The Kilted Writer

The Devil Wears Prada , by Lauren Weisberger, is a great example of "expansion" in revealing your world to your reader. In fact, this book's introduction was how I first became interested in the topic of reveal your world to your audience. I was at a workshop given by Pikes Peak Writers and the person leading the workshop used this introduction to illustrate how starting close to your character and expanding the world outward was a good way to draw your audience into your story. Ever since then, I have been more aware of story openings and how authors reveal their worlds, studying them and breaking them down to see what commonalities I could find. The result of that research and study is my new workshop, "Let There Be Light: Revealing your World to Your Audience." Just like with my "Brains, Brawn & Bravado" workshops , one small spark has grown into a flaming inferno of information. The Devil Wears Prada opens inside at a busy New York City ...

In addition to my "Brains, Brawn & Bravado" posts, I will start adding additional analysis related to my new workshop, "Let There Be Light." This will be the first of those analyses. If you attend writers conferences or workshops, even occasionally, you have most likely heard the phrase "Show; don't tell." While that axiom is important to storytelling, it is critical to effectively introducing your world to your reader. Think of it this way. You want your reader to become a part of the story, to be drawn into the story through the senses of your characters. You do not want your reader watching your story unfold as if through a window pane. A great example of this lesson is Clockwork Angels , by Kevin J. Anderson. The book has a short prologue that does a lot to introduce the main character's personality, but very little to introduce the world in which he lives. I will focus on chapter one, the beginning of the actual story Anderson is tel...

I am currently developing a new workshop! Right now, I have two workshops I am giving at various conferences and writing groups. The first is "Brains, Brawn & Bravado: Mind, Body, and Spirit in Character Development," and the second is "Brains, Brawn & Bravado: Mind, Body, and Spirit in World Building." Both teach writers how to use the mind, body, and spirit symbolism I have been writing about in this blog. My new workshop also falls under the category of "world building," and is tentatively entitled, "Let There be Light: Revealing Your World to Your Audience." Basically, I will show how to pull your reader into the world you create, whether  your story is set in modern-day Chicago or a galaxy far, far away, using techniques of incremental revelation. I was first exposed to the concepts as part Write Brain workshop hosted by Pikes Peak Writers several years ago. I have taken those basics and expanded them into a more...

I just sat down to watch Pacific Rim, and within five minutes the mind, body, and spirit symbolism leaped off the screen and right into my lap. I am still watching the movie as I write this, so I have not identified the characters who represents each personality. This observation is more of a world building example. In the movie, creatures called "kaiju" are wreaking havoc on mankind. To fight them, giant machines called "jaegers" are built. The jaegers (body) turn out to be too difficult for one pilot to control, so an additional pilot is needed. In order for the pilots to operate the jaeger in unison, designers create a process that links the two pilots minds. And this is where it gets interesting. The process takes the logical and analytical left brain (mind) from one pilot and links if with the creative and imaginative right brain (spirit) of the other. The link between the two pilots is called "the drift." In order to be effective, pi...

There are two versions of the movie True Grit , both based on the novel by Charles Portis of the same title. While the remake is every bit as good as the original, in a lot of respects, it lacks one key element. In the climactic scene where Rooster Cogburn charges down four members of the outlaw gang led by Lucky Ned Pepper over an open field, the original movie starring John Wayne had a wall of aspen trees as the backdrop. The remake has no such majesty in this key scene. As for the plot, we have three main characters who are all out to find an outlaw, each for their own reasons. Mattie Ross wants justice for her father's murder. LaBoeuf (pronounced "LaBeef") wants a big reward being offered in Texas, and Rooster Cogburn wants to rid the country of one more malcontent while helping the young Mattie find her justice. The Mind Character: Mattie Ross Mattie is introduced meeting with the town's undertaker about her father's body. He has been brut...

Mind, body, and spirit characters are often used in " based on a true story " movies and stories. Apollo 13 is no different. In fact, this movie includes two sets of mind, body, and spirit characters - one set in space and one on the ground.  I've covered why mind, body, and spirit characters show up in "true story" movies in previous posts (see above). In this post, I want to focus on "motivation." On the surface, each character seems like a mind character. They all have knowledge and share information freely and they all react to conflict, especially the explosion, with knowledge, information, and procedure. Even when the procedures no longer apply because of the disaster, they start to build new procedures. All of this is mind-related behavior. In order to see the character's true natures, you have to look a little bit deeper at the characters' motivations. For this analysis, I will focus on one key motivation for each cha...

In the last post , I discussed the "parent" level of the family model of mind, body, and spirit as it relates to the popular science show, Mythbusters . Now, I will take a look at the "children" level of the model.  What's interesting about this show is that it's been on the air long enough to see the "children" mature into an independent team. In the beginning, the team did a lot of "behind-the-scenes" work, but were rarely in front of the camera. Their responsibilities were simply to build whatever was necessary. Somewhere around season four, the team moved to the front of the camera, but their responsibilities were still limited. Now, they share almost equal on-screen time and develop tests for their own myths, independent of their "parents," Jamie Hyneman and Adam Savage. The Mind Character: Grant Imahara Grant has a background in robotics. On the show, he is often responsible for calculations and scientific...