Brian Yansky's Blog, page 22
December 4, 2011
narrative current
Narrative current helps hold a story together. So many stories do a lot of things well and struggle with just one or two major things and these make the manuscript lose its power.
One of those things that is often the culprit is narrative current. Say a writer writes well and has interesting characters andmany wonderful scenes BUT somehow they don't fit together. There aren't connections between these scenes. There isn't a sense of story arc. The writer feels that it isn't quite right but doesn't know how to fix it. The story needs a coherent narrative, a current that will carry it to the right conclusion.
Usually when a writer says something like my story is about love or my story is about loss, they're talking about theme. These are big, often general or abstract ideas and while the story may very well be about these larger issues they don't, by themselves, hold the novel together. Theme or the big ideas behind your work are necessary and important but they aren't what is pulling the story along—at least not by themselves.
Narrative current demands a sense that the whole narrative is taking the reader someplace. The scenes in the story have to be constructed in such a way that the reader feels compelled to find out where this current is carrying them and not just what the scene is about. Connections are essential. The writer chooses the right details because he or she finds this current and so it puts them in the right place.
This might all sound like plot and it certainly is plot but plot is too narrow. It's not just about what happens in each scene but how these scenes fit together and the interior life of characters and their development etc… Without a narrative current the story strays off or it feels stagnant in places even if it does eventually move to a conclusion.
Or so I think today
One of those things that is often the culprit is narrative current. Say a writer writes well and has interesting characters andmany wonderful scenes BUT somehow they don't fit together. There aren't connections between these scenes. There isn't a sense of story arc. The writer feels that it isn't quite right but doesn't know how to fix it. The story needs a coherent narrative, a current that will carry it to the right conclusion.
Usually when a writer says something like my story is about love or my story is about loss, they're talking about theme. These are big, often general or abstract ideas and while the story may very well be about these larger issues they don't, by themselves, hold the novel together. Theme or the big ideas behind your work are necessary and important but they aren't what is pulling the story along—at least not by themselves.
Narrative current demands a sense that the whole narrative is taking the reader someplace. The scenes in the story have to be constructed in such a way that the reader feels compelled to find out where this current is carrying them and not just what the scene is about. Connections are essential. The writer chooses the right details because he or she finds this current and so it puts them in the right place.
This might all sound like plot and it certainly is plot but plot is too narrow. It's not just about what happens in each scene but how these scenes fit together and the interior life of characters and their development etc… Without a narrative current the story strays off or it feels stagnant in places even if it does eventually move to a conclusion.
Or so I think today
November 26, 2011
scene and summary/ show and tell
BAD WRITING ADVICE #9--always show and never tell.
Shouldn't be listened to. Really, can't be listened to. Every novel has some showing and some telling. First, there's the summary that comes between scenes, the telling that gets characters from scene to scene and summarizes events that would be tedious for the reader to experience. Sometimes this might be moving from place to place or having a person get ready for school or work or any number of things that don't need to be shown. Then there is description. Then there is backstory. I'm sure there are others, but the point is clear. Things have to be told. Here's the important part: THE WRITER HAS TO SELECT WHAT SHOULD BE SUMMARIZED and TOLD and WHAT SHOULD BE SHOWN IN SCENES. Pick right and the novel will feel balanced and will move without feeling thin. Pick wrong and--well, not good.
But there is also showing and telling within scenes. Here you should mostly show because you're trying to make the reader experience what the characters are experiencing. However, there will be times where some kind of analysis or explanation will enhance a scene. So even within a scene, there will be moments where telling can be a good thing if it isn't overdone. Here's an example from Pamela Painter's book on writing WHAT IF? This is a scene from Hempel's story "In The Cemetery Where Al Jolson Is Buried."
"I have to go home," I said when she woke up.
She thought I meant home to her house in the Canyon, and I had to say No, home, home. I twisted my hands in the time honored fashion of people in pain. I was supposed to offer something. The Best Friend. I could not even offer to come back.
I felt weak and small and failed.
Also exhilarated.
The bold is telling and it makes clear to the reader the conflicted feeling of the narrator. It's effective.
It's the balance of telling and showing that needs to be looked at closely in everything you write.
Or so I think today.
Shouldn't be listened to. Really, can't be listened to. Every novel has some showing and some telling. First, there's the summary that comes between scenes, the telling that gets characters from scene to scene and summarizes events that would be tedious for the reader to experience. Sometimes this might be moving from place to place or having a person get ready for school or work or any number of things that don't need to be shown. Then there is description. Then there is backstory. I'm sure there are others, but the point is clear. Things have to be told. Here's the important part: THE WRITER HAS TO SELECT WHAT SHOULD BE SUMMARIZED and TOLD and WHAT SHOULD BE SHOWN IN SCENES. Pick right and the novel will feel balanced and will move without feeling thin. Pick wrong and--well, not good.
But there is also showing and telling within scenes. Here you should mostly show because you're trying to make the reader experience what the characters are experiencing. However, there will be times where some kind of analysis or explanation will enhance a scene. So even within a scene, there will be moments where telling can be a good thing if it isn't overdone. Here's an example from Pamela Painter's book on writing WHAT IF? This is a scene from Hempel's story "In The Cemetery Where Al Jolson Is Buried."
"I have to go home," I said when she woke up.
She thought I meant home to her house in the Canyon, and I had to say No, home, home. I twisted my hands in the time honored fashion of people in pain. I was supposed to offer something. The Best Friend. I could not even offer to come back.
I felt weak and small and failed.
Also exhilarated.
The bold is telling and it makes clear to the reader the conflicted feeling of the narrator. It's effective.
It's the balance of telling and showing that needs to be looked at closely in everything you write.
Or so I think today.
November 19, 2011
bad writing advice
BAD WRITING ADVICE #8
WRITE WHAT YOU KNOW: How many times has this been written and rewritten, told and retold? The problem with the advice is inexperienced writers will think it means they have to write about their childhoods and what they had for dinner last week or their husband's or wife's new job. A writer who only writes about his or her life not only will most likely not have much to write about (sorry but most lives just aren't that interesting) but more importantly he or she will make all the wrong decisions. They'll be trying to stick to the truth of what happened and they will not allow the story to be told the way it needs to be told to be interesting and vivid.
I was in a graduate workshop once, and there was a retired policeman in the class. He wrote a story about policemen. Everyone in that workshop said the story didn't ring true. The policeman said, "But it's a true story." He was arguing that it must ring true because it was true. But it doesn't matter if something "happened" to a reader. A reader needs to be convinced on the page. The cop author picked the wrong details and didn't show what he needed to show because he was wed to what actually happened.
Of course writers use their past to show emotional truths. They use events sometimes or things that happened to them. They definitely use ways they have felt in certain situations to create vivid emotions in scenes. BUT few writers (always exceptions) stick to a literal retelling in their fiction. It's too confining.
A better way to think about what you should write about is "don't write about what you cannot know". But here's the thing: you can know most things with research, which is pretty much just an Internet connection away. So that opens up what you can write about. More importantly, you can imagine most things so that really opens up what you can write about. You need to open up to allow yourself to imagine an original story and fresh situations.
WRITE WHAT YOU KNOW: How many times has this been written and rewritten, told and retold? The problem with the advice is inexperienced writers will think it means they have to write about their childhoods and what they had for dinner last week or their husband's or wife's new job. A writer who only writes about his or her life not only will most likely not have much to write about (sorry but most lives just aren't that interesting) but more importantly he or she will make all the wrong decisions. They'll be trying to stick to the truth of what happened and they will not allow the story to be told the way it needs to be told to be interesting and vivid.
I was in a graduate workshop once, and there was a retired policeman in the class. He wrote a story about policemen. Everyone in that workshop said the story didn't ring true. The policeman said, "But it's a true story." He was arguing that it must ring true because it was true. But it doesn't matter if something "happened" to a reader. A reader needs to be convinced on the page. The cop author picked the wrong details and didn't show what he needed to show because he was wed to what actually happened.
Of course writers use their past to show emotional truths. They use events sometimes or things that happened to them. They definitely use ways they have felt in certain situations to create vivid emotions in scenes. BUT few writers (always exceptions) stick to a literal retelling in their fiction. It's too confining.
A better way to think about what you should write about is "don't write about what you cannot know". But here's the thing: you can know most things with research, which is pretty much just an Internet connection away. So that opens up what you can write about. More importantly, you can imagine most things so that really opens up what you can write about. You need to open up to allow yourself to imagine an original story and fresh situations.
November 13, 2011
revision: mad scientist...
MAD SCIENCE 24
I had three readers, my wife and my agent and an assistant at the agency where my agent is an agent, read the manuscript while I let it set. I lasted nine days before I went back to it. I would have liked to let it set longer, but I'm getting revisions back from my editor soon on my other novel, the one coming out next, and I wanted to try to get another draft of Mad Science done before I get those.
My agent is very excited by the manuscript, which makes me excited. She and the agency assistant had some suggestions for revision though and I've written these out and thought about them. I like to write them. It helps me see comments a little more clearly. My wife had pretty much the same reaction as agent and assistant but one of her concerns wasn't brought up by the other two. What I'll do is go through the manuscript with an awareness of potential problems suggested by the critiques and see what happens.
I have to stay true to the manuscript and my vision of it, of course, but every writer benefits from outside advice and criticism and so it's important to try to figure out what problems may have made your readers feel something was off in a certain place or a certain way.
At any rate, I'm excited to get back to the manuscript and see how I feel about it. Also, for me, this is one of the best parts of writing. I'm reworking sentences to try to get the "lightening" and not the "lightening bug" effect. So much fun.
MAD SCIENTIST 25
I've got through about fifty pages and though I am having a good time, I'm worried about the ending. The ending is where there are still problems and most of the questions of my readers came from the last thirty pages. There are things that aren't clear. SO I could keep going and get there when I get there, maybe a week or two at most, but I decide to do something I do sometimes—I'm going to skip up there and drop into those last thirty pages and work on them.
This lets me focus on the problem area without having worked through the whole novel which makes me fresher toward it. And I know I'll go back to p. 50 and work forward again after I've gone over these last 30 pages so I'll get the continuity I need when I do that.
Sometimes it's helpful to work on one section or one problem or character etc… when you revise rather than doing the more general revision.
I had three readers, my wife and my agent and an assistant at the agency where my agent is an agent, read the manuscript while I let it set. I lasted nine days before I went back to it. I would have liked to let it set longer, but I'm getting revisions back from my editor soon on my other novel, the one coming out next, and I wanted to try to get another draft of Mad Science done before I get those.
My agent is very excited by the manuscript, which makes me excited. She and the agency assistant had some suggestions for revision though and I've written these out and thought about them. I like to write them. It helps me see comments a little more clearly. My wife had pretty much the same reaction as agent and assistant but one of her concerns wasn't brought up by the other two. What I'll do is go through the manuscript with an awareness of potential problems suggested by the critiques and see what happens.
I have to stay true to the manuscript and my vision of it, of course, but every writer benefits from outside advice and criticism and so it's important to try to figure out what problems may have made your readers feel something was off in a certain place or a certain way.
At any rate, I'm excited to get back to the manuscript and see how I feel about it. Also, for me, this is one of the best parts of writing. I'm reworking sentences to try to get the "lightening" and not the "lightening bug" effect. So much fun.
MAD SCIENTIST 25
I've got through about fifty pages and though I am having a good time, I'm worried about the ending. The ending is where there are still problems and most of the questions of my readers came from the last thirty pages. There are things that aren't clear. SO I could keep going and get there when I get there, maybe a week or two at most, but I decide to do something I do sometimes—I'm going to skip up there and drop into those last thirty pages and work on them.
This lets me focus on the problem area without having worked through the whole novel which makes me fresher toward it. And I know I'll go back to p. 50 and work forward again after I've gone over these last 30 pages so I'll get the continuity I need when I do that.
Sometimes it's helpful to work on one section or one problem or character etc… when you revise rather than doing the more general revision.
November 4, 2011
To a Character's heart
You've probably heard this before but I'll say it again:
The way to a character's heart (and isn't that where we, as writers, are trying to get?) is through the things he or she wants/needs/desires and the things he or she fears. The acts that the character does in order to get what he or she wants and to avoid what he or she fears create character. These acts in the main characters also often drive the story.
Kind of a big deal, really.
Thinking about this in early drafts might help you decide what happens next or how a scene should work. Thinking about this in later drafts might help you select what should stay and what should go.
The way to a character's heart (and isn't that where we, as writers, are trying to get?) is through the things he or she wants/needs/desires and the things he or she fears. The acts that the character does in order to get what he or she wants and to avoid what he or she fears create character. These acts in the main characters also often drive the story.
Kind of a big deal, really.
Thinking about this in early drafts might help you decide what happens next or how a scene should work. Thinking about this in later drafts might help you select what should stay and what should go.
October 28, 2011
finishing a draft
Nearing the end of MAD SCIENCE...Since this post is behind me a little in time, the manuscript is out in the world. We'll see what happens.
Also, I've joined the MAD MAD WORLD of twitter. I'm there: BrianYansky@...I kind of like it. Seems more interesting that fb or maybe it's just new.
Also, just finished a round of edits on my second alien novel, tentatively called FIGHTING ALIEN NATION. I made some good changes, I think, I hope.
Brian
MAD SCIENCE 23
Now it does feel like the right time to let the manuscript set for a while. So I was right to wait. I just have to accept that I'll know when I've taken the manuscript as far as I can without taking a rest from it. Sure, there are always things I can do. I could go through it right now and find language things to change. BUT that's not the best use of my time. I know there are bigger problems than my using the almost right word (a big problem, yes, but for a later draft) and I need a little distance to see those bigger problems.
Right now I really love this manuscript. Why pretend otherwise? It's good. I can't see its faults. It's a great feeling. But, alas, it's not true. I need to see the faults so I can make my next revision push the manuscript forward.
Honestly, I love that I love writing. I love the moments when the manuscript feels right to me and I don't want to lose those. Delusion is an important part of writing. But it's also important to get beyond it to make the manuscript better.
Also, I've joined the MAD MAD WORLD of twitter. I'm there: BrianYansky@...I kind of like it. Seems more interesting that fb or maybe it's just new.
Also, just finished a round of edits on my second alien novel, tentatively called FIGHTING ALIEN NATION. I made some good changes, I think, I hope.
Brian
MAD SCIENCE 23
Now it does feel like the right time to let the manuscript set for a while. So I was right to wait. I just have to accept that I'll know when I've taken the manuscript as far as I can without taking a rest from it. Sure, there are always things I can do. I could go through it right now and find language things to change. BUT that's not the best use of my time. I know there are bigger problems than my using the almost right word (a big problem, yes, but for a later draft) and I need a little distance to see those bigger problems.
Right now I really love this manuscript. Why pretend otherwise? It's good. I can't see its faults. It's a great feeling. But, alas, it's not true. I need to see the faults so I can make my next revision push the manuscript forward.
Honestly, I love that I love writing. I love the moments when the manuscript feels right to me and I don't want to lose those. Delusion is an important part of writing. But it's also important to get beyond it to make the manuscript better.
October 22, 2011
JG rules
The Rule of John
John Gardner is one of the kings of writing about writing. He had a lot to say. He also wrote several very good novels. Two of my favorites are told by monsters, one is Freddy's Book and the other is Grendal. You've got to love a story from a monster's POV. They are certainly underrepresented in fiction.
"Good writers may 'tell' almost anything in fiction except the characters' feelings. One may tell the reader that the character went to a private school…or one may tell the reader that the character hates spaghetti; but with rare exceptions the characters' feelings must be demonstrated: fear, love, excitement, doubt, embarrassment, despair become real only when they take the form of events—action (or gesture), dialogue, or physical reaction to setting. Detail is the lifeblood of fiction" John Gardner.
Thank you Mr. Gardner.
Notice he says "good writers may tell"—you still have to find a way to make your telling interesting.
Notice "rare exceptions" because sometimes you will break even John Gardner's rules. This may happen more frequently when writing humorous scenes and you describe feelings for a laugh.
But these and other exceptions only prove the Rule of John.
John Gardner is one of the kings of writing about writing. He had a lot to say. He also wrote several very good novels. Two of my favorites are told by monsters, one is Freddy's Book and the other is Grendal. You've got to love a story from a monster's POV. They are certainly underrepresented in fiction.
"Good writers may 'tell' almost anything in fiction except the characters' feelings. One may tell the reader that the character went to a private school…or one may tell the reader that the character hates spaghetti; but with rare exceptions the characters' feelings must be demonstrated: fear, love, excitement, doubt, embarrassment, despair become real only when they take the form of events—action (or gesture), dialogue, or physical reaction to setting. Detail is the lifeblood of fiction" John Gardner.
Thank you Mr. Gardner.
Notice he says "good writers may tell"—you still have to find a way to make your telling interesting.
Notice "rare exceptions" because sometimes you will break even John Gardner's rules. This may happen more frequently when writing humorous scenes and you describe feelings for a laugh.
But these and other exceptions only prove the Rule of John.
October 14, 2011
more mad science
Mad Science 21
So I've now been through the whole manuscript again. It's getting closer. I've added more to it and clarified the narrative somewhat. Most importantly, I think I've given the characters more depth. Getting into each character a little more has caused me to see the relationships between some of the characters more clearly: Ash and Frank and Frank and his father, in particular.
When I'm in the draft I'm engaged by it and I'm always walking around thinking about it—at this stage I mean. It's the nature of this place in the manuscript that there are many things that need to be worked out and worked through and, like most writers, I mull over ways to work through them.
BUT , also, there's the struggle to make it more—more believable, more compelling, more interesting, more emotional etc… at this point. I'm looking for places where the interaction between characters in a scene isn't quite right—that can be for a number of reasons. Wrong motivations maybe or I lose the momentum of a scene or I give into abstractions rather than finding the specific words that will reveal what the scene is about or a failure of language in some way.
This is why most writers rewrite so much. There are many, many things to be done in revision.
Mad Science 22
I think I might be at the place where I'll print the manuscript up and take a look at it that way. It helps me look at it differently when I see it on the page so I think that's the next step. Depending on how this goes, I might then go into my set-the-manuscript-aside for a few weeks mode. For the last few novels this has been the point where I try to get a few readers—my agent who is kind enough to read and give back comments and my wife for sure and maybe another person. Depending on the timing, I might try to get my critique group to look at part of it or all of it.
Just to be clear—I've had my agent for five or six years and I'm not trying to get an agent or I wouldn't show it to one until I had the book in the best shape I could make it. But since I have a working relationship with my agent I find it's helpful to get her feedback when I feel like I have a manuscript that's in good shape but not ready to submit shape. She can give me some perspective and she's willing to do it and it can be very helpful to have at a certain point when I'm heading into the homestretch with the manuscript.
So I've now been through the whole manuscript again. It's getting closer. I've added more to it and clarified the narrative somewhat. Most importantly, I think I've given the characters more depth. Getting into each character a little more has caused me to see the relationships between some of the characters more clearly: Ash and Frank and Frank and his father, in particular.
When I'm in the draft I'm engaged by it and I'm always walking around thinking about it—at this stage I mean. It's the nature of this place in the manuscript that there are many things that need to be worked out and worked through and, like most writers, I mull over ways to work through them.
BUT , also, there's the struggle to make it more—more believable, more compelling, more interesting, more emotional etc… at this point. I'm looking for places where the interaction between characters in a scene isn't quite right—that can be for a number of reasons. Wrong motivations maybe or I lose the momentum of a scene or I give into abstractions rather than finding the specific words that will reveal what the scene is about or a failure of language in some way.
This is why most writers rewrite so much. There are many, many things to be done in revision.
Mad Science 22
I think I might be at the place where I'll print the manuscript up and take a look at it that way. It helps me look at it differently when I see it on the page so I think that's the next step. Depending on how this goes, I might then go into my set-the-manuscript-aside for a few weeks mode. For the last few novels this has been the point where I try to get a few readers—my agent who is kind enough to read and give back comments and my wife for sure and maybe another person. Depending on the timing, I might try to get my critique group to look at part of it or all of it.
Just to be clear—I've had my agent for five or six years and I'm not trying to get an agent or I wouldn't show it to one until I had the book in the best shape I could make it. But since I have a working relationship with my agent I find it's helpful to get her feedback when I feel like I have a manuscript that's in good shape but not ready to submit shape. She can give me some perspective and she's willing to do it and it can be very helpful to have at a certain point when I'm heading into the homestretch with the manuscript.
October 6, 2011
Importance of situation and teen book festival
"http://www.publishersweekly.com/pw/by-topic/childrens/childrens-industry-news/article/48968-readers-flock-to-austin-teen-book-festival.html"
I was at the Austin Teen Book Festival last weekend (see above). That was a great place to be. Over two-thousand excited teen readers. Yes, they are out there. It was amazing to see them and I was honored to be part of it. One of the many questions asked to the panel I was on was how do you get started writing? I think, for me, writing often starts with a situation. I began my novel ALIEN INVASION & OTHER INCONVENIENCES thinking about the topic of alien invasion but narrowing it to the situation of an invasion that only takes ten seconds. That pretty much forced me to write about what happened after the invasion, which was what interested me most. Writers start in all kinds of ways, but for me the ideas and characters begin in some kind of situation.
I was at the Austin Teen Book Festival last weekend (see above). That was a great place to be. Over two-thousand excited teen readers. Yes, they are out there. It was amazing to see them and I was honored to be part of it. One of the many questions asked to the panel I was on was how do you get started writing? I think, for me, writing often starts with a situation. I began my novel ALIEN INVASION & OTHER INCONVENIENCES thinking about the topic of alien invasion but narrowing it to the situation of an invasion that only takes ten seconds. That pretty much forced me to write about what happened after the invasion, which was what interested me most. Writers start in all kinds of ways, but for me the ideas and characters begin in some kind of situation.
September 30, 2011
great expectations/mad science
So what did I do? I read, or actually am reading GREAT EXPECTATIONS. As so often happens when I'm reading or watch something, it inspires something in my work. Coincidence? Kismet? Or more likely I just am looking for ways to fit my experiences into my manuscript because I'm at that point when it's on my mind a lot when I'm not writing.
Dickens makes you care about his characters. He draws them so compellingly that you are emotionally engaged with them. True, some characters, mostly minor, are caricature or almost caricature. Often they are funny in some way but not always. But the main characters are flesh and blood and you want to know what will happen to them.
I was inspired to go back and work on my characters, particularly Ash, the girl my main character cares about. Each draft, for me, gets longer. I'm an adder, I guess. I'm like a painter who keeps adding layers of paint. Some people are cutters. They start off with the big piece of stone and do the Michelangelo thing of cutting away the excess stone. But me, I'm an adder, and that's what I'm back to doing. I can't seem to keep away from the manuscript so I don't try. There will come a point when I need to give it a break but I'm not going to force myself to do that now. I'll know when the time comes and the manuscript seems worked enough that I NEED the distance to work it more.
Dickens makes you care about his characters. He draws them so compellingly that you are emotionally engaged with them. True, some characters, mostly minor, are caricature or almost caricature. Often they are funny in some way but not always. But the main characters are flesh and blood and you want to know what will happen to them.
I was inspired to go back and work on my characters, particularly Ash, the girl my main character cares about. Each draft, for me, gets longer. I'm an adder, I guess. I'm like a painter who keeps adding layers of paint. Some people are cutters. They start off with the big piece of stone and do the Michelangelo thing of cutting away the excess stone. But me, I'm an adder, and that's what I'm back to doing. I can't seem to keep away from the manuscript so I don't try. There will come a point when I need to give it a break but I'm not going to force myself to do that now. I'll know when the time comes and the manuscript seems worked enough that I NEED the distance to work it more.
