This gem by artist Brian Andreas exemplifies the essence of story. Can you feel the yearning in it? Hear the heartbeat? Imagine sailing away on a memory?
That’s a sailboat, right? Or do you see something else? A kite? A fish? Whatever you see, whatever I see—when I read these words, I lean in. I feel a pulse, a purpose, a sense of desire. Continue reading
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Tagged A Hundred Ways North, Brian Andreas, Charles H. Taylor Arts Center, craft, desire, emotional truth, fiction, Hampton Arts, manuscript, story, story people, StoryPeople, storytelling, workshop, writing
I recently read and commented on a number of submissions for Hunger Mountain, Vermont College of Fine Arts’ journal for the arts, and James River Writers’ Best Unpublished Novel Contest, and it was really time consuming, but wow—so helpful! Recognizing shortcomings in the writing of others helped me identify shortcomings in my own.
Some of the submissions I read were good, and others were brimming with stereotypes—characters I already knew, or ones the writer assumed I knew. The football player. The cheerleader. The abusive boyfriend. Then there was the backstory. And the telling instead of showing. But you know what? It hit me that my stories used to sound like those. I received more than a decade’s worth of rejections before Brotherhood came out, and in the years since its release, I’ve gotten two more. I’m still learning. I appreciate that writing is hard, and these writers are trying hard. I applaud them for trying! I’m still trying, too.
I don’t have any sort of neat, simple how-to guide for writing fiction, but after all that reading, I suppose I do have a few tips…
For what it’s worth, if you’re looking to dazzle an agent or editor or little old slush pile reader like me, my meagre advice is that before submitting your project, you take the time to revise it like crazy.
- Begin in media res—in the middle of a moment that matters to your protagonist and helps the reader understand what the character wants.
- If a scene doesn’t impact the protagonist’s desire line, let it fall by the wayside.
- Cut as many adjectives and adverbs as possible.
- Describe your characters’ actions in ways that allow readers to infer the emotions (without you naming the emotions).
- Include sensory details (especially smells, tastes and textures).
Along the way, my hope for all of you is the same as my hope for myself—that we embrace the process. Love the process! I’ve found that I do love it, and I hope I keep loving it. If you haven’t fallen in love with writing, then find something else to love. Gardening, perhaps…? Puppies…? Getting Congress to… Okay, I think I’ll stop there. Happy writing!
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Tagged Best Unpublished Novel, character, craft, description, desire, Hunger Mountain, James River Writers, manuscript, process, revision, scenes, slush pile, story, VCFA, writing
Last month, a friend entrusted me with the privilege of skimming and commenting on her draft of a novel. Her writing was excellent, the setting unique, and the characters engaging, but there was something not quite right. I paced around my room, tracing the edge of a braided blue rug, mulling over the disconnect, and eventually got to thinking that the protagonist’s desire was not in alignment with the trajectory of the story. The novel drifted like an untethered canoe—one floating past the dock, just beyond reach.
As novelists, we learn to figure out what our characters want and send them in search of their desires. We’ve all heard what Kurt Vonnegut had to say on this topic during an interview posted in the spring 1977 issue of The Paris Review: “When I used to teach creative writing, I would tell the students to make their characters want something right away—even if it’s only a glass of water. Characters paralyzed by the meaninglessness of modern life still have to drink water from time to time.”
But how dull, right? A glass of water. And what if the character desires something immaterial, such as acceptance or a sense of belonging? It’s hard to communicate ethereal desires in an opening scene and hook the reader there. A novel has to build to them. I suspect Vonnegut would agree, but I think he’d tell writers to give a protagonist an interim motive—something to strive for en route to the climax. Something concrete like thirst. All desires (immaterial or otherwise) lead characters to take action in a world experienced through the senses—taste, touch, sight, sound and smell. Characters do stuff (they’re boring if all they do is sit around and think about meaninglessness or feel despair), and readers connect with them when they do stuff. When a writer describes a scene so well that it pulls readers in, inviting them to experience the world in which the character lives, details as seemingly insignificant as a glass of water matter.
My friend crafted unique and endearing characters and set them in a story that holds tremendous promise. Now her protagonist needs to want that glass of water that is… look… over there… in that glass tumbler on the windowsill… the one with the ribbon of yellow-green pollen dust at the base where the condensation has pooled… the one just out of reach… just past the edge of the bunched-up rug she’ll have to step over when she wants a sip, but she’s not looking down and her heel is going to get caught, and… uh-oh.
Many thanks to The Paris Review for posting the entire 1977 interview with Vonnegut.
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Tagged character, craft, desire, Kurt Vonnegut, motivation, plot, protagonist, revision, structure, The Paris Review, writing