Tag Archives: story

Strong Concepts

I’ve been thinking a lot lately about the term “strong concept.” It is at once easily definable and as inscrutable as Big Foot’s daily schedule. What makes an idea a strong concept? I hope everyone will agree with me when I say: Every strong concept is an idea; not every idea is a strong concept.

Lately, due to developments that I can’t talk about yet (but OH BOY get ready!), I have been mentally poring through my seemingly unending list of book ideas and trying to figure out which ones can actually be made into a solid story with a beginning, a middle, and even an end.

Something I’ve come to understand is that I often have ideas for scenes that really rock my socks, but just because I have a good scene in mind does not mean that there is a world outside of that moment. It doesn’t mean the characters in the scene are three-dimensional. One good scene certainly can’t carry an entire book. (Unless, I guess, that book was written by Stephenie Meyer. Even then, if I had been given the chance to edit Twilight, it would have turned out differently.)

For example, I have this one scene in my head. A woman walks into a PI’s office and enlists his help to find the man who is going to kill her… at some point in the future.

The backstory for the scene is in my head, too, so I guess it’s really two scenes. See, the woman has a very specific psychic ability–the first time (and only the first time) she touches someone, she gets a brief glimpse into that person’s future. She can’t control what she sees, how long the vision is, or even how far into the future she sees (could be a day, a year, ten years, or any other length of time). One day, she bumps into someone at a coffee shop and the glimpse she gets of his future is terrifying because she sees herself from his perspective as he’s about to stab her. By the time she recovers from this vision, the guy is long gone, and she only has a vague idea of what he looks like. Even worse, she can’t help but shake the feeling that he’d orchestrated that contact, like he’d known exactly what would happen to her and exactly what she’d see. Hence, hiring a PI to help her find him before he finds her.

But… then what? Who is this woman? Who is the PI? Do I even know how PIs work? I mean… I watched Jessica Jones and read The Dresden Files as well as Nora Roberts’ Hidden Star. So… no. No, I don’t know how PIs work. Do I know how to write a competent mystery? I mean… Hellbound has one. But I can’t say I went about constructing that particular mystery in a structured and logical way. Plus, the building blocks of that one were relatively simple. A mystery for adults? One that has to carry an entire novel and involves psychic phenomena? That might be out of my wheelhouse.

Is this a Strong Concept? Hmm… no. I don’t think so. Could it be? Okay, yes. It certainly could be. With some real work put into the setting, the characters (including the villain!), and the plot, I think it could transform into a Strong Concept. But right now, it’s an idea. And I’m not sure it’s an idea that merits the work it would take to make it into a Strong Concept.

Here are some questions I ask myself when I’m trying to determine if I have an Idea or a Good Idea:

  • Why do I want to tell this story? Is there a message the events and characters I’m toying around with will send? Is there something that a stranger could gain from reading about these people and events? Some sort of anchor in the real world and the Human Condition? Along similar lines…
  • Whom am I telling this story for? (It’s tempting to write an entire book just for myself that speaks to my own needs and grievances and hopes and dreams. But my biggest goal is to write for an audience, so if I find myself saying, “I want to write this for me”, I shelve the idea.)
  • What are the characters’ personalities like? Are they more than just cardboard cutouts that I’m moving around from scene to scene?
  • Can I write this book? Do I have enough knowledge and experience to make this story believable? Or will I come off as ignorant and incompetent as I attempt to play in a space I’m completely unfamiliar with?

Feel free to weigh in. What makes an idea a Strong Concept? And what makes you hit Pause and go back to the drawing board?

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A Better Introduction

So I had the first character bible post all written up and ready to go when I realized it was going to be absolutely pointless without some sort of foundation for the story.  What’s the point of knowing about all these characters if you don’t even know where they are or why?  With that in mind, here is a better introduction to the story.

Once upon a time there was a barely habitable planet that the space government decided to use as a prison.  This planet was so cold, it was basically only possible to support life near the equator.  The space government called this prison planet Burg.

Burg

This wouldn’t be just any prison though.  It would be a rehabilitation center for citizens who had turned to committing some “lesser” crimes, such as theft or tax evasion.  Instead of cells, the prisoners were placed in houses.   Every day, they were allowed to go outside for supervised outdoors time. They were allowed to interact with their fellow prisoners, so long as said interactions were friendly and peaceful.

Housing 1

Instead of cell blocks, they had sectors.  The sectors were divided up based on species, so that record keeping for each planet that made use of the prison would be neat and easy.  There were nine planets in total that used this particular prison system.  They were spread out over four solar systems.  The nine alien species found on Burg were (and still are):

Goliaths – Giant, heavy people with stone skin.

Samaki – Amphibious race from a mostly water-covered planet.  Can survive on land for short periods of time.  Have gills.  (Their sector has specially designed houses that are like sad Sea World aquariums.

Creech – Humanoid race with feathers for hair and giant bird wings that they can use to fly.

Bortol – Vaguely canine species with animal snouts that make speech impossible.  Fortunately this species has the ability to communicate telepathically.  Highly developed sense of smell and hearing.

Rizzarian – Lizard-like species with tough scales that coat the body, and hair-like tentacles that grow from the top of their heads.

Delliakite – Somewhat feline species with pure black skin, spindly legs, and knees that bend backwards.  Giant, lidless eyes and small noses and mouths.  Large, semi-feline ears.  Can teleport short distances.

Lepthian – Shape-shifting, amorphous, see-through species.  Can heal minor wounds almost instantly due to fluid bodies.

Human – They look and act like humans from Earth, so they’re called human.  But honestly I’m not trying to imply that Earth exists in this universe.  It’s just there’s already a word for human, so why muddle the issue?

Aodik – Compact, humanoid species with dark hair and purplish skin.  Because they are shorter and not very strong, they often develop technology to do their work for them.

Sectors

Instead of prison guards, the prisoners answered to Enforcers, who kept the peace by patrolling the streets and keeping an eye on things from their encampments between sectors.

Enforcer

Instead of a warden, Burg had an Overseer.  It was this person’s job to keep the Enforcers in line, give out orders, head up certain committees and hearings, and interact with the government outside Burg.  The Overseer’s word was always final in any matter.  But don’t worry, the power definitely didn’t go to any of the Overseers heads.

Overseer

Note: I haven’t decided what species I want to make the Overseer yet, so for now he’s just Evil Space Elvis.

Mandatory re-education programs were conducted on a daily basis in each sector, to help show the prisoners the error of their ways.  Once prisoners had served out their sentence, they were evaluated by a committee and (usually) sent back to their home world to rejoin society.

A second infraction got them sent back to Burg for a slightly more permanent stay.  Unless they moved up from minor to major crime, in which case they went through the more traditional prison systems on their own planets.

Burg’s system worked out well.  Until one day, a war started.  Like they do.  Men and women from the military came to Burg and offered prisoners a chance to wipe the slate clean if they simply fought for their government.

Space Army.jpg

Many prisoners chose to fight.  Others chose to stay.

Years passed, and the war was lost, giving way to a new regime.  Shortly after that, all communications and travel to and from Burg were cut off.

More time passed.  Burg ceased to be a prison or a rehabilitation center or whatever you want to call it.  The new government had no idea it existed, and had no use for an old rehabilitation planet anyway.  Enforcers and prisoners alike were suddenly stuck on this world, with no way of escaping or communicating with their loved ones at home.  Yet, rather than band together, the old dynamic was ruthlessly, well… enforced.

Hundreds of years went by, and Burg became something new.  The prisoners started families.  The Overseer and Enforcers created a government of their own.  Soon only the ancestors of the prisoners, the original Overseer, and the Enforcers remained on the planet.  Yet the descendants of the prisoners were still treated like criminals, despite having committed no crimes.

Resistance groups cropped up within the sectors, attempting to take back their liberty from the unnecessarily cruel Enforcers and Overseer.

None have yet succeeded…

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The Beauty of Terrible Stories (Part 2)

I guarantee this post isn’t going to make much sense if you don’t read Part 1 (previous post).  So do that.

Also, before we move on to the joys of Supermarket Mania 2, I want to share a TED Talk with you.  It’s one you may have seen, but as it pertains to creativity and education, I feel it is my duty to pass on the message to those who haven’t.  This guy is funny and has an enjoyable accent.  Watch it, please.

Okay so Supermarket Mania 2, by G5 Entertainment (available as an iPhone app, which makes waiting rooms 12% more tolerable).  I’m only going to recommend the sequel, as the first game is a bit buggy.  Don’t worry about missing any of the drama, though!  That’s what this blog post is for!

The plot of Supermarket Mania (the first): A young woman named Nikki goes to work for an obviously evil man named Torg at his obviously evil supermarket.  Because we all know how evil those supermarkets can get.  Torg’s supermarket serves as a training ground for Nikki and her new friend, Wendy, before they are fired (and replaced with EVIL robot workers).  Wendy’s one and only personality trait is that she likes to eat.  She’s not overweight, mind you.  She just likes to eat.  Pretty much everything she says garners a response of, “But Wendy, you just ate!” or, “Wendy, you cow, stop thinking about food.”

Supermarket 3

Anyway, Wendy and Nikki find an old man who wants nothing more than to start his own grocery store that is full of love and wholesomely bland foods.  They do so.  This somehow puts the Evil supermarket out of business.  White people cheer all around.  (There are no people of color in this game.)

The plot of Supermarket Mania 2: Nikki is still running bland supermarkets!  Through her love and compassion (because that’s what people are really looking for in a supermarket) she succeeded in drumming up a loyal clientele.  There’s Old Lady, Regular Type Lady, Mom, Teenager, Girl with Scooter, Yuppie (I swear that’s what they call him), Thief (She doesn’t actually like this guy), and Celebrity.  They all come and go, and everything seems great for Nikki and her ever-growing list of White pals.  Except Torg is still evil!  And he is bent on getting his revenge by doing stupid things like causing traffic jams outside the store and painting the word “SALE” on the window.  Spoiler alert: None of these plans succeed.

But the best scheme by far is that Torg will stroll into the market, wearing a trench coat and a fedora, and use a giant, wooden mallet to break Nikki’s various machines.  It is worth mentioning here that Nikki has a security guard in her employ.  Mr. Blowfist… or Barefist… or Bareknuckle.  Something vaguely obscene.  His job is usually to stop Thief from thieving (Swiper no swiping?), but he’s never around when Torg comes by with his mallet of doom.

Anyway, I couldn’t resist taking a screenshot for this one.  Because sometimes you can hire someone to help you with your various tasks, and those employees will do nothing to stop a man in a trench coat from smashing the juice squeezing machine.  They will watch him do it with a smile on their face.  Look:

Supermarket 1

Do you see it?  Do you see what’s happening here?  Let me help, just in case you’re lost:

Okay, so now you get it.  I suppose Nikki doesn’t pay the woman in the orange dress to stop people from sabotaging the machinery.  Hell, Nikki doesn’t really pay her at all.  She purchased her for $1,200.  One-time fee.  I imagine Orange Dress would politely ask Torg not to crush the machinery if only she were allowed a paycheck or a union-mandated break.

That’s all I’ve got!  We’re going to move on to a more serious subject next time.  Fair warning.

 

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