: The other trick I use is that I listen to people talking in cafes and restaurants and malls. I try to imitate the cadence of their speech patterns. I do, and I think you run the risk of throwing someone out of the story if they are looking at all your fake accents. They’re not being swept into the narrative. You also run the risk of looking racist or insensitive.<br> | '''Melinda Snodgrass:''' The other trick I use is that I listen to people talking in cafes and restaurants and malls. I try to imitate the cadence of their speech patterns. I do, and I think you run the risk of throwing someone out of the story if they are looking at all your fake accents. They’re not being swept into the narrative. You also run the risk of looking racist or insensitive.<br> | ||
Diego_Herrera> Velana would like to know your opinion on whether or not it’s better to go with self publishing or traditional publishing when your novel is complete!<br> | Diego_Herrera> Velana would like to know your opinion on whether or not it’s better to go with self publishing or traditional publishing when your novel is complete!<br> | ||
Melinda Snodgrass: I am not a fan of self-publishing, particularly for new writers. The number of books a new writer sells is generally 0, zero, null, none. I also don’t want to have try and pick my cover art — I’m not an artist, I’m a writer. I also hate self-promotion. Publishers have marketing people to handle that. I also think not having an editor is dangerous. Your mom or boyfriend or girlfriend may think your book is awesome, but it might actually need work, and the eyes of a professional are very helpful. My books get better because of my editor. | '''Melinda Snodgrass:''' I am not a fan of self-publishing, particularly for new writers. The number of books a new writer sells is generally 0, zero, null, none. I also don’t want to have try and pick my cover art — I’m not an artist, I’m a writer. I also hate self-promotion. Publishers have marketing people to handle that. I also think not having an editor is dangerous. Your mom or boyfriend or girlfriend may think your book is awesome, but it might actually need work, and the eyes of a professional are very helpful. My books get better because of my editor. And with a published book you know there are gate keepers, that the money you are spending will garner you a competent piece of work.<br> | ||
Diego_Herrera> This brings up an interesting question – why did you choose a pen name? Is it to distinguish from a different genre, or another reason?<br> | Diego_Herrera> This brings up an interesting question – why did you choose a pen name? Is it to distinguish from a different genre, or another reason?<br> | ||
Melinda Snodgrass: It was mostly reader identification. The readers who enjoy Melinda’s novels probably wouldn’t be huge fans of Urban Fantasy. I didn’t want reader confusion. That’s the real reason the B was the commercial thing. Media has developed so you can tailor your reading/viewing an listening pleasure and I want to give my readers what they want and expect.<br> | '''Melinda Snodgrass:''' It was mostly reader identification. The readers who enjoy Melinda’s novels probably wouldn’t be huge fans of Urban Fantasy. I didn’t want reader confusion. That’s the real reason the B was the commercial thing. Media has developed so you can tailor your reading/viewing an listening pleasure and I want to give my readers what they want and expect.<br> | ||
Diego_Herrera> Amanda has another question: How do you write with other people to make the result seamless rather than it LOOK like two people have written it?<br> | Diego_Herrera> Amanda has another question: How do you write with other people to make the result seamless rather than it LOOK like two people have written it?<br> | ||
Melinda Snodgrass: I’ve only really done that on screenplays, and in that case the other writer and I sit in the room together and take turns typing and bouncing dialog off each other. for novels there are various techniques, and now that I think about it I did write The Runespear with Vic Milan. We divided up characters, and wrote the chapters for those people. Then we exchanged pages and we did a rewrite on each other’s pages. Then we sat and went over good working relationship with that person and small egos.<br> | '''Melinda Snodgrass:''' I’ve only really done that on screenplays, and in that case the other writer and I sit in the room together and take turns typing and bouncing dialog off each other. for novels there are various techniques, and now that I think about it I did write The Runespear with Vic Milan. We divided up characters, and wrote the chapters for those people. Then we exchanged pages and we did a rewrite on each other’s pages. Then we sat and went over good working relationship with that person and small egos.<br> | ||
Diego_Herrera> So dual editing rights?<br> | Diego_Herrera> So dual editing rights?<br> | ||
Melinda Snodgrass: Yes. You have to work closely with that other person. You should also have plotted it out in advance so each person knows exactly what they are doing. That’s how James S.A. Corey works.<br> | '''Melinda Snodgrass:''' Yes. You have to work closely with that other person. You should also have plotted it out in advance so each person knows exactly what they are doing. That’s how James S.A. Corey works.<br> | ||
Diego_Herrera> Have you ever written anything with George R. R.? You guys are friends right?<br> | Diego_Herrera> Have you ever written anything with George R. R.? You guys are friends right?<br> | ||
Melinda Snodgrass: Oh, and you better clear any changes with the other person.<br> | '''Melinda Snodgrass:''' Oh, and you better clear any changes with the other person.<br> | ||
Diego_Herrera> No stealth editing!<br> | Diego_Herrera> No stealth editing!<br> | ||
Melinda Snodgrass: Yes, George and I did a draft of A PRINCESS OF MARS together. Ours would have been better than that mess that ended up on movie screens under the title JOHN CARTER. GRRM does love description though. I spent a lot of time cutting that way down when I’d get his pages. Too much description makes a script read slow and that’s death in Hollywood.<br> | '''Melinda Snodgrass:''' Yes, George and I did a draft of A PRINCESS OF MARS together. Ours would have been better than that mess that ended up on movie screens under the title JOHN CARTER. GRRM does love description though. I spent a lot of time cutting that way down when I’d get his pages. Too much description makes a script read slow and that’s death in Hollywood.<br> | ||
Diego_Herrera> He approached it from the novel standpoint?<br> | Diego_Herrera> He approached it from the novel standpoint?<br> | ||
Melinda Snodgrass: ‘John Carter was a mess. Yes, George is by nature a prose writer and I’m by nature a screenwriter.<br> | '''Melinda Snodgrass:''' ‘John Carter was a mess. Yes, George is by nature a prose writer and I’m by nature a screenwriter.<br> | ||
Diego_Herrera> How do you go about writing for characters that have already been established? Such as ones that belong to a franchise like Star Trek?<br> | Diego_Herrera> How do you go about writing for characters that have already been established? Such as ones that belong to a franchise like Star Trek?<br> | ||
Melinda Snodgrass: Oh that is so much easier than creating interesting characters from scratch. You do have to be a good mimic, however so they sound right. When I got so mad over the end of Mass Effect 3 I wrote my own Shepard story, and it was a cakewalk. All the work had been done for me. I just had to create the shrink and a sleazy journalist. <br> | '''Melinda Snodgrass:''' Oh that is so much easier than creating interesting characters from scratch. You do have to be a good mimic, however so they sound right. When I got so mad over the end of Mass Effect 3 I wrote my own Shepard story, and it was a cakewalk. All the work had been done for me. I just had to create the shrink and a sleazy journalist. <br> | ||
Diego_Herrera> I still love that you did that – for those of you that missed last year and our podcast, Melinda had Mass Effect rage just like we all did!<br> | Diego_Herrera> I still love that you did that – for those of you that missed last year and our podcast, Melinda had Mass Effect rage just like we all did!<br> | ||
Melinda Snodgrass: I didn’t have to describe how an Asari looks. I just sent out my space opera proposal to my agents and having to describe all the alien races, the political set up etc. was a lot of work. It was fun, but work.<br> | '''Melinda Snodgrass:''' I didn’t have to describe how an Asari looks. I just sent out my space opera proposal to my agents and having to describe all the alien races, the political set up etc. was a lot of work. It was fun, but work.<br> | ||
Diego_Herrera> A question from Zerxes on this topic: When you have a central character like Data in “Measure of a Man,” do you spend much time with that particular actor to get any input?<br> | Diego_Herrera> A question from Zerxes on this topic: When you have a central character like Data in “Measure of a Man,” do you spend much time with that particular actor to get any input?<br> | ||
Melinda Snodgrass: I’m much calmer now that I wrote that story to end it properly for my Shepard. Actually no, frankly it’s not the actors job to tell us what to write. It’s our job to tell them what to say. Trek was weird because we were blocked from having much contact with the actors. On Reasonable Doubts the actors knew they could come in and tell us if a particular line was hard to say and we’d fix it, but the shape of the story and how it develops is our task.<br> | '''Melinda Snodgrass:''' I’m much calmer now that I wrote that story to end it properly for my Shepard. Actually no, frankly it’s not the actors job to tell us what to write. It’s our job to tell them what to say. Trek was weird because we were blocked from having much contact with the actors. On Reasonable Doubts the actors knew they could come in and tell us if a particular line was hard to say and we’d fix it, but the shape of the story and how it develops is our task.<br> | ||
Diego_Herrera> If writing for an inhuman character such as an alien or monster, how would you go about communicating that inhuman quality in writing?<br> | Diego_Herrera> If writing for an inhuman character such as an alien or monster, how would you go about communicating that inhuman quality in writing?<br> | ||
Melinda Snodgrass: I think you do it by showing their reactions to things. Not have them react in what would seem like a normal way. I also think it’s hard to write from the POV of an inhuman. Humans are interested in other humans. Data tried to understand and become more human because that made him interesting. If he just acted like a computer he would have been dull. When I wrote Ensigns of Command I had the aliens be so legalistic they were inexplica<br> | '''Melinda Snodgrass:''' I think you do it by showing their reactions to things. Not have them react in what would seem like a normal way. I also think it’s hard to write from the POV of an inhuman. Humans are interested in other humans. Data tried to understand and become more human because that made him interesting. If he just acted like a computer he would have been dull. When I wrote Ensigns of Command I had the aliens be so legalistic they were inexplica<br> | ||
Melinda Snodgrass: dealing with that alien quality. Jack Williamson once said a human can’t actually craft a truly alien character because if it were that alien it wouldn’t be interesting. I think he was right.<br> | '''Melinda Snodgrass:''' dealing with that alien quality. Jack Williamson once said a human can’t actually craft a truly alien character because if it were that alien it wouldn’t be interesting. I think he was right.<br> | ||
Diego_Herrera> Cheeky followup question – did you have total leeway with them?<br> | Diego_Herrera> Cheeky followup question – did you have total leeway with them?<br> | ||
Melinda Snodgrass: go to my website under WRITING and read the original script before they messed with it.<br> | '''Melinda Snodgrass:''' go to my website under WRITING and read the original script before they messed with it.<br> | ||