Ask the Author: George Kenney
Answered Questions (7)
George Kenney
Harry Morgan (Steve) and Marie Browning (Slim) from the movie, "To Have and Have Not". The banter between the two was exceptionally well done.
George Kenney
I have 4 ideas for books I'm exploring. One of these ideas is a sequel to my book, Wolfgene, another is a sequel to my latest book, Karmascendia and the last 2 are post apocalyptic novels. At this point, none of these ideas have made it past the 8 point story arc stage. Each have failed to convince me there is enough emotional commitment for me to engage the effort.
I will keep tweaking the story arcs and concepts associated with these ideas. The hope is I will discover the lost chord amidst the detritus. As new ideas present themselves they will be subjected to the same process and I will not give up on any of them. I feel there is a story in each of these ideas but I have yet to uncover the underlying emotion needed to commit.
I will keep tweaking the story arcs and concepts associated with these ideas. The hope is I will discover the lost chord amidst the detritus. As new ideas present themselves they will be subjected to the same process and I will not give up on any of them. I feel there is a story in each of these ideas but I have yet to uncover the underlying emotion needed to commit.
George Kenney
I have a lot of ideas that cross my mind and I explore those ideas with a process called an 8 Point Story Arc. This is covered in a book by Nigel Watts', "Writing A Novel and Getting Published". It's primary purpose is to keep a story on track, covering things readers expect in a good book. Do a Google search on "8 Point Story Arc" and you will find a truck load of info.
I certainly use this process to make sure I cover important areas but I also rely on it heavily to vet the emotional potential I can generate while writing the book. In addition, to the 8 points discussed by Nigel Watts, I added an item I call the "concept". I use the "concept" to state up front what I want the reader to walk away with and it doesn't have to be of cosmic significance. Sometimes the idea for the story dies here because I lack a defined purpose for expending the energy.
So by now I'm sure you are saying, "None of this is concerned with inspiration!" You are right, just give me a few more minutes of your attention. It is vital for me to go through these points. By jotting down in a few sentences what each point will cover and how they can be knit together, to support the concept, I am distilling my idea and the emotion I have for the effort. By the time I am done I either feel the current pulling me to write or I know the idea has no emotional energy for me. It's the equivalent of the 2 minute elevator pitch but it is me pitching the concept to myself.
I've learned it is better to have spent a few hours going through this exercise to discover if the emotional energy demanded for the effort exists. If I like the nature of the arc and the emotion is there then I have found the words flow faster than I can type them. The words spill out as the excitement grows to set the environment then reach the climax and expose the reversal.
By the way, too much detail at this point kills the creative self I need for writing. I must keep it brief and very high level. On the other hand, knowing the points of interest I will visit along the way is comforting and I find focuses the creative process.
I certainly use this process to make sure I cover important areas but I also rely on it heavily to vet the emotional potential I can generate while writing the book. In addition, to the 8 points discussed by Nigel Watts, I added an item I call the "concept". I use the "concept" to state up front what I want the reader to walk away with and it doesn't have to be of cosmic significance. Sometimes the idea for the story dies here because I lack a defined purpose for expending the energy.
So by now I'm sure you are saying, "None of this is concerned with inspiration!" You are right, just give me a few more minutes of your attention. It is vital for me to go through these points. By jotting down in a few sentences what each point will cover and how they can be knit together, to support the concept, I am distilling my idea and the emotion I have for the effort. By the time I am done I either feel the current pulling me to write or I know the idea has no emotional energy for me. It's the equivalent of the 2 minute elevator pitch but it is me pitching the concept to myself.
I've learned it is better to have spent a few hours going through this exercise to discover if the emotional energy demanded for the effort exists. If I like the nature of the arc and the emotion is there then I have found the words flow faster than I can type them. The words spill out as the excitement grows to set the environment then reach the climax and expose the reversal.
By the way, too much detail at this point kills the creative self I need for writing. I must keep it brief and very high level. On the other hand, knowing the points of interest I will visit along the way is comforting and I find focuses the creative process.
George Kenney
More than 30 years ago I came across the concept of infinite parallel universes. I riffed on that idea and expanded it to include all thoughts, not acted on in this world are realized in another dimension. Karmascendia is a result of that thought experiment.
The idea was easily adapted to the worlds authors create in their books. The worlds become real in another dimension when both the author and readers have imagined the world.
The idea was easily adapted to the worlds authors create in their books. The worlds become real in another dimension when both the author and readers have imagined the world.
George Kenney
Don't focus on the completion; focus on the art of description. Describe facial expressions, environmental effects, emotions without actually stating "he was startled" or "it was cold and wet," or "she was sad." Instead one could write: "His eyelids shot open while his audible intake of breath betrayed his concealment," or "Breath clouded his vision as he scanned the landscape while the rhythmic plop of water from his hat into the growing pool sought to lull him into complacency" and finally "The tension in her face gave way as a knot of butterflies strove for release beneath her heart, he was gone and nothing would ever bring him back."
Learn to love the use of your palette of words, draw the picture and the story with carry you to the finish line.
Learn to love the use of your palette of words, draw the picture and the story with carry you to the finish line.
George Kenney
I like the whole concept of telling a story and having someone else use their imagination to make it real, for them. I like the whole idea of being an artist who takes the pristine canvas of imagination and fills it with life. Each brush stroke taken from my palette of words brings the reader closer to believing.
It is also a cathartic exercise for me for I am not dispassionately engaged with the characters I create.
It is also a cathartic exercise for me for I am not dispassionately engaged with the characters I create.
George Kenney
When I'm reticent to engage I have found the subject or purpose of my work is not compelling. The "creative" part of my person is bored with the "doing" part.
I don't beat myself up or get anxious. If the "creative" me has its arms crossed I disengage the "doing" me and search my environment for purpose. It's like mentally running my fingers over the surface of my emotions and experience. When I find an imperfection I am naturally inclined to look at the area that is different.
If there is emotion tied to that area of interest then my "creative" self unfolds its arms and gets interested. No emotion on a subject, at least for me, is a complete stand down for creativity.
Honestly, if I don't have anything that sparks my emotion I don't have anything that needs telling and I should be grateful the "creative" me wants to stop.
I don't beat myself up or get anxious. If the "creative" me has its arms crossed I disengage the "doing" me and search my environment for purpose. It's like mentally running my fingers over the surface of my emotions and experience. When I find an imperfection I am naturally inclined to look at the area that is different.
If there is emotion tied to that area of interest then my "creative" self unfolds its arms and gets interested. No emotion on a subject, at least for me, is a complete stand down for creativity.
Honestly, if I don't have anything that sparks my emotion I don't have anything that needs telling and I should be grateful the "creative" me wants to stop.
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