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Viewing: Blog Posts Tagged with: #worldbuilding, Most Recent at Top [Help]
Results 1 - 3 of 3
1. Minding Your Manners

#storybuildingblocks,@diana_hurwitz,#writingtips,#fiction,#screenplay
www.dianahurwitz.com
I give credit to an article in Parents magazine for inspiring this one. Are etiquette and chivalry truly dead? In your story world, you decide. 

Tweet: Mores and manners change with the times, but everyone has a set of rules. #writingtips

From knights in clanging armor, to Victorian parlors, to the craziness of Hollywood, every story world has a set of rules for how people are supposed to behave and whether or not your characters choose to.

How comfortable Dick is in terms of asking for something depends on his personality type and whether he likes the person he is asking. The polite way to ask is, "Please may I ...". If Dick says, "Please taking a running leap off a short pier," the game is on.

How comfortable Dick is in terms of receiving things also depends on his personality type and whether or not he wants the item received. 


Thank you's when used appropriately, are the oil that makes life run a little smoother. An insincere thank you can mask anger when Dick would really like to let those rude words fly and can't. "Why thank you! However did you come up with such a creative solution to our current predicament ...Sweetie." If he says, "Thank you for not breathing," the game is on.

When a character interrupts a conversation, even to tell Dick that Timmy is in the well, he is being rude.


How often do your characters interrupt each other? Is it well meant, deliberately intrusive or because the situation requires it? Is it timed to deflect an important or revealing conversation?

Cell phones are rampant. Forcing the people around him to listen to Dick's conversation is rude. Listening in on other people's conversations is considered rude. This can also have unforeseen consequences. People aren't careful when they talk on their phones in public. They aren't careful when dining with their friends in restaurants. Clues can be dropped, sensitive information revealed and a person's true colors exposed.

"It's better to ask permission than forgiveness" is a current favorite. But is it? Sometimes Dick should ask permission, like before he raids someone else's refrigerator. He'll pass on asking permission if he is raiding their safe. Taking something innocent without permission may seem harmless, but may push the wrong button. How does Dick feel about having something taken without permission? Is he amused or furious?

Jane should keep negative opinions to herself. Or between her and her friends and out of earshot of other people. In which case, they can discuss freely and at length over their favorite beverage. Refer to the previous "there's no privacy while dining" scenario. This is especially true when commenting on other people's physical characteristics, clothing, possessions and children. It isn't considered acceptable to offer an insult as a compliment: "My, those tattoos are so colorful." Or "It must have taken hours to do that to your hair." Southern women are queens of the insult/compliment smashup. "Well, bless her heart, isn't she precious? It must have taken a month of Sundays to come up with that outfit."

Jane should take a hostess gift to someone's house when invited for dinner and thank them for having her over and for the good time she had. If Jane is lying through her teeth, you have conflict. If she takes them a present intended to insult, the game is on. Is she thanks them for the most riveting evening she's ever had, the insult might fly right over her host's head.

Sally was taught to knock before entering. This could avert a potential disaster if her husband is in bed with someone else. If she is doing something she doesn't want anyone to know about, locking the door would be a great idea. If Sally never locks a door and suddenly decides to lock the door, there is conflict. Locking the bathroom door could mean the child/person knocking better be bleeding, the house on fire or someone dying. If not, the game is on.

When making a phone call, Dick should introduce himself and ask for whoever he wishes to speak to. With the advent of caller ID this is going out of fashion. The conflict occurs when Dick doesn't bother to ascertain who he is talking to before he speaks. It also occurs when Dick answers someone else's phone, particularly if he pretends to be that person. Wrong numbers and misunderstandings are rife in these situations.

What are your story world rules about profanity? It is considered bad manners to use foul language in public, particularly if sensitive little ears are around to hear them. There are still factions of society insulted by words that other factions of society use as versatile adjective/noun/verbs. Profanity is generally considered crass in business and social functions. If Dick does so, how much trouble will he be in? Is Jane offended by profanity or does she swear like a sailor?

Dick should never call other people names or make fun of them. Until they are out of earshot and can't hear him or retaliate. Unless he intentionally wants to start a fight. Even good natured teasing can be taken the wrong way.

Jane should sit through a play, assembly, lecture or business meeting quietly and pretend she is interested even if she is bored silly. What happens if she doesn't? We've all been in boring business meetings, school music programs or dance programs that - other than our little darling's five seconds of fame - bore us to tears. You may be at a lecture or a workshop. This is where the cell phone issue comes in. The light from the screen is distracting. Jane may be bored, but the parent/participant sitting next to her might not. What happens if Jane is forced to sit there? What happens if she breaks free? What happens if she breaks out her Blackberry?

Sally should cover her mouth when she coughs or sneezes. These days it's an act of terror to spread germs in a public place or airplane.

If he sees someone struggling, Dick should offer to help. This is lovely if an elderly person is struggling with their groceries, a mom with a stroller, or someone drops something and doesn't notice. These situations can be hilarious or deadly. What could a little act of kindness lead to? What could Dick gain by pretending to be helpful? There's the old joke about the boy scout who helped the old lady across the street only to find she was headed the opposite direction. Good intentions rarely go unpunished.

When someone asks a favor, Jane should do it without grumbling, unless the favor is inappropriate. Favors can be dangerous. If Jane asks a favor, she should preface it with, "Would you mind." If she follows that up with "Would you mind sodding off?" the game is on.


For more on crafting conflict to create tension, pick up a copy of Story Building Blocks II: Crafting Believable Conflict available in paperback and E-book.

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2. Stirring The Plot: Who's The Boss?

#writingtips,#fiction,#authority,#amwriting,#screenplay,#character,#storybuildingblocks,@Diana_Hurwitz
WHO'S THE BOSS?
I have to thank a friend for inspiring this one, though I’ll withhold names to protect the innocent. My friend, let’s call her Jane, works in an office where the boss’s wife comes in periodically to make sure things are done her way. She isn’t actually an employee, nor is she an expert in the business he conducts. She just likes to meddle and throw her weight around to feel powerful.

Tweet: Family run businesses can be an entirely different breed of viper’s nest. #storybuildingblocks #writingtips 


Unlike the cogs in the corporate hierarchy that are easily removed and replaced, the family run business is full of emotional landmines. 

If Dick’s father is the nominal head of the business, theoretically he should be in charge. But what if he isn’t? 

What if Dick’s Mom wears the corporate pantsuit even though she doesn’t actually work there? It will cause aggravation if not outright abuse for all who work for them. It is a very uncomfortable work environment. The rules can be disregarded at whim and the hierarchy ignored when the untitled boss gets involved. The changes she makes are implemented without warning or consideration for those who actually have to show up and do the job every day. They are enforced even though they create headaches for those who have to perform the tasks.

Jane will go to the office every day primed with anxiety. When will the saboteur show up next and what impossible demands will she make? Because the reward system is illogically skewed, Jane won’t be certain that her hard work and dedication will be appreciated, so how hard should she try? Should she stay or go? Depends on her situation and how good the pay and benefits are. How much is Jane willing to sacrifice for material reward when every day feels like a swim in a shark tank? How much abuse is she willing to endure before she quits or pulls out a revolver?

How does the uncertainty affect the son Dick? How frustrated will he grow with his spineless father when he witnesses his mother’s torture of the employees? How firm can he get with his impossible mother? Will Dick grow and learn to stand up for himself against the female bully or will he repeat the enabling pattern?

What if Dick’s sister Sally also works at the firm? They have grown up being pitted against one another. Who is the favorite child for which parent? The dynamics shift depending on the answer. If Dick is Dad’s favorite and Sally is Mom’s favorite, then Dick has a real problem. His succession as head of the business isn’t assured. Mom may choose Sally to take over. If Sally is Dad’s favorite and Dick is Mom’s favorite, then Sally has a problem. She can have Dad wrapped tightly around her little finger, but if Mom wields the power and isn’t too fond of her simpering daughter, Sally is in a no-win situation. If the parents continually play out their antagonism toward one another through their son and daughter the waters get hurricane choppy. If Mom dies, then Dad is free from her oppression and the work environment can become an entirely different place. If Dad dies, and Mom takes over or the business is turned over to Sally instead of Dick, the situation can disintegrate further. If the siblings enter a turf war over it, the conflict heats to a boil.

How many employees will abandon ship? How many will stay? How can the company survive if the internal structure is unstable? 


The addition of sibling and parent dynamics to any story situation raises the stakes and changes the playing field significantly. 

The conflict could be a mild distraction while Dick is trying to save the planet or find the kidnapped girl.

The conflict could be the core of a literary tale of deadly dysfunction. 

The conflict could be the source of an intense thriller or suspense. 

The parent/child scenario could be a factor in a YA novel. The parents could be running a gas station, a major corporation, a village, a country, or a wolf pack.

In your story, who is the boss? Who are the powers that be? Who makes the ultimate decisions? The more dysfunctional the situation, the higher the story stakes.



For more on crafting conflict to create tension, pick up a copy of Story Building Blocks II: Crafting Believable Conflict available in paperback and E-book.

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3. Story World Building: Social Contracts

The terms of the social contract in Dick and Jane’s world puts pressure on them to behave in certain ways. The constraints can make whatever they have to do to solve the story problem difficult, if not impossible. If Dick and Jane violate the social contract in their world, they pay a price for it.



It is especially important in Fantasy and Science Fiction when writing about alternative worlds that you consider the demands social contracts impose on the people in them. 


In writing historical novels, it is important to understand what the social contract of the time and place required. Morals and practices changed over time and across geography. Small desert tribes had a different social contract than societies in king-ruled Europe and those of hunter-gatherers in Africa.

Studies have suggested that groups of one-hundred or less are pretty good at self-regulation. There isn’t a need for organized law enforcement in such a small community because the members all know each other and are able to keep tabs on one another. If one of the members commits an act that is detrimental to the group, the other 99 are willing and able to correct or punish them. Even in a small community, there are rules that they follow to keep the peace.

It isn’t in the group’s best interest if they can’t trust one another. If someone is lying, stealing, killing, or lusting after someone else’s mate, conflict will ensue and the transgressor will be booted out. It is hard to survive in the world alone, especially if you suck at hunting or gathering.

In groups larger than one-hundred, it is imperative to have some form of social contract with rules that are enforceable and enforced. The golden rule of most societies can be boiled down into the loose statement: “Treat others the way you want to be treated.” This isn’t effective if you’re visiting a community of purple people eaters.

Ancient Egyptians had a long list of “I will not ...” statements in their Husia. Jews and Christians embraced commandments which included admonitions to not worship different gods or idols, to not lie or bear false witness against a neighbor, to not murder, commit adultery, steal, or covet their neighbor’s wife.

Hinduism’s rules of dharma encouraged patience, forgiveness, self control, honesty, sanctity, control of senses, reason, knowledge or learning, truthfulness, and absence of anger.

In your story world, your characters will be subject to the rules of their society's contract. If Dick breaks those rules, there will be consequences. He may fight to change the rules or reveal the dark side to one of his society’s rules.



It is considered a plot hole if you apply modern sensibilities to the people from a historic setting. That doesn’t mean you can’t take some artistic license. However, having Victorian girls behave like the cast from a modern reality TV show does not work for most readers, unless you are portraying an alternate universe in Science Fiction or adding a Fantasy twist. 

Errors of this type will, at the very least, make the reader cringe. At worst, your book will go on the to-be-burned pile.

If you write fantasy or Science Fiction, develop your own ten commandments for your story world. How are they enforced? What are the consequences for breaking them? Are some infringements more serious than others? Are some ignored on a routine basis without consequence?

In The Hunger Games by Suzanne Collins, the citizens of District 12 aren’t supposed to hunt outside the fence, yet Gale and Katniss do so regularly. Because they transgress, Katniss is better prepared to survive the Hunger Games. Breaking the social contract benefitted her. Katniss and Peeta break the contract again at the end of their first Hunger Games by refusing to kill each other, which sets up the conflict for the second book in the series.

Think about your story. Have you directly or indirectly explored social contracts in your story world? Have you put it to work for you in terms of complicating your characters’ lives? Have you utilized transgressions and punishments?

For more information on crafting believable obstacles, pick up a copy of Story Building Blocks II: Crafting Believable Conflict in print or E-book version.

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