Planning the Project Timeline

It’s been a week since you started working on your project proposals. You should have a good idea of what you want to do and what it might take to do it. I want to take some time and share with you how I approach time management when planning programming projects here in MITH.

The two principles I work from when managing time are: we don’t want to get into a death march project, and we want the highest priority requirements to be met at the end of the project.

The first principle, that we don’t get into a death march, means that we only work forty hours a week or so and don’t work overtime. Studies have shown that working overtime too much leads to less work getting done than if you only worked a forty hour week for the same number of weeks. No use risking burnout if it means you’ll be turning out poor work.

If we want to limit ourselves to the time we have available for a project, then we have to know how much time we have, how much time we think we need for each thing we need to do, and the relative importance of each item so we know what we can leave undone if we run out of time.

For your project, you have fourteen hours, more or less, so you want to figure out how to fit your todo list into those fourteen hours and make sure you get the things done that will have the highest impact on your grade.

When we start a project at MITH that might take months to complete, we break it into a sequence of milestones that can take a week or more each. We have a rough idea of what needs to be done, but we recognize that we learn a lot along the way and don’t want to be too specific in the beginning about what we’ll be doing in six months if we’re going to have to redo the planning anyway because of stuff we learned during the earlier milestones.

You only have one milestone: your project and fourteen hours of work.

At the beginning of each milestone, we get together and walk through what we need to do to accomplish the milestone. This is our todo list that we will prioritize and check off as we do each item.

Beside each item, we write a single letter denoting how difficult we think the item will be: Quick, Easy, Moderate, or Hard. We assign each one a time: quick is 30 minutes, easy is an hour, moderate is two hours, and hard is four hours. If we think it’ll take more than four hours, then we know we need to break it down into simpler steps.

The reason for not allowing ourselves to take on anything that will take more than four hours to accomplish is so that we don’t have to stop in the middle of a task and go home, then come back in the morning and take time figuring out where we were. If we have a two hour block of time, we can pick something from the list that is moderate or easier.

Of course, you’re not working on this as part of an eight hour workday. Knowing how long you expect a task take will help you fill in those odd hours here and without having to stop in the middle of something and hope you can come back to it later.

Once you have your todo list and how much time it will take to do each item, you can prioritize the items. Which items are fundamental to your project? Which ones add flavor? Which are at the core and which are expanding on the central theme?

After prioritizing, you can run down the list adding up the time for each item. When you hit fourteen hours of work, you know what you can expect to have done by the end of the semester.

After you finish your project in December, you can look back and see how well you guessed your time requirements. Computer work is notoriously difficult to estimate, so don’t be surprised if you’re off. The rule of thumb is to double the estimate from an expert in the field.

Some Notes on Writing Stories

Here are many of the small notes and ideas that I’ve collected as part of the first few weeks of a creative writing course.

Stories

What is a story?

A story is a conspiracy involving the author and the reader to create something from the text on the page. There is no story until the reader breaths life into the author’s creation. This doesn’t mean that writing can’t be for the author’s benefit. Consider the essay.

The story process is similar to how we translate languages: the writer has a story to tell, so they produce a text which represents the story as they understand it; the reader acquires the text and builds a story which represents the text as they undertand it. A successful author is able to reproduce in the reader’s mind the same story that they started with.

What do stories do?

Successful stories change the reader. If the reader doesn’t feel or think differently after reading the story, then the story might as well not exist. The effect is the same.

Stories are a form of communication. Communication is negotiation. Effective storytelling allows for more effective communication, which results in better negotiation.

Stories should be believable. If they aren’t, they will trigger a mental defense reflex that makes the mind reject what the stories are trying to do. This is called “verisimilitude,” or “being like truth.” If you are a fan of Stephen Colbert, you can consider this the “truthiness” of the story.

Stories can have impossible things happen, but they have to be introduced in a way that the mind will accept them as consistent with the setting. This is a part of the negotiation between the author and the reader.

Even small things can affect the mind’s perception of the story. A successful text (the words on the page, not what the reader imagines) disappears, and the reader is only aware of the story that springs up as they read. Wrong spelling, grammar, or syntax will interrupt this perception of the story because the mind anticipates what should be coming next. When it gets something that isn’t anticipated, it has to stop and reorient itself. This reorientation breaks the flow of the story and makes the reader aware of the text.

Where do stories come from?

Stories come from everywhere: survival strategies, reporting, investigation, learning by playing, entertainment, and escapism. Imagination. Dreams. Synchrony, coincidence, and observation.

How do we develop stories?

We develop stories through mental role play: we talk to ourselves. We also develop stories through writing, stream of consciousness, editing, revision, and reflection.

Plots and Time

Plot is the emotional momentum in the story: how the story progresses in the reader’s time. Time within the story doesn’t have to be linear, but the emotional buildup and release should be fairly straightforward for the reader.

Plots have four ingredients:

  • Setup,
  • Discovering the problem,
  • Discovering the solution,
  • Implementing the solution.

The “climax” is the move from discovering to implementing the solution.

Traditional stories have all of the parts. Modern stories tend to leave off the beginning or the end.

Showing and Telling

Showing and telling are ways to manage the flow of time for the reader. Showing takes more time than telling.
Showing engages our emotions while telling engages our intellect.
A bear attack is an emotional experience, so show it.
Riding an elevator isn’t an emotional experience unless it is critical to showing a character’s fears, so either tell it, if it’s critical, or leave it out if it’s ordinary.
When showing, use as many senses as possible. If describing action, use as many senses as a person might pay attention to if they were in the middle of the action. Someone fighting a bear doesn’t stop to smell the flowers.

Characters

Characters are iconic. They are part of the narrative negotiation with the reader. It’s through the characters that we enter the story as readers.
Readers need to identify with the characters, so you shouldn’t be too specific in describing them. Avoid all mirrors and shiny surfaces.
Types of actions: purposeful, habitual, and gratuitous.
Purposeful actions drive the plot. The others capture patterns and personality through body language and reactions.

Point of View

Point of view does for writing what a camera does for a movie or for a FPS. It determines the distance the reader (or player) feels to the character. First person is a lot closer than third person omniscient.

Story Ingredients

The big players in a story:
  • Plot: emotional momentum
  • Character: reader engagement / self identification
  • Point of View: reader distance

Choose the mix that fits your story.

Story Archetypes

  • Hero’s quest
  • Coming of age / transformation
  • Stranger in a strange land
  • Search / discovery
  • Boy meets girl / romance

Main Character

  • Succeeds
  • Fails
  • Abandons the goal
  • Goal is undefined
  • Audience creates goal

Protagonist vs. Antagonist

Hero vs. Villain

Motivation

Motivation is all about generating momentum. Character and plot motivation are two different things. Plot motivation is insufficient as character motivation.

Beats

Scene: goal leads to conflict, conflict leads to disaster

Sequel: reaction leads to dilemma, dilemma leads to decision

Scenes and Sequels lead into each other.

Motivation is external and objective. Reaction is internal and subjective.

Reactions follow the sequence: feeling, then reflex, and finally rational action or speech.

Motivation involves the senses: what does the character see, hear, smell, or feel (sense of touch)? Feeling (emotions) should follow from the sense. Reflex should follow from the emotion. Action or speech should follow from the reflex.

Any of these can be left out: feeling, reflex, action. If more than one is included, they must be in the proper order for the reader to experience the same thing without being jarred out of the story and made aware of the text.

Proofreading Tips

Resist the urge to explain (RUE)

Read everything out loud at least once. Do the words flow naturally, or do you trip up on them?

Read backwards to catch the wrong word spelled correctly.

Avoid adverbs. They are opportunities to find the right verb.

Howdy!

If you look closely at my avatar, you’ll notice some trees in the background. That’s because the picture was taken on the Texas A&M University campus, where I worked before coming to MITH almost two years ago. If you ever visit TAMU, you’ll notice people saying “Howdy!” to each other.

I grew up in Texas around San Antonio. Summers were hot. Winters weren’t all that cold. If snow fell, school was let out for the day because everyone was afraid the roads would close. Hard to imagine with the winters we have around here.

We didn’t have air conditioning. In the summer, when temperatures would rise above 95 degrees, the operating limit for computers back in the ’80s, we’d plop down in front of a fan and read a book. I tried to imagine a world where books were available on-line and on-demand, computers had gigabytes of memory (and would fit in my hand), and computer screens were as good as a laser printer. It’s taken twenty years or so, but we’re almost there.

I was fortunate in high school to have an internship at Southwest Research Institute where I explored chaos theory by building a digital model of a dripping faucet to explore energy transfer patterns between the solar wind and the earth’s magnetosphere. It was fun and challenging. I later used that experience in a math modeling class to see how well I could predict stock prices. The trick in life is to use what we learn in new and interesting ways.

Around the same time, I became interested in text adventure games, both the single and multi player varieties. I’ve played around with LPMuds and played MMORPGs like EverQuest for the Mac and World of Warcraft. Over the course of the semester, we’ll explore how these games work as stories. If you have an interest in text game development, planet mud-dev is a good place to check out.

My background is in Physics, Math, and English, so don’t be surprised if I bring in some science or math into our discussions. I’ve asked you to view a wide range of TED talks and read a lot of stuff about writing and story telling for the second week. Some of it is academic, but there are also a few pieces that aren’t all that scholarly. Communication happens in many ways.