First, I’ll hearken back to my recent post about poetry. In my final (sob) class of poetry school, we’ve been assigned a textbook that I think may interest people on the blog who’ve caught the poetry bug. It’s Introduction to Poetry by X. J. Kennedy and Dana Gioia–high school and above–very comprehensive. There are a few poem prompts but not many. The value is in the discussion of all the topics in poetry and the selection of poems, from classic to modern. Also phenomenally expensive, so I’d suggest asking your library to get it for you or buying it used. Try to find the latest edition, which contains the most up-to-date poems.
On January 27, 2016, Bookworm wrote, I need help with some things in my novel. I have it pretty much figured out, but the scenes seem to zoom by. I don’t think my MC is really getting enough challenge in some of the scenes.
I also need some help with a side MC. He’s the main comedian, and I don’t have many jokes and puns for him. I could really use some help to get some good puns and jokes. Can you help me?
First question first. Writer of Magic weighed in with, What I would do to make it more challenging is to go through each sentence and see if you need more detail. Example: Her jeans ripped. Or: The seam on her jeans ripped. Blood seeped out. Sorry for the gore.
I’m all for detail, which does more than add length. Detail puts the reader in the scene. There’s nothing like it to increase tension. What do the jeans rip on? How deep is the cut? How painful? Who sees the event? Is anyone there to help? What else is going on? Does our MC–let’s call her Rose–have time to see how badly injured she is? Is she in danger of passing out from loss of blood? If a lot is happening, we can slow down to a kind of play-by-play.
A scene won’t zoom if we present our details through Rose’s head and heart. What is she thinking? Is she worrying about something even more pressing than bleeding? Is she phobic about blood? What’s her state of mind when the injury happens? Is she angry? At whom? Frightened? Sad? Even happy? Maybe cutting her leg solves some other problem for her. Now she thinks she won’t have to spend a week with her despised cousin. She wonders if she can make the injury worse.
Detail also contributes to humor. Rose’s jeans rip, revealing the laughing frogs on the long underwear her mother makes her wear. A dot of blood seeps through the flannel and reddens a frog’s nose. Can she conceal the whole disaster? What can she wrap around herself? A tablecloth! Can she pull it out without disturbing all the dishes, the way they do in movies?
And how might we challenge our Rose more?
We’re always finding a balance between barriers and abilities, locks and keys. Leaving behind the bleeding situation, let’s say Rose is loyal to Queen Lorraine, but a lot of people are dissatisfied with her rule. Attracted by the noise, Rose joins a crowd surrounding a street speaker who’s inciting the mob to storm City Hall, where the queen’s representatives hold sway. The mayor happens to be away, leaving Rose’s mother, the chief constable, in charge with only three guards to help her. Rose decides she has to persuade the crowd not to attack.
Suppose we want Rose to fail ultimately. The Hall will be attacked, which will propel our plot into its next phase. But we don’t want her to fail quickly. We want to make the most of our dramatic situation.
We might consider what Rose has going for her and what her obstacles are, but let’s start with the obstacles. The anger of the rabble rouser is infectious. He’s a good speaker with valid arguments on his side. The queen’s subjects are tired of a war that’s continued for a decade–although she’s been on the throne for only six months. Many able-bodied people have been forced to become soldiers. A promised school in the town hasn’t been built.
Rose thinks the queen should be given more time. If the throne is overthrown, who will step in? Chaos will follow, and the enemy is sure to take advantage. Rose has made this argument to a few friends, whom she’s persuaded to agree with her. Plus, she knows a lot of the people in the crowd, and she’s well-liked.
Going back to obstacles, she’s soft-spoken. No one will hear her if she speaks up. So we start the scene. Rose clears her throat. “Excuse me.” No one hears. What is she feeling? Thinking? Who’s standing next to her? What’s the weather?
We use these details to create a scene with ups and downs and plenty of challenges for Rose. When one effort fails, she tries something else, seems to make progress until some other upset comes along. We end with her the loser, but she isn’t entirely defeated.
Moving along. When it came to jokes, Writer of Magic asked, What era is this? Then I could probably make up some jokes.
Bookworm answered, The era is modern times, but the action takes place in different dimensions. For example, there’s the real world, then there’s Destiny Forest, and another dimension is Musical Hills. There’s not more than one of the MC though, like a doppelganger.
Humor helped poured in.
What type of bagel can fly?
A plain bagel!!!
What’s brown and sticky?
Two man walk into a bar. One turns to the other and says “Ouch.”
“A train just passed by here!”
“How can you tell?”
“It left it’s tracks!”
“Did you get a haircut?”
“No, I got all of them cut.”
If you need more try searching Google.
As for puns I find that they work best in the situation. If the character drinks chicken soup they can say it tastes “fowl.” Fish is always really heavy because it has so many scales. Cheese has many “ Gouda” puns attached, and can be “grate” to use. Horses also have many puns attached. (Behooved is a good word, and people can mention neighbors, both of which can be used in many “tales.”) A mention of eyes can lead to many puns, such as “eye see,” mention of pupil(s) (for teachers or students), and complaints that people will always “lash” out. Cars are “wheely” good, and if you’re getting “tired” of my examples Google can help with some more specific examples. I hope this gives you a few ideas!
These are great! I’d just add that a list of homonyms (words that are spelled and sound the same but have different meanings, like bear) and homophones (words that may be spelled differently but sound the same, like plain and plane in Mary’s pun or bear and bare), which you can google, can be helpful for thinking up puns. Heteronyms (words that are spelled the same but pronounced differently, like bass, the fish, and bass, the low musical pitch) probably won’t be as useful, because our puns will probably crop up in dialogue, but there may be times when we can use them, too. Of course, some puns are pure inspiration, which can arise only from sub-basement Y of our brains, like the joke about the chicken, the frog, and the librarian, which is best said out loud. If you don’t know it, here’s a link: http://allaboutfrogs.org/funstuff/jokes/lbrry.html. For best effect, sound like a chicken for her lines and like a frog for his (hers? its?).
Here are prompts:
∙ I find it helpful to think of categories when I fool around with puns. So, looking at your googled lists, come up with three puns in each of these categories: food, occupations, and animals.
∙ Remember a time when you were injured: sports injury, clumsy injury (as most of mine have been), kitchen injury–whatever. Not life threatening, because we want to take something with medium intensity and deepen it. Write it and milk it for every smidgen of detail you can dredge up: the moment before the event, how it happened, how it felt and looked, who was there, who said what, what you said and thought, what made it better, what made it worse, plus whatever I’m leaving out. Now move into fiction. Make yourself a character, and make the other people who were there characters, too. If it fits, turn one of them into a villain. By using detail, make this a scene that doesn’t zoom by and that maintains tension.
∙ Injure your MC in your WIP and use some of the moments from your life and your fictionalized version of your life. Write the scene.
∙ Write the scene in which Rose tries to calm the crowd.
Have fun, and save what you write!