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<\/a><\/p>\nPeople who aren\u2019t familiar with improv think all it takes is going up on a stage and talking. Great improvisers make it look easy, however, it\u2019s very much like playing a musical instrument. There\u2019s a lot to know. Here are a few of the basic principles of improv and how they might help your fiction writing. These can be applied to both short stories and novels.<\/p>\n
YES, AND – This is the one that even people who know nothing about improv have heard of. Yes, and<\/em>, is all about agreement. Have your characters agree with each other and then add to what they\u2019re saying or doing. For instance, let\u2019s say your story starts with a man and a woman sitting on a couch in an apartment. The man says, \u201cLet\u2019s go out tonight.\u201d The woman says, \u201cThat sounds good.\u201d (That\u2019s the yes part.) She then says, \u201cAnd<\/em> let\u2019s go to a movie.\u201d That\u2019s a simple example of yes, and<\/em>. Statement, agreement, addition. So<\/em> what does this do? It moves a story along. If the woman said, \u201cNo, I don\u2019t want to go anywhere,\u201d everything is at a standstill. A skeptic might think, well, then the story is about the man and the woman in the apartment. Maybe. But unless they agree eventually, all you have is an argument. And not only that, the story would take a lot longer to get off the ground. Yes, and<\/em>, makes it immediately move forward.<\/p>\n DON\u2019T PLAN – The essence of improv is spontaneity therefore planning is the antithesis of improv. In writing a story some people write outlines and others don\u2019t. (The planners and the pantsters – named for seat of the pants writing.) I think not having a plan makes it more exciting both for the writer and the reader. How can the reader guess where you\u2019re going if even you don\u2019t know?<\/p>\n These are just a few improv principles that might help your writing. \u00a0More about improv in a future post!<\/p>\n [\/et_pb_text][\/et_pb_column][\/et_pb_row][\/et_pb_section]<\/p>\n","protected":false},"excerpt":{"rendered":" [et_pb_section bb_built=”1″][et_pb_row][et_pb_column type=”4_4″][et_pb_text] Just about everyone has heard of or seen an improv show. But what does a performing style that\u2019s known for comedy have to do with writing serious fiction? Especially, since the definition of the word improv is\u00a0 … Continue reading <\/a>DON\u2019T BLOCK – The example I gave of the woman saying she doesn\u2019t want to go anywhere is a block. It stops the story. The natural human reaction to anything<\/em> new is to block, to disagree, to tell the other party why it won\u2019t work. Whether it\u2019s new idea, another way of doing something, or an invention. In real life such a response is annoying, frustrating and can stand in the way of progress. In a story, blocking stops the action cold. If you agree, the story moves forward. If you don\u2019t it stagnates.<\/p>\n<\/a>THE DAY EVERYTHING CHANGED – Your short story is about the most important day in your character\u2019s life. (Your novel is about the most important time in your character\u2019s life.) The day (or time) when things changed. A day like no other. Good fiction is about change. Whether it\u2019s comedy or drama. Your character changes.<\/p>\n