Brian Yansky's Blog, page 26

Leave In, Take Out

Writing is a constant rearrangement, like changing the way a room looks: moving the sofa here and the chair there and the bookcase to the other side of the room. And what should you keep and what should you throw away? Aye, that's the question. It is a lot of work. You need a strong back and sometimes a hard heart. You can't keep everything. Sometimes the very things you love most, like Uncle Harry's velvet picture of tropical fish swimming down Fifth Avenue or Aunt Lulu's diary descriptions of the twelve times she was abducted by aliens, may have to go.

There are many rooms in a novel, but there is no room for anything that doesn't truly belong.

Kind of sucks sometimes.

publishing

I attended an SCBWI conference recently and heard lots of talk about writing and editing and agenting and the future of publishing. What's that future? According to one speaker it is a decentralization of publishing, way fewer brick and mortar bookstores, and way, way fewer libraries. Printed books? They'll limp along for a while and then fade a way. It will be a brave new world of e-books.

And out there in blogland, from a multitude of sources, I hear again and again talk of the end of bookstores and of printed books. A lot of people compare books to music and say that it will be just like what happened to CD's and music stores.

Maybe.

Maybe not.

Nobody knows, of course, but I do think of Mark Twain who read about his death in newspapers when he was sitting at home and quipped, later, to those same newspapers, "Rumors of my death are greatly exaggerated."

Is there an e-book revolution happening? Of course. Will it change things? Of course. But people do like the "new" and a lot of people who love their new readers might not want to use them exclusively once the newness has worn off. Also, it's in the interest of reader sellers to make this "revolution" seem as overwhelming as possible. So you hear things like—there won't be any bookstores in five or ten years and certainly no libraries etc…

But are books like CD's? I don't think so. People like the feel of a book in their hands. They have a loyalty to it, a relationship with it. No one had that kind of loyalty to CD's. It just isn't the same kind of experience. Some people say that the generation that is coming to reading now will not have that loyalty and this is probably true. UNLESS it isn't. We've had several generations now growing up with videos. And now we can get movies not just with videos/DVD's but in many, many other ways without leaving our house. And the quality is excellent. So why do people? Leave their houses, I mean. Why do so many people still go to movie-theaters? They watch movies at home AND they go to movie theaters because the experience of seeing a movie in a theater still appeals to them.

I think there are plenty of people who will just read e-books in the future, but I also think there will be people who will read e-books and will still want to read printed books (I've read teens saying that so much of their life is spent starring at screens they enjoy looking at a page of print) and like going to bookstores and libraries. It will certainly be fewer than yesterday and today, but they'll be around for some time yet.

Or so I think today.

Uninvited Characters

I was minding my own business, writing along, when a character I didn't invite into my novel showed up. He just started talking and I knew that he had something interesting to say. Did I let him stay? YEP.

Here's what I think about early drafts and sometimes even later drafts; if a strong character appears, I should hear him out, try to see how he might fit into the story, what he can add. I think these characters don't really appear out of nowhere. If you're connected to your manuscript and you're in the story, they show up out of a need.

And sometimes they're some of the most interesting characters you write.

Okay, it's not brain surgery

Writing is juggling many things at once and not thinking about any of them while you're in the act of writing. There are just so many areas of concern: voice, character, plot, setting, language, and on and on. If we think about them while we're writing, there's a good chance we'll freeze up or go into a kind of stiff, forced writing, or maybe make the wrong choices. And the wrong choices can be deadly in a novel. The wrong choices can lead you to other wrong choices and then you're halfway through the novel and you're thinking, HOW THE HE** DID I GET HERE? WHAT AM I DOING HERE? THIS ISN'T MY BEAUTIFUL NOVEL. THESE AREN'T MY BEAUTIFUL CHARACTERS (and before you know it you're in a Talking Heads song—sorry, off topic). It's not enough to write well. I've said that before, but it's something worth saying again and again. A lot of people write well. A lot of people turn out good sentences. We have to do a lot of things at once to make the right choices or be able to go back in revision and evaluate your manuscript and figure out how to make the wrong choices right.

Writing a novel is a very complex act. Okay, it's not brain surgery, but it's difficult. I do think being aware of the many aspects can help a writer focus on a manuscript's weaknesses in revision and avoid getting stuck on focusing too much on just one aspect. For example, and I have to admit I'm guilty of this myself sometimes, if your novel has serious structural problems rewriting and rewriting the first sentence 2000 times isn't going to help. You have to look beyond the sentence and try to figure out the structural problem. Anyway, being open to changes in revision is a big step toward improvement of a manuscript.

Serious Nature of Comic Fiction

I believe a novel can be funny and serious. My work usually is (to the best of my ability) funny and serious. My latest novel, ALIEN INVASION & OTHER INCONVENIENCES, begins with this line "It takes less time for them to conquer the world than it takes me to brush my teeth." It's about what happens after the aliens take over and kill most of the inhabitants of our world. It's about slavery and imperialism and ecology. There's a lot of death in it. And, yet, if I've been successful at all, there's also a lot of humor in it. You can write funny & serious and they can both even exist on the same page. It's not easy. It's walking a tightrope of tone. But it can be done.

Why is it so surprising to people that the comic and the serious can exist in a novel? Aren't we humans this way in life? Don't we cry at weddings and laugh at funerals? Sometimes in the saddest moments, even when we've lost someone, we're reminded of some quirk of that person or something they did and we laugh even as tears fall from our eyes. Sometimes, as at weddings or intensely joyful moments, we're so happy we cry.

Great comedians make us laugh at tragic things sometimes. Through their vision of a situation or verbal constructions they can make something sad funny. And it is a sad observation that many of the funniest people have a deep melancholy in them that allows them to be funny. Mark Twain said something like the secret source of humor is not joy, but sorrow. He should know.

Most of us are some mix of funny and sad and funny and serious and comic and tragic. I love fiction that mixes the two. Some examples of variations of these qualities are the following: STONER & SPAZ, THE WORLD ACCORDING TO GARP, A GOOD MAN IS HARD TO FIND, HUCK FINN, FEED, ELSEWHERE, GODLESS, SLAUGHTERHOUSE FIVE, and THE TRUE STORY OF A PART-TIME INDIAN to name only a few.

In my opinion there are many, many stories, both realistic and speculative, that mix comedy and serious intent. They're the ones I'm most likely to fall in love with.

selling out or not

Let me say first off, forgive the rant. But I am tired of hearing people say this writer or that writer sold out. I heard someone say it about Stephanie Meyer of Twilight fame the other day. Look, in order to sell out you have to be writing something far below what you could write and doing it for fame and fortune. Isn't that what "selling out" means? But many writers who people say are selling-out aren't selling-out at all. They're writing what they can write. A lot of them feel passionate about what they write. How is that selling out?

You and I might not think what they write is very good. Or it might not appeal to you or me for other reasons. Of course, all of that is subjective. You might love something that I don't and I might love something that you don't, but the only writers that I consider sell-outs are those who are only writing what they write for money, career etc… That's it. They have no real love for their writing, or the craft and art, no desire to write the best they can, and so on. Those are sell-outs. Someone who sells a lot of books writing in a popular genre usually isn't a sell-out. They're just writing what they can write--like the rest of us.

Or so I think today.

be there out there

One big advancement for me as a writer was being able to BE THERE (wherever that might be) with my characters, so that my reader could be THERE with my characters experiencing the story in what Robert Olen Butler calls a "moment-to-moment" way. But there was something else I had to do to get to this place. I had to let go and allow myself to make my stories as weird as they could be. I had to go with the WEIRD TALES. That's just who I am as a writer. I write strange comic stories about ridiculous and serious things. Every time I tried to tell my stories in a conventional way or pull back from the absurdist path my story was taking,it died or became the walking dead. And not in any interesting zombie way either. What I had to do was to go "out there" and just let my stories be what they had to be. So, in my case, I had to BE THERE OUT THERE to BE THERE.

Details

Nothing wrong with the general. We spend a lot of time living in a general world. But it's the specific that makes writing come alive. There will be summary in novels of course, telling that will often be general in nature. We need it. It moves the reader from one place to another in the novel, keeping the focus on what's important instead of loading the reader down with pointless detail. We need the general, but what makes a novel come alive is specifics. If you have details, the right ones, the work will seem real.

From the writers POV, I think you arrive at the right choices in fiction, at the right details, by getting in the zone. That is, you get yourself to that subconscious place where you are living the world of your characters. Then in revision you look for those places where you've given way to the general—used the wrong word or failed to make a scene seem specific. It's a constant battle to make every sentence and scene significant. I think this struggle is where a lot of our success or failure as writers occur. Genuine writing comes out of the specific.

Ideas 2

This is a continuation of my earlier post about ideas. It's also posted over at my agent's, Sara Crowe's, blog.


Where do your ideas come from?

When asked this question, I sometimes like to appropriate and regionalize a line from Kurt Vonnegut and say I get them in a little store out in West Texas near Marfa.

I wish.

So where do they come from?

Don't have a clue, but I do know every writer has many, many ideas. They come when you're in the shower, walking the dog, on the drive to work. They fall out of the sky when you least expect them. Sometimes you see a hint of one disappear around a corner and you have to chase it down. Regardless of whether they come easy or hard, the little buggers are everywhere. So when someone says they have A GREAT IDEA FOR ME, A SURE MILLION SELLER IDEA FOR ME, and all they want for their brilliant idea is 50% of the profits when I write the book, I get a little dismissive. Ideas are the easy part.

Easy. Getting them, that is. Actually making them work? Not so easy. Most ideas aren't enough to carry a novel. The novelist Patrick Ness says he waits to write a novel until he has an idea that is strong enough to attract other ideas. I like this notion that you start with one idea and others are attracted to it. Another way to think of it is you begin with an idea and other ideas grow out of that one. If they don't, then the novel will wither and die. Usually this happens around page thirty-three for me.

There are lots of different kinds of ideas. There are the big ideas behind a novel that create theme and there are the more focused ideas that drive scenes and characters. Sometimes the ideas will change as the writer moves through his story. For example, you think you want to write a novel about loss. Your main character's girlfriend dies and it's a novel about how he copes with this terrible and difficult situation, but halfway through the novel, he meets another girl and he starts to fall for her (Where did she come from? One day she just appeared on the page, but that's another post) and his grief begins to fade and he feels amazement and gratitude and guilt, so then the novel becomes about this experience. Maybe the novel then becomes about this whole journey to a new life.

I read this article in a writer's magazine not long ago about the subject of ideas. One writer said that he started his novel based on a single word. I don't remember the word but I remember it wasn't one of the big ones. Not one like freedom or liberty or sex or greed. It could have been kumquat for all I remember. I could never write a novel starting with one word. How could anyone start a novel with the word kumquat?

"One morning Henry woke to find he was a kumquat."

"One morning a kumquat in a fruit salad began to talk to Henry."

It's obvious I can't write a novel starting with the word kumquat. I'm not responsible enough.

All I can think is that the word, whatever it was, had an association with something important in the author's life. I imagine that it happened like the evolution of most ideas in a novel. The word made him think of something else, and something else, and something else. Maybe he thought of his father one afternoon when he came home from the store carrying a bag of kumquats and the news that the family had to move and the boy would have to leave all his friends, his high school, his everything. Obviously not going to be a lover of kumquats. Or maybe he is and that's the story. Why does he love kumquats?

I do think it's helpful to consider that this gathering or growing of ideas, whether it begins with character or setting or theme or some point of action, is a process that can be worked through. It makes the whole act of starting a new novel a little less daunting to me if I think of it as a process of attracting and growing ideas. Of course once I get going I'm mostly thinking about characters and the moment-to-moment experience of those characters, but the ideas are woven into this if I've begun with one that's strong enough to grow others.

The truth is even if there was an Idea store out in Marfa and even if they had a 70% off sale, I wouldn't be buying. It's too much fun coming up with my own.

story

It's hard, at some point in a manuscript, to see its weaknesses. As a writer it's hard sometimes to see your own weaknesses. I'm lucky to have an editor who has a strength that is my weakness. One of her strengths is story structure which is always a struggle for me, though I think I'm getting better at it. She has been part of that improvement. Of course I don't agree with everything she thinks needs work. She wouldn't expect that. But I'm struck by how many times she's right. She asks the kind of analytical questions that lead me to plot answers that improve the work.

These kinds of plot questions need to be asked. Not in my first draft since my first drafts are mostly a way for me to enter the story, but in later drafts. Here's a big plot question (when you're focusing on that aspect of story): What does this scene accomplish? Just that simple and just that difficult. It's easy to fool yourself. Well, you might say, the scene reveals my character's love of meatloaf. But is that really important to the story? If not, even though there's some good writing in that scene about metaloaf, maybe some very funny and entertaining sentences, you have to consider cutting it. That is very hard, especially when it's a scene you like and enjoy.

Because we're writing novels we don't have to be quite as merciless as the story writer. We have a little room, now and then, in my opinion, to wander slightly, perhaps for humor or to make a general statement about life, but I think my editor's very smart questions about what is accomplished, scene by scene, to advance the story need to be asked at some point. It's easy for a story to lose its momentum.