I know I do a lot of theory, but I'm starting to think that's just the way I am. Lots and lots of "why". I finally got around to reading some feedback on last year's workshops and the part I really liked were the bits that asked what people want to see workshop-wise.
One woman asked for plot analysis and got me thinking. I do plot analysis on a gut level when I edit--it's always easy to find holes afterwards, and in a lot of ways it's simple because I'm not involved with the manuscript. The hard part comes later when I hit consulting gigs and have to explain.
That isn't simple. We're all products of our worldviews, and doing it professionally means doing what's best for the story and author. I'm a big fan of active voice but some people don't connect and I'm not here to force them.
I dunno. Just thoughts circling around now that I "have" thoughts again. I guess it'd work--almost like an advanced class or something, because it's not one size fits all and part of the process would be learning to take that all important step back. Maybe...nasty thought...there'd be homework.
We'd have to deconstruct a story or two--maybe three. In different genres. Thoughts and thoughts. Guess I'm hooked. I'll have to think about it. It'd be too intensive for a workshop, so it'd have to be one of those yahoogroup things or maybe I'd wake up my facebook page and use the...are there forums there?
A month long freebie for Christmas limited to the first ten people who sign up? Damnit. Still thinking. Maybe brains aren't always a good thing. Now I can't sleep.
5 comments:
I suspect this is where my business/econ background gets me in trouble -- I'm more interested in systems and why's but don't have that much practical experience in taking apart classical literature to see what makes it tick. So I've probably been reinventing the wheel this whole time, but you know me, I love having different lenses to look at things through! Count me in if you do something like this.
lol, Kaige. Classics don't work for commercial stuff unless you're writing mainstream fiction and even then it's iffy. There's much stronger structure when you're looking to get paid.
Although you'll get to see and use my excel worksheets up close and personal. :)
You're number one on my list.
Oh definitely, I'm just saying I never got the proper indoctrination on the whole LIH-tar-airy side, so feel like I'm missing those skills when I try to tackle seeing what makes commercial fiction tick.
Oooh... spreadsheets. Now you're talking my language. LOL
*laughing*
I got kicked out of English the first time and barely hung on the second time. I have the feeling I'd be considered something of a literary maverick. It's all practical experience. You don't need the formal training. In some ways I think it only holds people down because it imposes a box, you know?
And spreadsheets are the very best thing for this because of the way they fit together. It keeps the arcs and storyline organized. :)
I had a comment, but when I saw "spreadsheets" that weren't tracking royalties I broke out in hives.
You must be contagious. ;)
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