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We work to empower and encourage writing and vibrant creativity around the world.
NaNoWriMo
November 1-30. The world needs your novel.
NaNoWriMo
Originally started in the US, but now participated in internationally, National Novel Writing Month (NaNoWriMo) is a web based event that takes place annually, exclusive to the month of November. It is a creative writing project which encourages participants to write the first 50 000 words of their novel from the 1st of November until the deadline at 23:59:59 on the 30th.
Their slogan: “Thirty days and nights of literary abandon. No plot, no problem!”
Their mission: to provide a basis for the inspiration, encouragement, and structure that they believe people require in achieving their creative potential. They also aim to foster self expression and to build local and global writing communities.
NaNoWriMo encourages writers to abandon perfectionism and, for one month, to simply get the words down on paper. To create a first draft that can be edited later on, at the author’s leisure. The idea being, and correctly so, that you will never produce a polished novel until you have a poor novel to work with.
When one signs up with NaNoWriMo they are given the opportunity to create a profile. Through this profile they can converse privately with other participants by adding them as a writing buddy. They are also required to provide an outline of their novel which includes uploading a cover image, creating a synopsis and adding an excerpt. This element is important as it helps the writer to visualise their novel as an end product and realise, with more clarity, what they are working towards.
The website also provides diverse methods of support to its writers; from advice on how to prepare for the month of November, to inspirational pep talks and tips on how to dispel writers block, to online chat forums in which literary questions can be asked, criticism can be received and dialogue with the sponsors of the event is encouraged.
Also organised through the websites platform are events with participating writers in your region. These are co-ordinated by ML’s who usually ensure that a minimum of two events occur annually; a kickoff party a week before November and a “Thank God it’s Over” meet-up, after the month has been completed, where successes are celebrated and novels shared. Many ML’s have often gone a step further, organising weekly meetings and overnight write-ins, much to the delight of their region.
The rules are simple:
1) No payment is required in order to participate.
2) The time period is definite and inflexible
3) While planning and extensive notes are permitted no writing done prior to November should be included in the body of the work.
4) The novel can be on any theme, in any genre and in any language so long as it is a fictional work.
5) The novel does not have to be complete, only the first 50 000 words must be present.
6) The work must be new and may not be a collaboration.
Winners are any persons who complete 50 000 words on time. There are no direct prizes aside from the satisfaction of having completed the project and the existence of a first draft which can now be worked into a polished novel. However, some of the sponsors do provide rewards; these vary in kind from year to year.
NaNoWriMo started in 1991 with 21 participants. Last year 310,095 people participated.
Since 2006 an estimated 100 NaNoWriMo novels have been published by traditional publishing houses with many more being published independently or through self publishing. A few notable examples are:
Water for Elephants by Sara Gruen, published by Algonquin Books of Chapel Hill
The Night Circus by Erin Morgenstern, published by Doubleday
Persistence of Memory by Amelia Atwater-Rhodes, published by Delacorte Press
Fangirl by Rainbow Rowell, published by St. Martin's Press
For more information visit their blog at: http://blog.nanowrimo.org/
She nodded and trust smiled in at him. He opened the door and she slipped in next to him. Another child lost, indoctrination leading to her demise. A man caught psychosis in his every thought. Surrounded by a society that offers nothing but excuses for the tragedies it has wrought.
Savannah Lee Freemantle, Excuses
Excuses.
The car was hot and oppressive. The ever broken aircon wore a mocking smile. It took him for granted. He looked at it testily and muttered a curse as he wound down the window. His fingers beat an uneven tattoo against the steering wheel. The residential street was uncooperatively quiet.
His nine-to-five, blue collar suit felt uncomfortably tight as it stretched over his protruding stomach. His eyes were focused and alert. He turned a corner and in an instant his plan was in action, having been arranged in time for him to arrive by some universal law of participation. There she was, walking along the pavement with her blonde schoolgirl ponytail whipping smartly back and forth.
He loosened his tie, his heart pounding in his ears. His eyes darted forward to where three male loiterers were standing ahead of her. He wiped his palms against the rough material of his pants and watched, with no effort required on his part, the final pieces of his plan fall into place. The men looked up at her approach and her pace faltered. He hesitated for a moment and then caught the wheel and pulled up alongside her.
She turned to look at the car; her soft, childish features took surprise and moulded it into a question. He acted quickly to ease her confusion.
“Do you feel safe, or would you like some help?” His voice was friendly.
“Um, I’m not sure what... ” Her green eyes held a look of caution clouded by her concern at showing an adult disrespect.
“I don’t like the look of those guys”, he interrupted, looking towards the men. “And I could take you home if it’s not too far.” He smiled.
She readjusted her school bag, her lithe frame struggling with its weight, and considered her situation. Her naive discernment missed the subtle manipulative undertones flowing through his words.
She took in his profile and that of the others. The conscientious, professional man or the poverty stricken, dishevelled street lurkers? Her predispositions kicked in. Her young mind already determined by the facade of our societal hierarchies.
She nodded and trust smiled in at him. He opened the door and she slipped in next to him. Another child lost, indoctrination leading to her demise. A man caught psychosis in his every thought. Surrounded by a society that offers nothing but excuses for the tragedies it has wrought.
And what is good, Phaedrus, And what is not good – Need we ask anyone to tell us these things?
Zen & the Art of Motorcycle Maintenance
Zen & the Art of Motorcycle Maintenance
Quality; that thing which all artists strive to create; that which, ultimately, everyone desires to have permeate all aspects of their daily life, that same thing which makes its lack known by the hollow feeling in your chest. Quality; we know how to identify it – when asked to decide which piece of writing is of greater quality, The Great Gatsby or Fifty Shades of Grey, nine times out of ten we are going to get it right (Hopefully more frequently than stated) - however, the question of how we know this, and, therefore, what exactly it is that we are identifying, turns out to be a lot more complicated.
Robert M Pirsig spent ten years haunted by this question. He delved into scientific reason, eastern philosophy and the foundations of western thought in his attempt to conceive of the answer. While constructing his Metaphysics of Quality he began to lose touch with reality and was admitted to a 1960’s psychiatric facility where he underwent electroconvulsive therapy designed to permanently alter his personality. The result of both processes was his construction of the explosive, original and endlessly fascinating Zen & the Art of Motorcycle Maintenance.
Zen & the Art of Motorcycle Maintenance, an international bestseller which sold more than 5 million copies, was initially rejected by 121 publishers. Likened to Moby Dick by George Steiner in the New Yorker, with Robert Redford attempting to collar the film rights, the books success and acclaim took on a life of its own, eventually chasing an unsettled Pirsig into reclusion after just 35 interviews.
We recognise quality when we experience it and so, after all those years of hard work, frustration and even insanity, Pirsig must know something about quality because his book is undoubtedly quality of the highest order. To read the back of the book is to see professed again and again in numerous critiques how his work is; profound, critically important, exhilarating, challenging and most importantly something that everybody should read. I would add that it also has exciting literary merit.
Written in a style that transitions between Romantic and Classic thought, whilst expounding upon the theory of Romantic and Classic thought, Pirsig takes us from moments of intensive philosophical questioning to moments of sensual P.O.V experience on a cross country motorcycle trip with his son. Using this technique allows the difficult philosophical ideas within the book to become imminently more accessible as well as tying them to a compelling narrative. The result is powerful. The structure and execution of his book reflects the theory hidden within its pages. The literary exercise itself becomes profound.
“The book blends narrative, near Gothic phantasy, extended philosophical argument, and a complex web of symbols into a tragic and explosive non-happening…dazzling originality…we are warmed, stimulated and horrified…”
-Malcolm Williamson, Sunday Times
The value in the message is, however, both overwhelming and universal. Zen & the Art of Motorcycle Maintenance is, therefore, exemplary of how well executed literary technique is a powerful tool, which when used to convey critical content is instrumental in the creation of quality and when used for the sake of itself, with no value backing, is ultimately meaningless.
L.A. Confidential is ... "seductive and beautiful, cynical and twisted”
Robert Ebert
L.A. Confidential
The Academy Award winning best adapted screenplay of 1997, L.A. Confidential is a master piece of scripting. Scaling the story structure down from eight storylines to three, Curtis Hanson and Brian Helgeland extracted the essence of James Ellroy’s novel to create a script that, although ultimately vastly different from the novel, is perhaps one of the most exquisite book to movie adaptations ever achieved.
Set in 1950’s Los Angeles, the story centres around the experiences of three LAPD officers as they navigate their way through a web of entangled events; some based on real life occurrences, others pure fiction, in a fast paced, earnest moral enquiry into the virtues of the legal system.
This script is tight, challenging and unpredictable. As David Ansen said:
"L.A. Confidential asks the audience to raise its level a bit —you actually have to pay attention to follow the double-crossing intricacies of the plot. The reward for your work is dark and dirty fun."
Technically brilliant in its entirety; with crisp, economic dialogue, deliciously executed themes and a complex psychological back story to every character, the most outstanding feature of this literary effort is “Rollo Tomasi”.
L.A. Confidential’s “Rollo Tomasi” is one of the most interestingly scripted literary devices I have encountered. It achieves three purposes within the scope of the narrative:
1) It gets the audience to relate to Exley and sympathise with his motives.
2) It helps Vincennes to relay a message to Exley after his death.
3) It reveals the antagonist.
To state this in retrospect is simple, however, to construct a device which ties three plot lines together, reveals a plot twist and adds to character development is complex. Then to execute it in seven sentences is genius.
The most compelling aspect of the script is its honesty, its blunt, yet beautiful delivery of reality. In the real world police do not have the plastic motivation and automatic moral code of every law and order series on air. They do not immediately fall in line with our requirement for dualistic moral classification. They are people, hardened by what they experience, and with quality requirements of their own.
The centralization and reconstruction of the novel is a study in multiple characters developing around clear, unifying goals - the characters determine the story. The action becomes an arena for the expression of personality and internal psychology rather than for the sake of itself. This is a story about what motivates people and about the undercurrent of violent crime that is so often avoided and covered over by society. It shows that the system is not a whole, it is determined by a body of individuals and it questions the moral integrity of those individuals. It then, by proxy, questions the moral integrity of the viewer.
Technique without valuable content is superficial. The quality of L.A Confidential’s script comes not only from its masterful technique, but from the message this technique so masterfully delivers. As described by the noted critic Robert Ebert “seductive and beautiful, cynical and twisted”, L.A Confidential digs into the fabric of our society, questioning the foundations on which our legal systems have been built and finding our moral spectrum limited in its dualism.
"Well, three months before I was born, my mother lost her other two children ... I think I started then to be a writer."
F. Scott Fitzgerald
F. Scott Fitzgerald
The inventor of the Jazz Age, F. Scott Fitzgerald, is widely regarded as one of the greatest American authors of the twentieth century. His writing is largely paradigmatic of that same age, linking him directly to the Lost Generation of the 1920’s. His most prolific theme is that of youth and beauty being contrasted with age and despair. With a fair few of his novels and short stories having been adapted into films his work has continued to reach an increasingly wide audience since his death in 1940.
“Well, three months before I was born, my mother lost her other two children … I think I started then to be a writer.” – F. Scott Fitzgerald.
Fitzgerald spent his formative years in Buffalo, New York. He attended Catholic primary schools due to his devoutly religious parents. He is reported, even then, to have been unusually bright and determined, with a fast growing love for literature. His mother was doting and, with an unconventional approach to education, ensured that Fitzgerald attended Holy Angels Covent (His first Primary School) only half day and that he was allowed to pick which half.
When he was twelve the family moved to Minnesota where he attended St. Paul Academy. His first piece of writing was published when he was thirteen years old – a detective story in the school newspaper. When he was fifteen years old he was sent to Newman School in Hackensack, New Jersey; a prestigious Catholic prep school. Here he met Father Sigourney Fay who became an important mentor to him and encourager of his writing.
In 1913 Fitzgerald graduated and decided to attend Princeton in order to further his literary skill. Here he became friends with noted writers and critics Edmund Wilson and John Peale Bishop, wrote for the Princeton Triangle Club and the Princeton Tiger and was involved in the American Whig-Cliosophic Society - the same society which Barack Obama presides over today and which is recognized for the formation of some of America’s most accomplished orators.
His involvement in the Princeton Triangle club – a musical/comedy society – resulted in the submission of his first novel to Charles Scribner’s Sons for publication. The novel was ultimately rejected although the writing was praised.
His Princeton coursework ultimately suffered as he ardently pursued his writing. In 1917 he was put on academic probation and he dropped out of Princeton to join the army. The sudden fears of his possible imminent death, and without literary success, lead Fitzgerald to hastily produce a novel called The Romantic Egotist. This he wrote in its entirety and submitted for publication in the weeks before he reported for duty. The reviewer at Charles Scribner’s Sons once again rejected the novel but, noting it for its originality, encouraged Fitzgerald to submit more work in the future.
Whilst in the army, he was stationed at camp Sheridan, outside of Montgomery, Alabama, where he met Zelda Sayre. The “golden girl” of Montgomery youth society with a wealthy family background, Zelda was to Fitzgerald what Daisy would eventually be to Gatsby. He fell in love with her and, when he was discharged from the army, without ever having been deployed, in a desperate bid to win her hand in marriage, he moved to New York City chasing after the possibility of a lucrative career in advertising.
Convinced that he would soon be making a substantial living, Zelda accepted his proposal; however, after some time had passed and working at the advertising firm had still not earned him enough money to support the kind of lifestyle she expected, she broke off the engagement.
Dismayed, Fitzgerald moved back in with his parents and accepted a job repairing car roofs in order to bring in some kind of income whilst he wrote. During this time he reworked The Romantic Egotist, renaming it This Side of Paradise. A semi-autobiographical account of his years at Princeton, the book was accepted for publication towards the end of 1919. Zelda and Fitzgerald promptly resumed their engagement.
The book was published in early 1920 and became one of the most popular books of the year. Zelda and Fitzgerald were married that year and in October 1921, their daughter Frances Scott Fitzgerald – known affectionately as “Scottie” – was born. They soon began vacationing in France.
Paris in the 1920’s was to prove the most important developmental period in Fitzgerald’s writing; it was here that he wrote The Beautiful and The Damned and The Great Gatsby. Surprisingly The Great Gatsby, although now considered to be a literary masterpiece, received little attention or acclaim in its time.
During this period he befriended Earnest Hemmingway and wrote short stories for magazines such as The Saturday Evening Post, Collier’s Weekly and Esquire. He sold a number of his stories to Hollywood in an act that both he and Hemmingway referred to as “Whoring”. Hemmingway incidentally did not get along with Zelda, believing her to be insane and feeding her husband alcohol in an attempt to get him away from his work.
This was ultimately to be proven true when in 1932 Zelda was committed to a psychiatric unit for the schizophrenia she had developed in 1930. It was a hard time for Fitzgerald, but he ultimately channelled it into his work, writing what would eventually become Tender is The Night - the last novel of his that would be published while he was still alive.
Zelda and Fitzgerald became increasingly estranged. Their situation worsened when Zelda wrote and published her own fictionalised version of their lives called Save Me the Last Waltz. Fitzgerald insisted on making changes to the manuscript prior to publishing and convinced her doctors to no longer allow her to write using what he called ‘His Material’ - referring to the events of their relationship.
In the last three years of his life Fitzgerald moved to Hollywood, writing scripts for MGM and working on his fifth novel, Love of The Last Tycoon, which he would never finish and would be published posthumously. He made fun of himself being a Hollywood hack through Pat Hobby, the main character of a popular series he wrote consisting of seventeen short stories.
Fitzgerald’s death came suddenly; dying young at age 44, he left behind his daughter, his wife and his lover, Sheila Graham. He had been an alcoholic since his Princeton days; drinking heavily for most of his life, his health was resultantly poor, which lead to the onset of recurring tuberculosis in the 1930’s. He also suffered from two heart attacks. The first occurred in the mid 1930’s the last, in 1940, was fatal.
Fitzgerald’s writing has influenced the likes of T.S. Eliot, Charles Jackson, J.D Salinger and Richard Yates. Since the 21st Century millions of copies of his works have been sold and The Great Gatsby solicited as a high school set work in many countries. As the man who wrote The Great American Novel Fitzgerald’s legacy lives on in the mind of anyone who can appreciate what it is to look at the society around you and find it lacking.
In crook stories it is almost always the necklace, and in spy stories it is most always the papers.
Alfred Hitchcock, The Plott MacGuffin
The Plot MacGuffin
Popularized by Alfred Hitchcock in the 1930’s, the plot MacGuffin is a literary device used as far back as the Greek poet Simonides to; drive a narrative forward through the pursuit, by a main character, of some goal, object or other motivator that holds, in the mind of the reader, a believably inherent value and therefore requires little or no narrative explanation. It is not pertinent to the true focus of the narrative and therefore is used, more often than not, as a plotline vehicle that conveys another message – one of greater importance to the author.
"In crook stories it is almost always the necklace, and in spy stories it is most always the papers." – Alfred Hitchcock
On coining the term Hitchcock said that; he and a fellow script writer had developed the idea when they came up with the following story as an analogy for this aspect of plot writing:
One man says, "What's that package up there in the baggage rack?" And the other answers;
"Oh, that's a MacGuffin".
The first one asks, "What's a MacGuffin?"
"Well," the other man says, "it's an apparatus for trapping lions in the Scottish Highlands."
The first man says:"But there are no lions in the Scottish Highlands," and the other one answers;
"Well then, that's no MacGuffin!"
This circular argument has confused many; however, it makes more sense when considered in light of the fact that Hitchcock took a more radical stance on the Plot MacGuffin than most prominent literary personalities:
“The main thing I’ve learned over the years is that the MacGuffin is nothing. I’m convinced of this, but I find it very difficult to prove it to others. My best MacGuffin, and by that I mean the emptiest, the most nonexistent, and the most absurd, is the one we used in North by Northwest. The picture is about espionage, and the only question that’s raised in the story is to find out what the spies are after. Well, during the scene at the Chicago airport, the Central Intelligence man explains the whole situation to Cary Grant, and Grant, referring to the James Mason character, asks, “What does he do?” The counterintelligence man replies, “Let’s just say that he’s an importer and exporter.” “But what does he sell?” “Oh, just government secrets!” is the answer. Here, you see, the MacGuffin has been boiled down to its purest expression: nothing at all!”
Hitchcock’s extreme views aside, the MacGuffin is a very important and broadly permeating literary device. When considered, one realises that it exists in almost every piece of fiction written to date, boasting a powerful influence over the construction of narrative.
Is it possible to write a story, even a mystery, without the presence of a MacGuffin? It surely must be so, but how many of us honestly have a good idea of where to begin?
Many writers are unaware of the MacGuffin in their story; however, regardless of whether it rears its head or is implicit in a character’s motive, you can almost always be certain it is there.
This is not necessarily a bad thing. Tailoring your Plot MacGuffin to suit your underlying message, and develop your characters, can help you to improve your story’s internal rationale and leave a more meaningful impact on your reader. This is because:
A MacGuffin provides a character with strong motive and an inevitable pursuit of what is desired, regardless of any adversities faced. This is the basis for the existence of any story. Someone, somewhere, has to want something enough to go after it. Then, through the narration of varying experiences pertaining to the MacGuffin, a deeper message or story is conveyed.
Popular examples of Plot MacGuffins are; Gatsby’s obsession with Daisy which is merely symbolic of the American obsession with wealth and fame which gave rise to the creation and eventual decay of the American Dream, the Heart of the Sea necklace in Titanic, the description of how Ted Mosby met the mother of his children in How I Met Your Mother, the briefcase in Pulp Fiction and, in Shakespeare’s Hamlet, the tale told by the ghost of Hamlets father.
“Your MacGuffin should fit the needs of your plot and the desires of your characters” – Michael Kurland
When constructing a MacGuffin; remember that your characters need to be complex enough to realistically pursue whatever is to be desired. Even a simplistic MacGuffin can compliment a complex plot and require well constructed, purpose formed characters. Your characters’ relationship with the MacGuffin should never contradict the underlying consistency in your story. The success or failure of your plot relies on the willingness of you reader to suspend their disbelief, betray this agreement with your audience and your story will fall flat.
For more examples of the different types of Plot MacGuffins visit:
http://tvtropes.org/pmwiki/pmwiki.php/Main/MacGuffin
The Plot MacGuffin; Click here for more examples of the different types of Plot MacGuffins.
Gatsby believed in the green light, the orgastic future that year by year recedes before us. It eluded us then, but that’s no matter—tomorrow we will run faster, stretch out our arms farther… . And then one fine morning— So we beat on, boats against the current, borne back ceaselessly into the past.
F. Scott Fitzgerald, The Great Gatsby
The Great Gatsby
The Great Gatsby is almost entirely a symbolic work. Described as F. Scott Fitzgerald’s Magnum Opus, it deals with the ultimate hollowness following the realisation of the American dream. What appears, at first glance, to be a tragic romance dissolves into a myriad of themes, symbols and motifs that condense to form an important social commentary on the 1920’s American zeitgeist.
The American dream has always been; that anybody could work their way to fame, fortune and success not matter their background or circumstances. Until the Roaring Twenties the desire for this dream was always taken for granted, and the consequences of its results never questioned. For who would not long for status and excess? F. Scott Fitzgerald examines the social decay in moral values as a direct result of having accomplished this dream through his characters’ greed, over arched cynicism and empty pursuit of pleasure. This observation echoes eerily through the ages, remaining relevant in the Hollywood of today as well as in any and all circles of wealthy elite.
His characters emblem those aspects of the 1920’s zeitgeist that were most pertinent to the creation of a careless, shallow, materialistic and immoral national personality. Both Nick and Gatsby fought in World War One and represent the modern cosmopolitanism and cynicism introduced into society by this war. The raucous crowd that attend Gatsby’s weekly parties, mostly constituting of social climbers, represent the rampant greed and rush for wealth. Daisy and Tom represent the attitudes of Old Money and their careless and selfish belief in moneys ability to protect them indefinitely from their transgressions. Gatsby and Meyer Wolfsheim’s success represents the affluence of bootlegging and organised crime.
Through Daisy and Gatsby’s love story, Fitzgerald tells the tale of many Americans’ obsession with the lifestyle of those who possessed Old Money, of the illegal manner in which New Money rose as morals were discarded in the face of ambition and of the materialistic values which were fundamental in every Old Money household. This is seen through Gatsby’s (New Money) obsession with Daisy (Old Money), his resorting to organised crime in order to make enough money to impress her and the values displayed by Tom and Daisy throughout the novel – which lack human sensitivity and a sense of responsibility.
A strong emphasis is placed on objects and places only having meaning once one of the characters assign meaning to them. This shows Fitzgerald’s exploration of the idea that central to the American Dream is the ability to create meaningful symbols. He theorised that the American Dream developed and was sustained because the first Americans instilled their new country with their own values and ideals in a symbolic manner. This is exemplified when the eyes of Dr T.J. Eckleburg are compared to God’s eyes by George Wilson, they are thus only in his mind.
The Green light at the end of Daisy’s dock is compared to America’s green mass rising out of the ocean, thus linking Gatsby’s quest for Daisy to America’s quest for the American Dream, both Daisy and the American Dream are unrealistically idealized and both quests are ruined by the unworthiness of their object – Daisy is far from perfection and money and pleasure are shown to be meaningless, destructive pursuits.
The weather and geography are too created solely for symbolic purpose, with the East and West Egg representing the split between Old and New Money in both taste and heart, and the weather complementing the moods of the characters, or ambience of an event. This is seen when Daisy and Gatsby’s uncomfortable reunion occurs amidst a storm which, once they reconcile, clears into sunshine.
The Valley of The Ashes, is an almost poetic symbol which embodies the decay of society and its values due to the unchecked pursuit of fortune. It also speaks of the plight of the poor who live in the shadow of this careless excess, and although not a part of it, are directly affected by its existence.
Fitzgerald’s symbolic approach speaks of a narrative not for the sake of itself but purely for the sake of an underlying message. His intents were to personalise this message through the use of flawed characters to which the reader would relate. He did not wish to have the reader understand the failings of the American Dream, but to feel each one of them as their own personal wound. He wanted to move people, because only then would they wake up and realise; to chase the American Dream is to chase a ghost.
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