Category: Craft Page 2 of 3

Sunday Writing: Practice and Theory of First Sentences

On July 2, 2016

In Craft, Short Stories, Writing, Writing advice

In May I wrote about story beginnings, but that’s a bigger topic than what I wanted to focus on today: the first sentence.

I’ve been working on a unified field theory for fiction, which is an impossible task. In every way the impossibility is clear when I take on the theory and practice of first sentences. A first sentence has so many possibilities! It’s supposed to hook the reader, of course (or at least not drive the reader away), but it also can introduce one or more of the following: conflict, character, setting, background, or action. It can start the story in the middle, in media res, or it can start at the end, the beginning, or way before the beginning. In a flashback story, the first sentence could start way after the end.

For me, the first sentence has to do three things: hook the reader, set the tone, and set up the end. Here’s one of my own favorite first sentences. It’s from “Shark Attack: a Love Story”

“Willard was day dreaming about Elsa when the shark caught Benford, the new mail boy, directly in front of Willard’s desk.”
I liked this one because I got the two most important elements in the story within it: Willard’s attraction to Elsa, and the problem with the sharks. It seems like a good hook to me, it went a long way toward establishing the story’s tone, and it connected to the end, since the resolution of the story deals with both the sharks and Elsa.

But the problem with beginning sentences is that there’s an infinite number of ways to start! Consider a story like a chess game. In chess there are 20 possible opening moves, each one affecting how the game may go. In a story, though, there are as many opening moves as there are words in the dictionary (isn’t it sad, then, how many stories start with “the”).

So, since there are so many ways to start, and any one of them could be the first sentence to a successful story, what should be considered when evaluating the sentence?

When I’m teaching story writing, I’ll often have the students put their draft’s first sentence on the board. I’ll have them do two things: they have to identify what approach the sentence took (conflict, character, setting, background, or action), and then decide which sentence made them want to read more the most. All the exercise really does is make them aware that their first sentence is a choice. I’m constantly amazed by inexperienced writers’ inabilty to see the malleability of their own writing. It’s like they are trapped by their styles!

I end up giving students three pieces of advice about first sentences (and that’s all I’ve got for them–there’s too much involved for me to go beyond these suggestions):

Remember that you can change your first sentence.
Make sure that the beginning sentence sets up the end of the story in some way.
Don’t worry about the first sentence when you are writing the rough draft. Way too much agony can be generated while staring at a blank page, waiting for the perfect first sentence.

Here’s some first sentences I liked from literature. I’m not sure, though, if these are great sentences on their own, or they’re great because they are the first puzzle piece in the intricate construction of a story I really like. I have this same problem when I discuss the practice and theory of story titles. Is the title great on its own, or is it great because the story that followed it made it great?

“It is a truth universally acknowledged, that a single man in possession of a good fortune must be in want of a wife.” Jane Austen, Pride and Prejudice
“During the whole of a dull, dark, and soundless day in the autumn of the year, when the clouds hung oppressively low in the heavens, I had been passing alone, on horseback, through a singularly dreary tract of country; and at length found myself, as the shades of the evening drew on, within view of the melancholy House of Usher.” Edgar Allan Poe, “Fall of the House of Usher”
“There were fireworks the first night, things that you should be afraid of perhaps, for they might remind you of other more horrible things, but these were beautiful, rockets that ascended into the ancient soft air of Mexico and shook the stars apart in blue and white fragments.” Ray Bradbury, “The Fox and the Forest”
“After the guy was dead and the smell of his burning flesh was off the air, we all went back down to the beach.” Stephen King, “Night Surf.”
“It was a bright cold day in April, and the clocks were striking thirteen.” George Orwell, 1984

I see that three of these sentences begin with a pronoun and a linking verb, a style I discourage in class, and, yet, there they are, in my list of good opening sentences. I guess that confirms another truism of mine, there are no unbreakable rules (if it works).

Maybe the problem with first sentences is that we put WAY too much emphasis on them. They are too small of a piece of the puzzle that is the story to make or break it. Maybe a better entry for today would have been about first paragraphs or first pages, but, well, I wrote this instead *g*.

Resources for first sentences:

The Write Club: First Sentences
100 Best First Lines from Novels

Thoughts on first sentences? How do you know you’ve written a good one? Does your first draft first sentence make it to the final draft? How do you evaluate your opening sentence?

Sunday Writing: Making the Abstract Concrete

By James Van Pelt

On June 27, 2016

In Craft, Short Stories, Writing, Writing advice

tell tale heart Most everyone who has been responding to my posts seems well beyond beginner status as writers, but I’ve found that going back to the basics has always been good for me. For example, two of the best books I have on writing are ones that were written for rank beginners, but I keep revisiting them. Maybe it’s because I’m slow and simple, or maybe because reviewing the basics keeps me anchored. I figure if my basics are solid, my experimental flights of fancy may have a better chance of working.

Here are two great books that would be good for newbies that I still find helpful today:

What a Writer Needs, by Ralph Fletcher, which is this really, really down to earth discussion of teaching writing that only uses elementary school kids’ writing for examples.

Poetry in the Making, by Ted Hughes, which is the book version of a series of lessons he gave for the BBC Schools Broadcasting Department for the program, “Listening and Writing.”

So, with the proviso that this is basic, here’s a lesson that I get considerable mileage from.

MAKING THE ABSTRACT CONCRETE

One of the qualities we have identified that a good writer has is the ability to be specific. That means that good writers will avoid the use of unsupported generalities or abstractions and try to make those generalities specific and the abstractions concrete.

For example, time is an abstraction. You can’t see, hear, taste, touch or smell it. It is an abstract idea. The author Ray Bradbury recognized this problem in his short story, “Night Meeting,” which is about the nature of time, so he made the abstraction concrete for the reader with this description (I’ve taken his prose passage and recast it as a poem so you can see the parts better):
There was the smell of Time in the air tonight.
He smiled and turned the fancy in his mind.
There was a thought.
What did Time smell like?
Like dust and clocks and people.
And if you wondered what Time sounded like
it sounded like water running in a dark cave
and voices crying
and dirt dripping down
upon hollow box lids, and rain.
And, going further, what did Time look like?
Time looked like snow dropping silently into a black room
or it looked like a silent film
in an ancient theater,
one hundred billion faces falling like those New Year balloons,
down and down into nothing.
That was how Time smell and looked and sounded.
And tonight–Tomas shoved a hand
into the wind outside the truck–
tonight you could almost touch Time.

To make the abstraction concrete, Bradbury made “appeals to the senses.” He gave examples of what he meant when he talked about time. He was specific.

This idea that abstractions should be made concrete play out in numerous ways in fiction, but mostly, I think, they are most important when we’re trying to communicate moods or feelings. Saying that a character is afraid, for example, or that a setting is threatening attempts to evoke the abstraction by naming it, but no reader is ever scared by the word “afraid” or made nervous by the word “threatening.” What we should be trying to do as we write is to provide enough concrete details and evocative metaphorical descriptions to make the reader conclude that the character is “afraid,” or that the scene is a “threatening” one.

A pretty good editing pass on a manuscript you think is complete is to look for words that are abstractions. They can work in dialogue sometimes, or when they are paired with concrete appeals, but they shouldn’t be doing the heavy lifting by themselves. Remember that readers hardly ever go to fiction to be told stuff. They read because they want to feel and experience. If that wasn’t true then someone telling us that the rollercoaster they went on was terrifying would be all we would ever need, and we’d never try a rollercoaster ourselves.

For me, one of the first stories that actually evoked terror and suspense in my young soul was Edgar Allan Poe’s “The Tell Tale Heart.” I have no idea how that story appears in elementary school fiction anthologies, but it did (along with “The Black Cat,” “The Pit and the Pendulum,” and “Masque of the Red Death).

When I reread “The Tell Tale Heart” today, I see how Poe works hard to make his abstractions concrete. I write better when I remember the lessons he demonstrated.

Today’s Writing Prompt

Using Bradbury as a model, take four of the following abstractions and make them concrete. Do not use single word examples, like “Death is a grave.” Expand your examples.

Friendship
Grief
Freedom
Fear
Democracy
Slavery
Hope
Love
Death
Humor
Compassion
Pity
Revenge
Capitalism
Joy
Triumph
Failure
Compromise

Sunday Writing: Best Writing Tips

By James Van Pelt

On June 22, 2016

In Craft, Writing, Writing advice

wordfire Denver Comic Con was this weekend. I heard that 120,000 people attended on Saturday, making the convention the fifth largest comic con in America (the world?). Since the biggest convention I’d ever been to before was a WorldCon, with maybe 8,000 or so people, you can understand that Denver’s event was overwhelming. You know how babies can sometimes be over stimulated? I suffered the adult equivalent.

On Sunday, I sat on three panels. Authors and literature are a smaller part of a comic con than it is at WorldCon, but a small part of 120,000 is still a lot of people. The panels were in big rooms and a lot of people came to them, even the late afternoon one on Sunday when many people were heading home.

The panel I enjoyed the most was the one I moderated: “The Best Writing Advice I Ever Heard.”

For the record, here is the best writing advice tips I shared:

The first came from Connie Willis. She signed a book for me once, and I asked her to put her top three writing tips in. The one that stuck with me most was “Remember what you liked about science fiction in the first place.”

The second tip came from George Scithers on one of my early rejections, where he said, “I hope while you were waiting to hear from me on this one that you were working on your next.”

I don’t know where the third came from, and it’s less a writing tip and more a career one about envy. The tip was “Don’t compare your beginning to someone else’s middle.”

The panelists and I shared a bunch of other tips too. I tried to moderate to encourage brevity so we could get more content out and limit the long anecdotes panelists can sometimes be famous for. The questions from the audience in the last fifteen minutes provoked more interesting advice. I think the audience didn’t waste their time.

As I mentioned, the convention was overwhelming. I’ve heard it said that the science fiction community is greying, and that we’re losing our audience. From what I saw at this event, I’d disagree. Yes, many of the people came because of their interest in comics, movies, anime and television, but it was all about science fiction and fantasy. I saw a lot of people buying books. The Wordfire Press display was consistently mobbed (I think Kevin Anderson is doing a marvelous job of selling books and generating enthusiasm, not just for Wordfire titles, but for all books).

I don’t think a big convention like this is for everyone, but I’m glad I went.

Sunday Writing: Improving Your Writing When You are Stuck

By James Van Pelt

On June 5, 2016

In Craft, writer's block, Writing

The_Stand_Uncut Most of us have times when we don’t know what to write next. It could be in the middle of a project or in between them, but no matter what we do, we’re stalled. So what can we do to work on our writing when we can’t write? Reading, of course, is one answer, and you certainly should be doing that, but here’s a more active exercise: try copying some of the writing you admire.

Here’s how to do the exercise: find a passage someone else wrote that you think is really well done. Now, copy it. Don’t make a single change. Be very aware that you get the comma, periods and paragraph breaks right. What you are doing is trying to internalize a successful writing rhythm.

How this works is that you will start to get a feel for how the writer you like goes about being who they are. Here’s a bit from The Stand by Stephen King:

Stu, who only understood that they were all in a hell of a pinch, turned Hap’s voice down to a meaningless drone and watched the Chevy pitch and yaw its way on up the road. The way it was going Stu didn’t think it was going to make it much further. It crossed the white line and its left hand tires spumed up dust from the left shoulder. Now it lurched back, held its own lane briefly, then nearly pitched off into the ditch. Then, as if the driver had picked out the big lighted Texaco station sign as a beacon, it arrowed toward the tarmac like a projectile whose velocity is very nearly spent.

If I was going to use King’s The Stand for my copying exercise, I would keep copying for another thousand words or so, but even typing this little section, I notice that he didn’t put a comma after “The way it was going” that I would have put in, and that he used “going” twice in that sentence, so maybe my obsession with removing repeated words isn’t quite as critical as I think. I like his verbs too: crossed, spumed, lurched, pitched, arrowed.

If I copy a passage from another author, like Ray Bradbury, I get a totally different feel:

There were fireworks the very first night, things that you should be afraid of perhaps, for they might remind you of other more horrible things, but these were beautiful, rockets that ascended into the ancient soft air of Mexico and shook the stars apart in blue and white fragments. Everything was good and sweet, the air was that blend of the dead and the living, of the rains and the dusts, of the incense from the church, and the brass smell of the tuba on the bandstand which pulsed out vast rhythms of ‘La Paloma.

Ray_Bradbury_-_I_Sing_the_Body_Electric_-_book_cover Bradbury likes the long sentence here, and I notice his tendency to pair and to list, so the air is “ancient soft,” the fragments were “blue and white,” everything was “good and sweet,” while the air also blended the “dead and the living,” and “rains and the dusts.” His second sentence (did you notice he did this in only two sentences, while King’s passage that was only a tad longer took five sentences?) is mostly a list of connected noun phrases.

Bradbury’s rhythm is different from King, and copying him teaches me different lessons.

Some writer’s rhythms stay in my head longer than others. H.P. Lovecraft, for example, is hard to shake, as is Bradbury, and the point of the exercise isn’t to make my writing become their writing, but by doing this I can feel what they were up to for a few minutes so that I can incorporate what I like best from them into my own toolbox. How I blend my influences becomes my voice, but I don’t think I can go too far wrong if I find myself channeling, just a little bit, the echoes of Bradbury, Le Guin, Bronte, King, Steinbeck, Hemingway or Poe.

Try it. Copy somewhere between 200 to 1,000 words. Tell me what you notice.

Sunday Writing: The Importance of Voice or Style

By James Van Pelt

On May 30, 2016

In Craft, Writing

wordle 2 One of my students wrote a paper on how to improve writing, and he focused on voice and style. He sent me a set of questions. Here were my answers:

Being a writer, what does it mean to have your own writing style?
Because I write for publication,my own style is very important. Someone once said that all that is necessary to write successful fiction is to have an appealing, narrative voice. I don’t know that I believe that completely, but I do know there are writers whose style is very pleasing to me. So, I think a writer’s “style” or “voice” is vital.
How can a beginning writer wishing to add their own voice or style to their work go about doing so?
I’m afraid there’s no quick path to developing your own style other than writing a lot. Writers go through stages. For a while they will be imitative: they’ll try to sound like the writers they admire. They might not even be aware they are doing it. (More on imitation as a way to work on style later) Then, slowly, they’ll break away from that and begin to sound more and more like themselves. You have to write a lot and be conscious of what sort of choices you are making in how you write what you write about.
Is it important for people to have their own writing style?
For most people (the ones who aren’t writing for publication), writing for clarity and completeness are probably more important than developing their style. Many, many, many college papers that are perfectly adequate in communicating what the writer means are fairly styleless, which just means that they sound like each other. If you had to work on clarity or style, work on clarity first.
Are there any writing exercises that are helpful in trying to develop writing style or voice?
Once again, the main advice is to write a lot, write so much that writing becomes second nature to the progress of your thoughts. However, I think that a conscious attention to the style of the writers you admire, and looking at the style of the writers they admire, can start you down the road to being more aware of your own style. This goes along with the standard advice to all new writers, which is to read a lot. Another exercise you can try is as an exercise to purposefully try to imitate a variety of styles (a piece written like Edgar Allan Poe, and then one like Jane Austen, and then one like Ursula Le Guin). It’s not that you want to sound like those writers, but by imitating you will become much more aware of the variety of word choices and rhythms that are available to you. Somewhere in all of that work, your own style will begin to percolate out.
How can there be such a wide variety of writing styles when we all use the same basic language?
It’s simple math. There are thousands of words that can be arranged in billions of combinations. It’s only natural that some people would arrange those words in patterns that are identifiably their pattern and not someone else’s.
To sum it all up if you could give one piece of advice regarding writing style, what would it be?
We’re back to the write a lot starting point. No matter what else you do, eventually, your style will come out of a long period of time that you spend writing. Of course, you already have a style. Your style may be the deadening cadence of the traditional student essay, or it may be something that is already peculiarly your own, but the more you write, the more your style (and control of style–you can write in different styles, after all) will develop.

A writer friend of mine suggested that the best advice he would give would be to read a bunch. I think that’s important too, but I believe there’s a more nuanced way of looking at the impact of reading on style because reading doesn’t seem to have a one to one cause and effect relationship to writing. For example, almost all of my creative writing students had been exposed to hundreds and hundreds of stories in their lives. Some of them were deeply read and loved story, but their own stories had no drama, were oddly organized, lacked character, and in general read like they’d never seen a story before.

On a smaller scale, I’ve noticed that bad spellers are bad spellers, no matter how much they read; and the vast majority of students write sentences based on linking verbs, or passive sentences, or convoluted sentences, no matter how many elegant, well-worded sentences they’d read up to that point.

So, clearly, reading and reading a lot is just a part of the answer.

Gwendolyn Clare told me, “I think it has less to do with the quantity of reading and/or writing, and more to do with making a conscious effort to think analytically about the writing process. It’s possible to watch a lot of TV without ever learning anything about scriptwriting or acting, because you are consuming it passively. Likewise, I think it’s possible to go through the motions of reading and writing without learning much, because it’s the act of critical thinking (which may or may not accompany the process of reading/writing) that’s important.”

I absolutely agree.

Sunday Writing: Decide on the Conflict, and the Rest Will Follow

By James Van Pelt

On May 15, 2016

In Craft, Short Stories, Writing

marquee When teachers break down the elements in a story, the list often looks something like this: Setting, Character, Action (plot), Dialogue, Description, Conflict, and Theme. For literary analysis this is an adequate list, I suppose. Not particularly useful for a writer, though. Which one is the most important? For me, the element that matters most when I’m trying to write–when I’m deciding what to do next–is conflict, and I had no clue what I was doing until I figured that out.

Whether I think of plot as a war, a birth, a Freytag pyramid, or a daisy, conflict makes it all go. Conflict may not be what I start with when I write a story, but you can be sure that it is what makes everything possible once I get going.

It wasn’t until I really got a handle on conflict that I started to write real stories, I think.

Here’s why I was messed up originally. When I took English classes in school, the teachers told us all about conflict, and then had us identify it in the story. The choices were “Man vs. Man,” “Man vs. Society,” “Man vs. Nature,” and/or “Man vs. Himself.” There were probably a few other “Man vs. . . .” constructions out there, but you get the gist of it. Here’s a fairly standard example of conflict the way I learned it. So, when I started trying to understand stories, and other authors suggested that every story had to have a conflict, I thought I knew what one was.

Silly me.

Here’s the definition of conflict that I eventually arrived at that helped me to write stories. It has three parts:

Somebody wants something
Something stands in the way
Something of value is to be lost or gained

A lot of my prewriting or early drafting when I working on a story is about my search for the specifics to those three statements.

What does my character really want? To answer that question is to establish the borders of the story. When I know what the character wants, then I can have the character act. Sometimes I’ll be explicit with this desire in the text itself. It could be the very first sentence in the story, an announcement of the desire. But sometimes I write stories where the character doesn’t know what she/he wants. The desire could be subconscious, and that desire may not be revealed until the very end, when the reader and the character see it fulfilled or unfulfilled. Either way, it doesn’t matter to me as the writer. I have to know what the character wants or needs, eventually, to write it. Oh, and it’s entirely possible that the desire can evolve through the course of the story. Think of the Meg Ryan film, French Kiss, where what she wants in the beginning is to get her fiancee back, but very near the end of the story she realizes she doesn’t want him anymore.

What stands in the way. This is really just about plotting on one level. I can’t make it easy on my character to get what he wants. If I do, the story is uninteresting. I mean, I’d like to have a day where everything in my life works, but it wouldn’t make an interesting story for anyone else. Whatever gene it is within us that likes stories, seems to like them to be about people who are miserable and unhappy for the longest time before they get relief (or lose). It’s in the “what stands in the way” element that my English teachers come into play. The opposition can be man, or society, or nature, or himself, (or machine, or alien, or whatever) or some combination.

The something of value is to be lost or gained is often a question of character for me. What is particular about this character that the goal is so important to her? I can’t answer that until I know more about the character. Even stories where what of value is to be gained or lost is as obvious as life or death, I still want to know what in particular that this character has to lose if she dies.

I have to admit that I do not feel like a very subtle writer. Certainly not one who has a zillion narrative tricks up his sleeve. Between defining conflict the way I have here, and thinking about how plots are a daisy, is about 90% of what I think about when I’m writing.

There, I’ve done it. I have no secrets left.

Here are three examples of beginnings that establish conflict early. I could have picked randomly from my bookshelf and come up with a hundred others. It’s remarkable how early conflict shows up in many stories.

From “Her First Ball,” by Katherine Mansfield

Exactly when the ball began Leila would have found it hard to say. Perhaps her first real partner was the cab. It did not matter that she shared the cab with the Sheridan girls and their brother. She sat back in her own little corner of it, and the bolster on which her hand rested felt like the sleeve of an unknown young man’s dress suit; and away they bowled, past waltzing lamp-posts and houses and fences and trees.

“Have you really never been to a ball before, Leila? But, my child, how too weird–” cried the Sheridan girls.

“Our nearest neighbor was fifteen miles, “said Leila softly, gently opening and shutting her fan.

Oh, dear, how hard it was to be indifferent like the others!
From “A Poetics for Bullies,” by Stanley Elkin

I’m Push, the bully, and what I hate are new kids and sissies, dumb kids and smart, rich kids, poor kids, kids who wear glasses, talk funny, show off, patrol boys and wise guys and kids who pass pencils and water the plants–and cripples, especially cripples. Nobody loved I love.

From “Shark Attack: A Love Story,” by James Van Pelt

Willard was day dreaming about Elsa when the shark caught Benford, the new mail boy, directly in front of Willard’s desk. Lost in his dream, Willard didn’t look up from the stack of forms he was filling out mechanically. Bustle and commotion were standard fare at The First North American Trust Title Company, and the boy’s silent waving of arms wasn’t enough to distract Willard. Then the boy screeched.

What it Feels Like to Write

By James Van Pelt

On May 13, 2016

In Craft, writer's block, Writing

cutting ice I saw this Amy Poehler quote today: “I have told people that writing this book has been like brushing away dirt from a fossil. What a load of shit. It has been like hacking away at a freezer with a screwdriver.”

Writing can go many ways for me. Sometimes the words and story come more easily, particularly if I just let my standards go. I don’t mean that in a flip way. “Standards” in this case are imaginary constructs that say if I don’t write for long enough, the better words will come along. They’re false standards. Probably I’m suffering through low-level writing neurosis when the writing slows down. When the neurosis kicks in, I’m hanging out with Amy, chipping the ice.

It’s a bad writing place to be. I’m better off letting the standards go, writing steadily through the misgivings, and then evaluating what I’ve done later.

Close your eyes. Type as if no one is watching.

Sunday Writing: the Great Beginning (or When You Open Your Mouth, Know What You’re Going to Say)

By James Van Pelt

On May 10, 2016

In Craft, Publishing, Writing

tombstone Last week I talked about writing conclusions (that don’t suck), so it only makes sense to tackle writing beginnings (that also don’t suck).

I watched a live slush panel at MileHiCon last year and saw the most depressing thing: one of the editors on the panel rejected a story after just three words. I could hear every writer in the room quietly mouthing, “Oh . . . my . . . god!”

This editor clearly had some buttons that could be pushed. I think the first three words were, “Rain fell steadily . . .” She raised her hand to reject the story based on her belief that you should never start with the weather. In the bar afterwards, some editors were laughing about it and offered their own quick rejects. They were tongue in cheek, but every tease has an element of truth.

“Tom woke . . .” Instant rejection based on just two words. Don’t begin with a character waking up.

“It was . . .” Instant rejection also based on two words. Don’t begin with a pronoun without an antecedent followed by a linking verb.

“The wood elf . . .” Instant bounce. This editor said don’t begin with a stock character.

I thought the editors were a pretty tough crowd. Three words or even two! But it does raise the questions, how long will an editor give you, how do you keep them reading, and what features mark crummy beginnings?

When I first edited, I read every story to the finish. My reasoning was mostly karmic: I wrote stories that I wanted to be read to the end, so therefore I read other writers’ submissions to the last page. This resolution lasted about a week. I began to reject stories that I hadn’t finished reading because nothing beyond where I quit reading would make me buy the story based on what I’d read so far. I have listed my bounce-worthy writing errors here.

Let’s assume, though, that the writer avoids the easy to fix errors, like using too many linking verbs or relying on clichés. What makes an effective beginning then?

I’ve come to believe the effective beginnings come first from the writer’s firm conception of the story’s ending. Think of it this way: when the scouts are gathered round the campfire, and the troop leader begins a story, she or he knows exactly where the story is going to finish. The beginning line isn’t setting up the next line or the first paragraph as much as it’s setting up the ending.

Along with that confidence about the ending is an utter belief that the story is worth telling. The troop leader knows absolutely that the story will be worth listening to, that the sad parts will be heart rending and the funny ones will elicit laughter and the tense ones will have everyone perched on the edge of their log, hanging onto every word. The beginning should reflect that confidence. The story plunges toward its ending. It doesn’t flail around for the first few pages like a drowning person unsure of the way to shore.

The very best beginnings dive in. The author doesn’t feel around in the dark for three pages. The live wires are on the surface in the first three lines.

So, how does that happen, the good beginning, I mean? The smart writers realize that they write at least two beginnings. The first one appears in the original rough draft. It’s written before the original ending has appeared on the page. By its nature, the first beginning can’t have the same confidence as the second beginning because even the outliners don’t completely know what happens in the story after that first page. Ideas change and evolve during composition. As soon as the first draft is done, the writer can now write the second beginning, hopefully the better one: the beginning that reflects the writer’s knowledge of where the story is going.

The dynamite beginning starts with the storyteller’s knowledge of the end. The storyteller knows, right from the first word that readers want to be hooked in; they need to be oriented in the scene, and they have to understand the characters and be intrigued by the situation. Good beginnings happen when the storyteller balances those needs—setting, character, situation and ending-driven prose—in the correct proportion for the story at hand.

Oh, and language, of course. The storyteller mixes those elements in the beginning.

By the way, I think knowing your best beginning will only appear after you’ve written your ending is an incredibly freeing idea. It means that you shouldn’t sweat your first beginning. You don’t need to know the perfect words to start. Just start the darned thing. Go ahead and flail around. It will be good for you. When you get better, you’ll realize your actual story began four-hundred words from where you started, or that the real beginning, the true one, is completely different from what you first wrote. That’s okay. That’s a part of the writing process.

Also, every once in a while, the perfect beginning shows up without a story to accompany it. Stephen King said he had the first line of the Dark Tower series before he knew the story: “The man in black fled across the desert, and the gunslinger followed.” J.R.R. Tolkien wrote in an empty spot on a paper he was grading, “In a hole in the ground there lived a hobbit.” He said, “Names always suggest a story in my mind; eventually I thought I’d better find out what hobbits are like.”

And here’s another also. The editor who rejected stories based on the first three words was an idiot. Great stories have begun with weather. They’ve begun with people waking up. A ton of really poor stories have started that way too, but a ton of bad stories have begun in all the other ways. Three words really aren’t enough to judge a story. But three sentences might be enough, and certainly three pages will tell any editor worth her salt whether she needs to continue reading.

Write the whole story first, then fix the beginning. When you’re done with that, fix everything else.

Sunday Writing: Writing a Conclusion (that Works)

By James Van Pelt

On May 2, 2016

In Craft, Short Stories, Writing

end-over-finished-typewriter-ss-1920 Writing the conclusion to a story can be hard! First off, the whole story has been leading to this last page, so the sense of responsibility to the story and to the reader is huge. I don’t want to end the story on a lame note, and I don’t want the readers to feel cheated, as if my story was a shaggy dog joke whose only point was in seeing how long I could keep them paying attention with the promise of a punch line that would never come.

Brrr!

I know writers who never finish a story because their fear of screwing it up is too great. And I’ve also read some stories that looked like they were going great until they reached their unsatisfying ending, which blew the whole story. *(check the note on this at the end)

And you know what? Writers’ fears are justified. The ending IS most of the reason for the story’s existence. I know, I know, I know . . . the journey is fun too, certainly in a novel there have to be little payoffs along the way, and who hasn’t read a book where they were ten pages from the end and they were just sad as hell that the story was going to finish? So there’s something to be said for middles too, but the ending still has to be right.

How do you end the story you’re working on you ask? Sorry, can’t tell you for sure. Every story tends to its own ending, but I can share some principles that make sense to me.

The conclusion should wrap up the conflicts introduced at the story’s beginning. If the story starts with a question, the end answers it. If it is a mystery, the end solves it. If there is a threat, it is remove or carried out. If an action is initiated, it’s completed. If a journey is started, the travelers arrive. In other words, the end of the story should be like the solution to an equation the story has set up. Of course, sometimes the question isn’t answered, or the travelers never arrive, but the ending then is about the significance of not answering or not arriving.
Many stories are about reversals. Whatever conditions exist at the beginning of the story are swapped. The humble have become great, the rich have become poor, the proud have been brought down, and the sad have become happy. Look at “A Christmas Carol,” “Sleepless in Seattle,” “Star Wars” (the first one), ” “Cinderella,” etc.
Some stories are not about reversing the initial conditions, but about getting back to them, except now the beginning is meaningful. The Lord of the Rings ends with Sam saying, “Well, I’m back,” and the implication is the world has been made right, or at least the Shire has. Ending where you began is a very effective technique, by the way. Nothing signals a reader more loudly that the story is over than to be back where you started.
The last words of a story should be “bigger” than the words by themselves would be. The whole rest of the story exists to give the last words context, and this is where their “bigness” comes from.
I’ll take a risk here and make a generalization: all effective endings work symbolically. The ending could be a symbolic line of dialog, or a symbolic action, or a symbolic gesture. In this sense, “symbolic” means “meaningful.” At the end of Steinbeck’s The Pearl, the villager throws the now hated pearl into the sea. His action is symbolic (and meaningful) because it shows him rejecting all the values the pearl has come to represent in the story.

One way to help with endings is to remember that a story isn’t written the way it is read. Readers start a piece not knowing the end, so they don’t know why details are there or where they are going. Writers, however, if they didn’t know the end when they started, they certainly know the end when they finish, and when they revise, they revise with the ending in mind. That means as a writer, once you get to your ending, you have the chance (the obligation) to go back and set it up. Writers who know this are effective rewriters. They know that if the first ending they wrote doesn’t work, that they can write a new one that does and then go back into the story to set it up. Revision can be everything. Trust the revision.

Here are three of my favorite endings of all time. If you go back and look at your favorite stories or novels, reread the ending and ask yourself why they are so good. You might teach yourself something about finishing a piece.

From “The Fall of the House of Usher,” by Edgar Allan Poe

From that chamber and from that mansion, I fled aghast. The storm was still abroad in all its wrath as I found myself crossing the old causeway. Suddenly there shot along the path a wild light, and I turned to see whence a gleam so unusual could have issued; for the vast house and its shadows were alone behind me. The radiance was that of the full, setting, and blood-red moon, which now shone vividly through that once barely discernible fissure, of which I have before spoken as extending from the roof of the building, in a zigzag direction, to the base. While I gazed, this entire orb of the satellite burst at once upon my sight–my brain reeled as I saw the mighty walls rushing asunder–there was a long tumultuous shouting sound like the voice of a thousand waters–and the deep and dank tarn at my feet closed sullenly and silently over the fragments of the ‘House of Usher.’

From “Flowers for Algernon,” by Daniel Keyes

Good-by Miss Kinnian and Dr Strauss and evreybody. And P.S. please tell Dr Nemur not to be such a grouch when pepul laff at him and he woud have more frends. Its easy to make frends if you let pepul laff at you. Im going to have lots of frends where I go.

P.P.S. Please if you get a chanse put some flowrs on Algernons grave in the bak yard . . .

From “Fondly Fahrenheit,” by Alfred Bester

But we know one truth. We know they were wrong. The new robot and Vandaleur know that because the new robot’s started twitching too. Reet! Here on cold Pollux, the robot is twitching and singing. No heat, but my fingers writhe. No heat, but it’s taken the little Talley girl off for a solitary walk. A cheap labor robot. A servo-mechanism . . . all I could afford . . . but it’s twitching and humming and walking alone with the child somewhere and I can’t find them. Christ! Vandaleur can’t find me before it’s too late. Cool and discrete, honey. In the dancing frost while the thermometer registers 10° fondly Fahrenheit.

*(note from earlier) Actually it’s rare that I read a story that is wonderful until it botches the ending. I think there is a relationship between knowing what you are doing well enough in the middle that the middle is good, and writing a good ending. You can be sure, though, when I edit, if everything is wonderful until the end, that I will ask for a rewrite.

Sunday Writing: a Characterization Exercise

By James Van Pelt

On April 25, 2016

In Characterization, Craft, Writing

Rear-Window-Poster I’ve become increasingly a believer in getting out of your head and into the world to improve writing. Sometimes the easiest way to to do this is to read more. I’m surprised at how many writers I talk to who are trying to grow themselves as writers who have given up on their youthful reading habits. It turns out that reading time and writing time exactly overlap, so they quit reading. Argh! Big mistake! For myself, I have to keep reading to clear my head of my own rhythms and to remind myself that’s there’s many ways to assemble sentences and stories. Good movies or television can get me out of my head too.

The next way to get out of my head, though, is to get up from where I’m writing and go watch the world, but I have to do it the same way I get out of my head while reading or wa
tching a movie: by being aware that I’m are gathering material. When I go outside as a writer, I take a notebook, and I go by myself. I want to be consciously aware that I’m paying attention to help writing.

Here, I’ll give you an example exercise that I used with high school students to help them create more realistic characters (instead of the shallow, cliched, weak echoes of human beings they’d write on their own) that involves getting them out of their desks.

The students want to write characters from scratch, but let’s face it, most of us don’t have enough in our heads to produce the detail that makes fiction work. Since I told them they needed four attributes to be writers: an ability to observe, a felicity with language, a willingness to make connections, and something to say, this exercise works on an ability to observe. It’s a fun one. It makes the students observe real people and makes them look at the world in a new way. I have the students pick a teacher to do this to, but you could do it anywhere, as long as you have enough time to watch a real person in action.

By the way, you need to be unobtrusive with this exercise. From the outside, it can look like stalking. And, if you’re Jimmy Stewart in Rear Window, you’re just plain creepy.

Here’s the assignment for the students:

Turning a Real Person into a Fictional Character

Since the very best fiction convinces us that its characters are real, and that their hopes, dreams and tragedies are genuine, it makes sense to study the qualities of real people so we can create fictional ones more convincingly. For this exercise, you are to sit in on a teacher’s class and study them in a variety of ways. Remember that tiny details bring anything into a tighter focus, so what you will be looking for are the most revealing, unique elements to include in your character sketch.

I. Physical Description
A. QUICK INVENTORY: List the physical details about the teacher you are observing that you would give if you were filling out a missing person report. Include height, weight, build, hair and eye color, hair style, distinguishing marks and clothing. This can be done as a list.

B. UNIQUE DETAILS: List any unique details about the teacher you are observing that would separate them from others of similar height and build. This could be a close look at their face, for example. Be observant!

II. Mannerisms
A. HAND GESTURES: Describe how this teacher uses his/her hands as she/he talks. Does he/she hold something?

B. POSTURE AND BODY MOVEMENTS: Describe how this teacher holds her/his body. Is there a slouch? Is there an almost military stiffness to the back? Does the person appear flexible, rigid, fluid, jerky, etc.? Does the teacher move around a lot (and how is this movement done) or does she/he stay still?

C. EYE MOVEMENT: What does this teacher look at when he/she talks? Is there eye contact? Does the teacher seem engaged in the classroom or are the eyes elsewhere? Are the eyes unusually wide or narrow? Does the teacher blink a lot or not? Do the eyes seem the windows to this teacher’s personality?

III. Speech
A. TONE OF VOICE: What does the teacher’s voice sound like? Is the delivery quick, halting, loud, soft? Are there variances in tone? What could the voice best be compared to? Does the voice trail off at the end of sentences? Does it rise at the end of sentences? What kind of words are emphasized?

B. WORD CHOICE: What kind of things does this teacher say? Record verbatim several of this teacher’s utterances. What seem to be this teacher’s favorite way of beginning a sentence? Are most of the sentences questions? facts? instruction? Are most of the things said directed to the class as a whole or to individuals?

IV. Synthesis: The Character Sketch
Write a one to two paragraph character sketch of this teacher as if you were introducing him/her as a character in a short story. You will probably have to give the character sketch a brief setting and situation like, “I sat in the back of the classroom watching the new teacher,” or something else to provide a reason for the description. Try to make your teacher character as vivid and detailed as possible using the details from your observations above. Be sure to emphasize the details that capture not only the teacher’s appearance but also the teacher’s personality.