Writing Craft

Own the Emotion, Give It Away

/ Gerry Wilson / 1 Comment

Some years ago, I volunteered as a studio monitor during a regional ballet association festival. I watched nervously as the teacher pushed and corrected the young dancers, but I was happy to see how he also encouraged and praised. Toward the end of the session, he told the dancers something I’ve never forgotten: Technique isn’t enough. You can be technically proficient, but without emotion, you’ll never be a true artist. He urged them to feel the music, to make their entire bodies expressions of emotion.

Credit: Samantha Hurley at Burst

I believe the same is true of writing. Artistry on the page isn’t only about skill or eloquence. We study and master craft; we may have a gift for language and storytelling; but if we can’t re-create emotion in ways that allow readers to feel, the prose will most likely be flat, no matter how well it’s written.

I learned a long time ago that my best work comes from an emotional place where I often would rather not be. So, when I become aware that a story isn’t working, I look hard for what I’m holding back.

There may be places we can never go in our fiction. I read once, though, that in one way or another, a fictional character will always be the writer.

One of the first stories I ever published gave me fits while I was writing it. The story dealt with betrayal, an experience I knew firsthand. Writing about that trauma was fraught with deep emotion, and yet I struggled to portray the feelings on the page in a way that didn’t feel stiff and superficial. A wise reader told me I was too close to the story; the protagonist was too much me. I needed to find a way to step back and give those emotions away. I was aware of the autobiographical elements, but I hadn’t realized how they were confining me. Instead of asking “What if…” I was locked into “This happened.” Once I changed the point of view, the story came pouring out. During the week it took to get the draft onto the page, I went upstairs every night after I stopped working, locked myself in the bathroom, and turned on the shower so my children couldn’t hear me crying.

Tapping painful experiences isn’t necessary for every story, and probing our personal stories isn’t right for every writer. There may be places we can never go in our fiction. I read once, though, that in one way or another, a fictional character will always be the writer, whether we intend it or not. It’s important that if we’re dealing with difficult feelings, we create distance. If we can manage that, if we can step back and at the same time go deep and open our hearts in the harsh light of the page, if we can mine our feelings that way, then the emotions that weigh us down can become genuine gifts of connection with our readers.

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This post appeared on Telling Her Stories at Story Circle Network on October 21, 2022.

Story Surgery

/ Gerry Wilson / 30 Comments

A week or so ago, I re-read one of my short stories I hadn’t looked at in a while. I have to confess I’d felt a little smug about this one. (I almost never feel confident about what I write.) It’s unlike anything else I’ve written—a little edgy, playing around with POV and dialogue. Tight. Or so I thought. But I’d submitted it a few times with no luck–a sign the story isn’t necessarily bad, but it’s not as good as it could be.

I had never been truly satisfied with the ending, so I started there. I agonized. I lost sleep. I worked on the last two paragraphs for days (yes, sometimes that’s how long it takes), and finally, the ending seemed to gel. No small victory, that.

Then I read the entire story again—one last time, I told myself. I looked at white space, checked for typos. I had already read it for clichés, sentence variety, scene/narrative summary balance, tension, character arc/change, “flow” . . . If you’re a fiction writer, you know the drill. As I read, though, I realized the story was still heavy with gratuitous details and phrases, even whole sentences that didn’t contribute much.

Cutting Room Floor

"Possible Cut" by patpitchaya. Image courtesy of freedigitalphotos.net
“Possible Cut” by patpitchaya. Image courtesy of freedigitalphotos.net

So I started cutting. By the time I was done, the story was almost 500 words lighter. Tighter. Stronger. Why had it taken me so long to see what it needed?

Sometimes, time and distance give me perspective. I agree with the advice to “put it away for a while,” then reread with a sharp, critical eye. I often puzzle over a story for a long time before I figure out what it really needs. (Occasionally, I never figure it out, but that’s another post.)

Someone—surely more than one writer of advice on story craft—has said that nothing should go in the story that doesn’t advance it in some way. Nothing.

That, I believe, is the crux of revision whether you’re writing short or long fiction.

Ask yourself: Does this scene/ paragraph/dialogue/sentence/image/particular word (yes, word choice) move the story forward and/or grow the character? What does it add? Strike it out and read the passage aloud without it. See if you miss it, not because it was a brilliant turn of phrase but because without it, something absolutely essential has gone missing from the story. If not, cut. Cut. Cut. Painful, but necessary.

Be wary of language that calls attention to itself. In this story, I threw away a metaphor I loved. It was a beautiful image, but it didn’t do anything for the story. Sometimes we do indeed have to “kill our darlings.”

Granted, it’s possible to chop the life right out of a story. I know. I’ve done it. But sometimes, if we cut a story to its bones, we find a better way to tell it.

Before and After

I want to share a couple of examples. This story, “Miracle of Doors,” is about a woman recovering from breast cancer. Out of context, these passages won’t mean much, but they illustrate the kind of cutting and refining I’m talking about. (Her cat, Miso, plays an important role in the story.)

Here they are, side by side:

Old_new_best.pdf
Before, after

This gives you an idea of my “tightening” process when I’m down to the last passes through a story. Sometimes it’s not the number of words but the words themselves that matter most. Maybe you’re able to write concisely or revise as you go. I tend to discover as I go; I write long drafts and whittle them down.

A story draft is the easy part. Revision is key to a polished piece of writing you can be proud of. Before you send the story out into the world: Refine. Make every word count!

Do you have favorite revision strategies? Share one with me!

Close Encounter in the P.O.: Two Soldiers

/ Gerry Wilson / 10 Comments

I want to tell you a true story.

At the P. O.

This morning, I stood in line for a long time in our neighborhood post office. As usual, there was only one person working–a woman who, in spite of the line, seemed determined to keep her wits about her by not hurrying. So I did some people-watching. That’s what writers do, right?

A young African American man wearing camouflage stood just in front of me. He was clearly a soldier—muscular build, clean-cut, his head shaved—and when he turned, I saw his clear, beautiful dark eyes. In front of him, a couple of suspicious looking white guys waited. One wore a baseball cap over his dirty hair (he was sending a money order, it turned out, for $57 and some cents); and the other, with his unkempt beard and beady eyes, looking like a character out of Deliverance, struggled with a box so big he had to rest it now and then on the Priority Boxes kiosk next to us.

The line grew behind me, too. I couldn’t help noticing a scruffy, bearded, older white guy when he came in. He wore a prosthetic leg and a sour expression. In pain? I wondered. Deliverance guy turned and stared pointedly at the prosthetic leg (the older man was wearing shorts).

Finally, the line moved, and the soldier in front of me was next. He had been working on a package at the kiosk, and apparently, he’d stuffed something too large into the envelope. It bulged and gapped open at the ends. The postal clerk told him he’d have to tape it up. “I don’t have any tape,” she said, nodding toward the tape for sale.

“What about that tape right over there?” the soldier asked. He was right; there was tape, in clear view on the counter.

“I can only let you have tape if you’re sending it Priority,” the clerk said. The soldier nodded, and she handed him the roll. He taped up his package, paid, and turned to go.

Encounter

Soldier Cloth by lobster 20 Image courtesy of www.freedigitalphotos.net
Soldier Cloth by lobster 20
Image courtesy of http://www.freedigitalphotos.net

As he walked out, the scruffy older man behind me said, “Soldier!” His tone sharp, commanding. I turned. Oh Lord, I thought, not a confrontation.

The young soldier turned, too, and looked at the man.

“Vietnam vet,” the older guy said, as though that was all the explanation needed. “You been in it over there?”

“Yes sir,” the soldier answered, his tone like a salute. “Twice now.”

The Vietnam vet reached across the space between them and offered the younger soldier his hand. “I want to thank you for what you do for all of us,” the old vet said. They shook hands, black man and white, two soldiers standing on common ground in our little post office. The moment was entirely theirs. Choked up, I looked away.

The young soldier went on his way, and by that time, I was at the window, tending to my mundane errand but knowing I had just witnessed something remarkable.

Some Donald Maass Wisdom

Earlier this morning, I had read Donald Maass’s column, “Seasons of the Self,” at Writer Unboxed. First, Maass reflects on his personal past, his present, his future. Then he turns the reflection to the art of writing fictional characters. Every protagonist, he says, must possess personal awareness–a clear sense of where he’s been, where he is, and where he’s going. Here’s Maass:

How does your protagonist understand his or her own evolution? Powerful characters are real people. To become fully real we need to create their personal history.

He goes on to list ways to give protagonists the sense of self that renders them human. This is good stuff; I’d say go read it right now.

Witness

So what does the Maass article have to do with what I witnessed this morning? Just this: I was struck by the fact that each of the soldiers in the post office has his own story: a past self, a present, a future. Their stories crossed in that moment, unforgettable, I would think, for either of them, or for me. I just happened to be there; ten minutes earlier or later, a shorter wait, and I would have missed it. I could invent a story now about either of them, based on what I observed. I have all I need. Whether I will or not, I don’t know. For now, it’s enough to have been there.

A challenge for you!

First, read the Maass article. Then think about the protagonist in your current work-in-progress. How does his/her story interact with the stories of others? How does such a moment of encounter impact his/her self-knowledge? Write a “fresh” encounter your character has that reveals something about his or her sense of personal history.

Or, think about your personal story in this light: How has a moment of encounter changed you? Write about it!