In mathematics we learn that one vector defines a single-dimensional space. It is a line or a direction, a single, unchanging thrust into space.
Two vectors, however, can define a two-dimensional space. A field, a landscape, or an infinite blanket of ideas.
Three vectors and you get a three-dimensional volume. Length and width are joined by depth, form and figure emerge, a complex structure that has to be considered from different perspectives to understand the whole.
This principle holds true when developing a story as well. The genesis of most stories occurs when the writer’s mind finds an interesting connection of different vectors. Ideas that had seemed unrelated show a surprise connection, and as the mind explores that space it concocts a story to aid in the process. And like turning the knobs on a faucet we are free to crank one of the core ideas up and dial the other back, to leave one out entirely and then gradually introduce it to full force, each combination has its own potential. Notice how many story pitches are delivered in exactly this way: describing the intersection between different ideas.
“A romantic comedy, but one of the characters is blind and the other is deaf.”
“A classic Western, but it takes place in space!”
“The story is 1980s America, but if the Cold War had escalated to actual combat.”
Through these combinations we find a field of discovery, a curious volume to explore, an entire story of material…maybe even multiple stories of material! Entire worlds are discovered and our story is the spaceship by which we tour them.
In The Favored Son: Alternate there was a very specific aspect of children, conflict, and play that I wanted to consider. I thought of all the times that I have seen children playing a game that shifts from innocent fun, to lively competition, to hurt feelings, to an all-out fight. Children at play and children at conflict are sometimes not very far apart!
I explored that concept in this story by continually returning to the competitions that the boys undergo as part of their training. At the outset these appear to be light-hearted affairs, just a group of children pretending at war and hoping to win. But the further the story goes the more these scenes shift into actual conflict. By the end they aren’t playing at all, they are at literal war and not all of them survive it.
Next came The Time Travel Situation, in which the element of play was cranked to the max and never became mean-spirited. There was conflict in the story, but it was only pretend-conflict, a fight where all of the children were united on one side against fictitious enemies on the other. Thus the conflict was never serious, it was all for fun.
It is, of course, an interesting question why we find pretended conflict to be so entertaining, and there are all sorts of theories that have been posited on the matter. For now let’s just accept the fact that we do. Our stories, even our happy stories, are almost always centered around this idea of opposition and conflict. But if we do intend to keep the conflict “fun,” we have to disassociate it from reality. Thus the badguys are totally fictitious beings, like comic book supervillains, or they are extreme caricatures, like moustache-twirling weapon dealers. Conflict is only fun when it is pretend, so I made my story all about a literal game of pretend.
The Punctured Football lays somewhere in between those two others. The conflict in it is not just pretend as in The Time Travel Situation, the characters are sincerely at odds with one another. But it is not nearly so grim as in The Favored Son: Alternate either. The two characters show plenty of hurt feelings, but there’s never any danger to either one. Also the play is more pronounced than it was in The Favored Son: Alternate, but not nearly so exuberant as in The Time Travel Situation. In short this story was all about finding a middle ground that was more realistic than either extreme. The other two stories each had a strong fantasy in their own way, while this one was more firmly grounded.
I am going to write one more piece in this series, and with this one I want to incorporate both forms of conflict: the more realistic and the more fantastic. I am going to therefore have two conflicts that occur, one that is between the children and a fantasy enemy, and one between the children themselves. The first being more pretend, the other being more grounded. As for the sense of play, I am going to incorporate that by having one of the characters explore the rules of a newly discovered world.
And by this I will be following a most popular template for stories. As it turns out, there have already been many tales that explore this same intersection of children, conflict, and play. It is the template that C. S. Lewis popularized with his Chronicles of Narnia series. Consider the first entry, The Lion, The Witch, and the Wardrobe, where the children have a conflict with a magical queen, but also a more grounded feud between quarreling siblings. And though there is great danger in that tale, one cannot help but feel a sense of playfulness in how the children are able to explore such a fantastic realm.
It is also the template of Peter Pan, where siblings again intermingle their squabbles with the life-or-death conflict with Captain Hook. And all the while there is that same playful exploration of mermaids and the Piccanniny tribe and finding the ability to fly.
It is Harry Potter having a spat with Ron Weasley, while also being hunted by the murderous Lord Voldemort, while also uncovering the magical world of witches and wizards.
“Do you think Curtis and Jordan would play if we asked them?”
“I don’t know. I don’t want to ask them.”
“Because they’re not careful and it’s my only football.”
“I don’t think they’re not careful.”
“You weren’t playing at the park after the parade.”
“No. What happened?”
“Well, so they had those airplanes, y’know? Those ones that you hook on a rubber band and it goes flying through the air.”
“Like the ones you can get from the arcade at Seventeen Alleys.”
“I know what you’re talking about.”
“So Curtis and Jordan each got those from the fair games and they were launching them right over there by that building. What do you call that building?”
“I don’t know. But they do all the city stuff in there, don’t they?”
“Yeah, like the mayor and everybody.”
“So they were shooting their planes alongside of that building and talking about how they thought they were shooting them high and long enough to go all the way over the building.”
“But Curtis’s dad, he heard them and he told them ‘don’t you do it.’ He told them they’d never get their planes over it and once they got lost on the roof he wouldn’t climb up there to get them back down again.”
“And, well, they didn’t try it right then. Because right then the hot dogs and hamburgers were ready and everybody started to eat. But then after that they went and tried it and guess what?”
“Curtis’s dad was right! They got stuck right on top of the roof and they never got them down!”
“Oh wow. Are they still up there?”
“What? No. Curtis and Jordan went back for them the next day when Curtis’s dad wouldn’t know anything about it. But the point is that they’re not careful and I don’t want my football up on the roof.”
Petey caught the ball once again and paused for a moment before chucking it back to Brad.
“Yeah okay,” Petey said, “it’s just we can’t really play a game with only the two of us.”
“Well we’re playing right now, aren’t we?”
“It’s not a game. It’s just catch.”
“Well…let’s make it a game.”
A game of two cannot have offense, defense, and passing, though. Thus the two boys decided beforehand whether the next play was a run or a pass. If it was a run then one of them would hike the ball back and then try to tackle the other. If it was a pass, then the hiker would tear down the field to get open for a catch. The boy playing quarterback would imagine defenders breaking through the front line and would have to throw it before they got to him.
“Go left! Go left!” Petey called. “I can’t throw so far to the right.”
“You just turn your body!”
Petey lobbed the ball high into the air, it hung high against the sky, then came down to the earth with a squelching splash!
“Oh, you’ve thrown it into the marsh!”
The marsh was the name for the low part of the field where all the water drained to and was a perpetual pond of filth.
“Whoops! I didn’t mean to.”
“Well don’t ruin my ball, okay. Don’t throw it into the marsh anymore.”
“I won’t, Brad. Anyway try to catch it next time.”
The incompletion had been their fourth down and now the other side got their turn to charge it up the field. They were held at the forty, but the boys didn’t make much more headway with their next set of downs.
“It’s fourth down again,” Petey wiped some sweat off his face. “It’s too far to make it.”
“If you hadn’t tackled me so quickly on that last run…”
“What? I’m supposed to tackle you when I’m playing defense.”
“Well you’re in charge of the play this time. What do you want to do?”
“Yeah, I’ll try for the field goal. If I get the ball into the tree there–“
“You’re not kicking my ball into a tree!”
“I mean if I kick it…” Petey rotated slowly, looking for a suitable target, “over the soccer goal. That’s a field goal!”
Brad couldn’t find anything wrong with that, so they lined up for the play. A few random numbers shouted, a hike, a step back, a kick! The ball sailed quickly and decisively. It was in-line with the edge of the goal post, but angled too high. It quickly reached its zenith, plummeted back to the earth like a diving hawk…and impacted onto the corner of the goal post!
The goal post corner was two metal poles cut at an angle and welded together, making for a sharp point. The corner punctured straight through the ball and held it fast like a head on a spike. The two boys watched in horror as the ball noisily deflated, shriveling from bottom to top up until it rolled off to the side and down to the ground. Limp. Empty. Not a ball anymore.
“You broke it!” Brad shrieked, fists clenched into little balls.
“I didn’t mean to!” Petey wringed his hands anxiously.
“Why would you kick it there? It’s the only ball I had!”
“I didn’t know! It was an accident. You know I didn’t do that on purpose!”
“I told you so much that I didn’t want to ruin it! I told you to be careful so much!”
“Let’s go to me home and talk to my mom. Maybe she can fix it. Maybe she could buy another.”
Brad stomped over to the lumpy, brown sack that had once been a ball and cradled it in his arms. “I’m not going anywhere with you, Petey!” he shot back. “You’re a terrible friend…and a jerk!” And with that he stormed away.
“Back already?” Petey’s mother asked as the screen door bounced shut behind him. “I thought you’d be at the park until dinner.”
“I’m back,” he said simply. “Brad is done playing for today.”
“Oh…” she raised an eyebrow in surprise.
“Nothing!” he replied in anticipation of the question she hadn’t asked. She raised the other eyebrow but he wasn’t in the mood. “Nothing,” he repeated softly. “I’ve got to go do homework, okay?”
“Whatever you need.”
“I need to do my homework.”
She just stared at him as he bit his lip and looked elsewhere.
“So, okay, bye,” he concluded, then turned and walked up the stairs to the bedrooms.
But before getting to his own room Petey passed by the room of his big brother, Noah. Noah was inside, laying on his bed on his stomach, playing the Super Nintendo.
“Noah?” Petey cautiously advanced into the doorway.
“Hey, bud,” Noah didn’t turn. “Plug in the second controller.”
“No, I have to do homework…Mom’s making me.”
Petey stood another moment in the doorway, silently chewing his lip. “Hey Noah?”
“Yeah, what’s up?”
“So Brad is really mad at me right now.”
“Oh? What happened?”
“Well we were playing with his football together and I kicked it and it fell onto a sort of spike in the park and it popped.”
“Yeah, it was really bad. I don’t think there’s any way to fix it.”
“That’s no good.”
“And so now Brad is being really mad at me about it.”
“Well how do you feel? Guilty about it or no?”
“Yeah, I guess guilty. But I don’t get why, because I really didn’t do it on purpose!”
“No, I’m sure you didn’t. But you know, it’s not a bad thing that you feel bad about it. It was a bad thing that happened, you’re not supposed to feel good when that happens.”
“But I don’t feel bad like I would have if Brad had been the one to kick it. Then I would have felt sad for him. But just because it was me I feel like I did something really wrong.”
“Yeah, I don’t know. I mean I’ve felt like that and I don’t know why. You really feel dirty even though it was all an accident, huh?”
“And Brad’s pretty mad about it?”
“He hates me now.”
“So it’s kind of like how you feel. Both of you are blaming you for it even though that’s not fair.”
“So what do I do?”
Noah shrugged. “I don’t know, man, that’s a hard one. To tell you the truth I was hoping it would make you feel better just by talking about it.”
“Well…it does a little. Thanks, I guess.”
Petey turned to go but suddenly Noah whipped his head around to look over his shoulder.
“I guess if there’s something you feel like oughta do to make things right then do it, just don’t do it because of blame. Either from you or Brad.”
Petey nodded and closed the door.
“Hey Brad, how’s it going?” Petey said cautiously as he approached the edge of the curb.
“Don’t talk to me,” Brad said flatly.
“Hey it’s okay if you need some space, but you have to know that it’s not my fault what happened to your football.”
“It’s not your fault?” Brad raised an eyebrow. “You kicked it into the corner and it punctured. Who else made that happen if not you?”
“I–well–I guess, yeah, it was my fault. But that doesn’t mean that you or I should blame me for it.”
Brad turned to full-on stare at Petey with incredulity. “Are you even hearing yourself right now?”
Petey did, and he had to admit that he sounded pretty ridiculous. He squirmed uncomfortably and wondered why everything had seemed so clear and simple in Noah’s room, but out here it just all got turned around. He wasn’t even sure himself what he meant anymore.
Either way Petey was spared trying to explain himself any further by the arrival of the school bus. The two boys stepped on board. By force of habit Petey followed Brad to their usual row and almost tried to sit next to him, but a single withering glare from his friend sent him to the row right behind.
“If you’re curious, though,” Brad turned in his seat for one last jab, “my dad yelled at me for ten minutes’ straight yesterday because I’d already ruined my birthday gift. Says I’d better not expect anything for Christmas. So thanks for that!”
Then he spun around, leaving Petey to stare out the window, hurt and confused.
“Hey Dad, any extra chores I could do this weekend?” Petey asked that evening.
“Um, yeah, always. How come? You saving up your allowance for something?”
“Yeah, it was Brad’s birthday last week and I want to get him a late birthday gift.”
“Oh you don’t have to use your allowance for something like tha–hang on, didn’t we get him something for on his birthday already? A couple of CDs, wasn’t it?”
“No, it was CD-ROMs, not CDs. They go in a computer and play games.”
“Okay, well we got him covered either way.”
“Yeah, so I know this is extra and that’s why I thought it should come from my allowance.”
An unusually concerned expression came over Petey’s dad and he put his hand on his son’s shoulder.
“Say–uh–is there something you wanted to tell me about the Morris’s?” he asked.
“Are they having trouble making ends meet? Something like that?”
“What? No. I mean–not that I know of anyway.”
“Well this seems like some weird behavior from you, Petey.”
“No, I just–Brad and I were playing with his birthday football the other day and we broke it. I don’t think he’s going to be able to get a replacement for it so I wanted to get it for him. Just to be nice!”
Petey’s dad nodded as he thought it over. “Well alright, whatever you want to do son. I need someone to rake the leaves, clean out the gutters, and tidy up the shed. If I think of anything else I’ll let you know.”
On Monday I shared my history with writing stories, and how I have oscillated between a problem of writing too few words and writing too many. In my very first stories my issue was that I would just say what happened without dressing it up at all. They read like a list of events more than a narrative. Here is an excerpt from the very first story I wrote:
We all agreed and headed off toward some islands in the distance. The next morning we landed on the first one. There wasn’t anything we could profit from, except for some branches that we made into harpoons with our swords. There were three other islands to visit, the next one was like the first. By then we were quite thirsty, but didn’t have any fresh water, so we went on. The next one appeared to be perfect, but as we neared the island three alligators swam towards us, we tried to sail away but they cut us off. Then one swam forward towards us I hacked at his head with my sword, I only managed to get a few cuts when he raised a six-foot tail, and dropped it in the middle of the boat.
This is a play-by-play of events. Even in its moment of action, the fight with the alligator, everything is “this happened, then this happened, then that happened.” It took me some time to understand the importance of giving moments space to breathe, to evoke them rather than tell them, to let the reader experience them directly.
This can be taken too far, though. It would not do for a story to dwell on every moment. One has to filter from all of the things that could be shared in a story to just the things that should be. In writing this current piece I had to fight the temptation to throw in some side-plots to pad out the central narrative. That would be necessary to round things out if this were a larger coming-of-age novel, but it isn’t. It is a short piece about how a young boy deals with one problem and every scene that I’m including needs to be related to that single narrative.
There is still an element of rounding things out, though. I don’t want back-to-back scenes between the same two characters because that would feel weird. Characters need to have an interaction and then move on to somewhere else before they come back together. That might seem like an arbitrary requirement, but if you pay attention it is a commonly followed guideline in most stories. Come back on Monday as we take a closer look at this rule and the reason it exists. I’ll see you there.
When I was young my siblings and I loved playing pretend. Obviously we were far from the only children to do this, playing pretend is something that every child seems to come up with entirely on their own. In fact it is the most universal form of play I know of. Across all cultures and all periods of time, children just gravitate to it naturally and independently
I believe that part of the reason why pretend comes so naturally to children is because they still half-believe in it all. Half of the time they aren’t trying to invent anything new, they are just processing what they think might actually be.
I remember in one of our games I was shot by the bad-guys and I appropriately collapsed dead to the ground. I waited a few moments, then promptly rose back to my feet, explaining that I had been “good enough” that I couldn’t actually die. And I wasn’t trying to make something up…I genuinely believed that if one did enough good things then they became immortal in real life. I don’t know where I got that idea. Perhaps from the story of Jesus Christ’s resurrection, perhaps from films where the hero is never as dead as he appears, but the point is that when I was younger life seemed more fantastic. Anything might actually exist out there if you went looking in the right place. In another of our escapades I wanted to play a character named Cordinial Fasmuch. That was a strange name, so I decided he was from Spain. Because, you know, Spain was so far away that who even knew what sort of names they might have over there?
It is a sad irony that our curiosity so often propels us to gain a volume of information, until eventually we stop believing that there are things we still don’t know. And once we stop wondering what is out there our imagination plummets.
Playing pretend also leads into some incredibly original material. I remember with my siblings how we mashed up genres and ideas in ways that I still haven’t seen anywhere elsewhere. I’m reminded of one piece we did in a medieval setting with a small robot that helped thwart an evil wizard until it vanished at the end. Everyone was sad, but the robot had to go away because it was time for him to be born as the princess’s new baby.
You know, as medieval robots are wont to do.
Like I said, the world was a strange and mysterious place where anything was conceivable. There were no boundaries on logic or genre and there weren’t any rules against reincarnating robots in a medieval setting. Similarly there weren’t any rules on plot structure. We didn’t waste any time worrying about whether our playtime constituted a “good story” or not, we just played.
I remember a western we did where an outlaw came to settle a score with the sheriff in town. Eventually the revelation was made that the outlaw was actually a former sheriff himself, and the sheriff was once a former outlaw. And that former-outlaw had killed the family of the former-sheriff, sending the grieving man into a quest for vengeance, resorting to any measures to exact his revenge, even breaking all the laws he had once worked to uphold. And the former-outlaw was made so afraid by this specter of retribution that he had hidden himself in the most unlikely of places imaginable: law-keeping. Thus the two had completely traded sides.
Today I would say that the plot was preposterous, with character shifts that were completely unbelievable. But at the time I never considered it. It was an interesting idea, so who cared how much suspension of disbelief was required to make it work? Back then plots were weightless, all you had to do was think of them and that was enough.
Eventually our “plays” started to shift. They were still imaginative, but they starting to be inspired more and more by the imagination of others. We adhered more closely to the genre boundaries of our favorite books and movies. We still played as knights and robots, but not in the same story. We still wielded the power of magic and science, but not at the same time. Characters that died didn’t just pop back up if they had done enough good deeds in their life. Plots were expected to adhere to a three act structure, with believable character transitions throughout.
At this point we discovered a new reason for creating stories: to help process other ones that we already enjoyed. Whenever an intriguing new book or movie came along the experience wasn’t complete until we had invented our own narrative in that same world. Harry Potter and Star Wars and Lord of the Rings were cool to watch and read about, but that wasn’t enough. We wanted to be inserted into those worlds. We wanted to experience them and make them our own. Thus our imagination was spent in crafting branches on other peoples’ trees more than in planting new trees of our own.
And this pattern generally continues for us as we grow older. We become more dependent upon the structures of others until we hardly know how to play pretend without them. A craving for that old playtime develops, though, and entire entertainment industries and cultures now cater to that desire. Video games, board games, and tabletop games. Fan conventions, cosplay, and live-action-role-play. Theme parks, and movie theaters, and historic recreations. All of these try in their own way to insert us into a different world, but they are merely crutches, still structured for us to experience someone else’s creativity and not to create our own. As adults we push buttons, roll dice, and change our speech patterns to imitate other characters, but when we were children we actually became the things we pretended.
Back to Pooh Corner)
It is a commonly asked question whether we can ever find our way back to that state of free-flowing creativity. Can adults ever relearn how to play as a child, or is their wealth of knowledge too great an obstacle to overcome? Kenny Loggins sung about this conundrum in his song Return to Pooh Corner and Robin Williams faced the same problem in the movie Hook.
In my experience it is possible to return to the land of pure pretend, but it isn’t always easy. You might be at a disadvantage, but that just means it takes extra effort. With regular exercise one really does get better and better at starting the flow of imagination. One of the best methods for easing back in is to join small children in their own games. With children you can blurt out the first idea that comes to mind, like a medieval robot being reincarnated as a baby, and they accept it without judgment. With children you can stop worrying about if you’re doing it right and just do it.
In any case, we should take comfort in the fact that creativity is a fundamental part of us. It may ebb and flow, but it never truly dies.
With my next piece I’m going to try and recapture the magic of children just playing pretend. I want to write a story that is as free and uninhibited as real children at play. Come back on Thursday to see how it goes!