Live To Write Another Day by Dean Orion (books to read in your 20s female .txt) 📗

home after disappearing for three years, only to find the woman who was once his fiancée in bed with another man. This other man is now her husband. The main character has been missing for years and has a severe case of posttraumatic amnesia, which means there is a donut hole in his memory, so he doesn’t even remember how or when he went missing. I thought I was pretty clever beginning the story this way, but the note I received was that rather than strengthening the scene with a degree of shock value, catching the fiancée and her new husband having sex actually seemed to distract from the main character’s real dilemma.

Thematically, the story is about a man struggling to reclaim his identity, so when I removed the sex, the scene was suddenly able to breathe and took on a much deeper sense of delirium. This proved to be a significantly better approach. Why? Because now I was striking directly at the heart of my story, which speaks to the struggle we all face in a world that often confuses and conspires against us.

The note giver in this case didn’t tell me how to execute the rewrite. They merely pointed out a weakness (i.e., catching them having sex seems to cheapen the main character’s dilemma) and suggested a different approach. “What if he came home and learned his fiancée had married this other guy, but in a different context?” the note giver said. They understood what I was after with the piece as a whole and gave me a very specific, executable note that, sure enough, ended up reverberating throughout the entire script.

 Focus on Structure and Character

In addition to focusing on the big idea, there are two other ways of framing your notes that I have found to be very productive.

One way is to give notes that specifically address the structure of the story. If a story isn’t working, you can almost always trace the problem back to an element that hasn’t been adequately set up or an important piece of information that is missing, not allowing something else to pay off later. So as you read the piece, flag the areas where something feels off. Then go back later and try to identify the scene or the moment earlier in the story that appears to be connected to the off-kilter moment you flagged. Most of the time the setup is there, it’s just not executed well enough. Other times, if the writer is really lost, it will be entirely AWOL. Either way, looking at the story in terms of both setups and payoffs can be a pretty effective approach.

Another good way to frame your notes is to focus on the characters and their motivations, because even the most plot-driven stories need characters whose actions continue to move the story toward its logical and inevitable conclusion. Does the behavior of a particular character make sense for the situation? What does the character want in a particular scene? What does the character want from the other characters in the story? What do the various characters want on a deeper, subconscious level? All these questions are helpful in giving good notes because, again, they start to drill into the core message of the story.

Another benefit of going the character route is that all writers fall in love with their characters and generally don’t feel threatened by discussions about them. In fact, they usually welcome these kinds of discussions. If you’re a writer yourself, I’m sure you can relate to this. And if you’re a non-writing note giver, there’s probably no better way to earn a writer’s trust than establishing that you’ve put some thought into these people who have been inhabiting the writer’s mind twenty-four hours a day. Either way, if you come at it from this angle you’re not only bound to find yourself in a pretty interesting conversation, you’ll also be more likely to get the writer to be receptive to some of your more challenging notes.

SURVIVAL GUIDE SUMMARY

7. The Art of Giving Notes

Things to Remember:

 

•If you understand how to give good notes to another writer, you will have a much better understanding of what to do with notes, good or bad, when you receive them.

•Have a constructive attitude when giving notes to another writer. Make them feel that you are on their team.

•Always offer concrete ideas that writers can potentially use to improve their story. Don’t just identify problems.

•All writers need encouragement more than anything else, especially writers who are just starting out.

•It’s always easier to see flaws in other writers’ work than it is to see them in your own. Have some empathy and some humility.

•Giving good notes on a story takes work. Make sure you’re committed before you agree to take the plunge.

•Focus your notes on the “big idea” of the writer’s story.

•Focus your notes on the writer’s setups and payoffs.

•Focus your notes on the writer’s characters.

Questions to Ask Yourself:

•What is the writer trying to say? Is the message clear? If not, this is a great place to begin your note-giving process.

•What are the three most salient notes that you can give that “reverberate” with the theme of the writer’s work?

•If a moment in the writer’s story isn’t working, is there a moment earlier in the narrative that didn’t quite set it up adequately? Chances are, there is.

•Does the behavior of each character make sense for the situation?

•What does each character want in each scene?

•What does each character want from the other characters in the story?

•What does each character want on a deeper, subconscious level?

8. The Art of Receiving Notes

You’ve finished your first draft, the one that was just for you. Mazel tov. Are you ready for some feedback? I hope so, because ready or not here it comes.

The most important thing you need to do now is:

Keep an open mind.

Remember, you’re not pregnant with the child anymore. The child is here in the world with us and soon it will have babysitters,