Storytelling in literary fiction: let’s discuss

There’s a tendency among many writers of literary fiction to opt for emotional coolness and ironic detachment, as though fearing that any hint of excitement in their storytelling would undermine the serious intent of the work.

That’s Husband Dave last week, reviewing Kazuo Ishiguro’s latest novel The Buried Giant on his blog and discussing why it failed to grab him .

An anonymous commenter took him to task, asserting: To have a “sudden fight scene” would be cheesy and make the book more like YA or genre fiction (i.e. cheaply gratifying).

Oh dear. Furrowed brows chez Morris. Setting aside the disrespect that shows of our skilful YA or genre writers, how did we come to this?

When did enthralling the reader become ‘cheap’? Tell that to Hemingway, DH Lawrence, Jane Austen, William Somerset Maugham, Graham Greene, Evelyn Waugh, Charles Dickens, Steinbeck and the Brontes, who wrote perceptively and deeply of the human condition – through page-turning stories. Tell it also to Ann Patchett, Donna Tartt, Iain Banks, Jose Saramago, William Boyd.

Dave wasn’t alone in his uneasiness with The Buried Giant:

Adam Mars-Jones … in his LRB review of The Buried Giant, particularly takes Ishiguro to task for throwing away what ought to be a Fairbanks-style set-piece in a burning tower by allowing “nothing as vulgar as direct narration to give it the vitality of something that might be happening in front of our eyes”.

Of course, there’s more than one way to find drama in events, and Dave also considers why the sotto voce, indirect approach might have been deliberate.

But even allowing for this, he also found: there are other bits of the story that do not work at all, and make me think that Ishiguro either scorns, or is not craftsman enough to manage, the control of the reader’s expectations that is needed for a novelist to hold and enthral.

And: The taste for anticlimax that Mars-Jones notes, and the unfolding of telegraphed events that bored me, are common traits among writers of literary fiction who perhaps feel that manipulating the reader is a tad ill-mannered.

The conflagration spread to Twitter

@MirabilisDave Would it be fair to say proven techniques for evoking emotion and excitement are sometimes looked down upon?

— Jurie Horneman (@jurieongames) April 2, 2015

@Roz_Morris @jurieongames I sense a blog post building up steam there 🙂

— Dave Morris (@MirabilisDave) April 2, 2015

And I’m still bristling about the forum where, years ago, I saw literary fiction described as ‘dusty navel-gazing where a character stands in the middle of a room for 500 pages while bog-all happens.’

Stop, please

It’s time this madness stopped. Are we looking at a requirement of literary fiction – or at a failing in certain literary writers?

It’s true that literary and genre fiction use plot events to different purpose. But engaging the reader, provoking curiosity, empathy, anxiety and other strong feelings are not ‘cheap tricks’. They are for everyone.

Dave’s blogpost commenter is typical of a certain strain of thinking about literary fiction, and I’m trying to puzzle out what the real objection is. Did they simply disapprove of a Booker winner being discussed in such terms? Are they afraid to use their critical faculties?

This is something, as writers, we must avoid.

I have a theory. I’ve noticed that, in some quarters, to query a novel by a hallowed author is considered beyond temerity. These folks start from the position that the book must be flawless, and so they search for the way in which it works.

Now of course we must read with open minds; strive to meet the author on their own terms; engage with their intentions. But honestly, chaps, you and I know that authors are not infallible.

We, as writers (and editors), know we have blind spots. Otherwise we wouldn’t need editors and critique partners to rescue us. Indeed – and this is probably one for the literary writers – how much are we consciously aware of what we’re doing? How much of our book’s effect is revealed to us when readers give us feedback? This writing lark is as much a matter of accident as design, isn’t it?

Brideshead Re-revisited

Going further, sometimes our books aren’t as perfect as we’d like. Evelyn Waugh published Brideshead Revisited in 1945, then reissued it with light revisions in 1959 plus a preface about all the other things he’d change if he could.

Writing is self-taught, and this critical scrutiny is one of our most powerful learning tools. Whenever we read, we should ask ‘does this work’.

Now it’s a tricky business to comment on what a writer should have done. Also we’re reflecting our personal values. Yes, caveats everywhere. But certain breeds of commenter regard a work by an author of reputation as automatically perfect.

So is this where we get these curious notions that page-turning stories don’t belong in literary fiction? Because nobody dares to say the emperor is wearing no clothes?

Again, I’ll let Dave speak:

In Ishiguro’s case, I don’t think it was deliberate. I felt that he was flailing about with that sequence, trying to figure out a way to add the tension he knew was lacking. But he might say, no, I wanted it to be predictable and tedious, that’s the whole point.

Shakespeare didn’t think it was infra dig to throw in an audience shocker: ‘Macduff was from his mother’s womb untimely ripped.’

So, er, what?

I usually aim to be useful on this blog. Is this a useful post? To be honest, I’m not sure. Just occasionally it’s nice get something off your chest.

Now I’m wondering what question I should end with. I could ask us to discuss literary writers of great reputation who seem to duck away from excitement and emotion. But one person’s tepid is another’s scorching. And I don’t think it get us far to explore everyone’s pet examples of overrated writers. But I’d certainly like to put an end to this idea that story techniques, or any technique intended to stir the emotions are cheap tricks that dumb a book down.

So I guess I’ll end with this. If you like a novel that grips your heart as well as your intellect, say aye.

Thanks for the pic “New dress DSC09958” by Владимир Шеляпин – Own work. Licensed under CC BY-SA 3.0 via Wikimedia Commons

Anyway, the floor is yours.

I name this book… tips for choosing a good title

For every manuscript I see with a head-turning title, there’s another with a title that’s limp, unassertive and would never tempt a reader to look closer. Or a title that’s too tricky to remember.
I had a great discussion about this recently with Peter Snell (you know, from Barton’s Bookshop) in our show for Surrey Hills Radio (find it here, on show number 10) and I thought it might be fun to elaborate on it further.

Numbers are powerful
For non-fiction, you might add a sense of value by putting a number in your title. 50 Tips To Help You Build A House sounds like it offers far more than just Tips To Help You Build A House. Numbers also create a sense of insider knowledge, that an expert has chosen just the tips you need and discarded the others. When Peter and I recorded the show in the bookshop, we’d set up the microphone in the countryside section, where there were plenty of titles like 100 Finest Country Houses. One book might have country houses, but the 100 Finest sounds more persuasive. Suppose another book of country houses misses out the best ones?
Tip: a non-fiction title should sound authoritative, assertive.
For fiction, numbers can add a sense of frisson, a specific tipping point – Catch-22, Station Eleven, Fahrenheit 451. They seem to say ‘at this moment or place, or with this concept, something significant happens’. (And look at the startling oddness of Fahrenheit 451. The unconventional word order stirs up a sense of disturbance. Ray Bradbury’s titles all have this quality.) 1984 is a clever shuffling of the date of the novel’s publication. We can imagine how sinister it must have seemed in 1948. This will be us, it seems to say. Come and see. (Is anybody currently writing 2041?) Anthony Burgess wrote a tribute to Orwell’s novel and, naturally, called it 1985.
Tip: numbers are good for attracting attention.

‘One’ is special
In our discussion, Peter mentioned One Flew Over the Cuckoo’s Nest, and took us in a new direction. This title suggests a person on their own, the one who dared to go against the crowd. It conjures up a character. It also seems to speak for all of us while also being about one individual.
Continuing the power of One, David Nicholls’s One Day sounds momentous; simple yet significant. It’s also a common phrase, with overtones of hope and dreams.
And how about The Girl With The Dragon Tattoo? (Bafflingly, its original Swedish title translates as Men Who Hate Women. Perhaps a Swedish-speaker could explain if the original has a special quality that makes up for the apparent blandness.)
Tip: consider the bold and emblematic individual, time or event.

What’s in a name?
We like a sense of a character in a title. Names can conjure this up, but they might be hard to remember, especially if the name is used in isolation. If you read a post or a feature about a novel called Mary would it stick in your mind so you could find it later? Memorable titles will set up a little more. A Prayer for Owen Meany: why does Owen need to be prayed for? Or they might set a tone of irony – The Book of Dave. Or grab attention with a clever phrase – Memento Nora. The Rosie Project. Each Harry Potter book had a promise of adventure – The Philosopher’s Stone, The Deathly Hallows. (Also she was writing a series.  Harry 2, Pottered About Some More, might not have done the trick.)
Tip: if using a name, add something to create a sense of curiosity.

Made-up words, or words that are difficult to pronounce
Years ago, I made this mistake with my first novel. I set my heart on calling it Xeching, after the meditative treatment performed by characters in the future part of the book. It seemed to carry resonance, but only if you knew what it was, of course. Agents pointed out that it was too hard to remember, not to mention incomprehensible. It’s perhaps the absolute showcase of a disastrous title – it means very little and is hard to spell. (I was thinking with my designer head, imagining it in a big, intriguing font on the cover.)
Your unwise title may seem to have many points in its favour. But will this meaning be apparent to somebody happening on your book for the first time?
You might create a striking effect, though, by mis-spelling a word, if the mis-spelling is easy to remember. A novel about murders in the cyber-age might be called Killr.
Tip: tricky spellings and made-up words are hard to ask for in bookshops and difficult to find in online searches. And that’s assuming they’re remembered at all.

Personality of the book
Some titles snare us with a sense of personality. The Girl Who Circumnavigated Fairyland In a Ship of Her Own Making. Kill The Poor by Lemony Snicket (itself an eye-catching nom de plume). Everything is Illuminated by Jonathan Safran Foer.

Instability is good
Lauren Oliver’s Before I Fall carries a promise – something must be done before time runs out. Look at the tension in Philip Pullman’s The Good Man Jesus and the Scoundrel Christ. John Steinbeck’s East of Eden is potent with downfall. New twists on famous quotes or concepts are easy for readers to remember.

Words that suit the genre
In our radio discussion, Peter remarked that certain words seem to embody the appeal of a genre – and mentioned angels, demons. (Though I threw a spanner in the works by mentioning Marian Keyes’s Angels, which is chick-lit. Or did I throw A Spaniard In The Works like John Lennon?)
The treatment of the title also tells the reader a lot. My friend David Penny is preparing to publish his historical crime novel, Breaker of Bones. I saw a conversation about it on Facebook where another friend (who didn’t know Penny’s work) asked why it wasn’t Bone Breaker. That would be an entirely different kind of novel.
Tip: look up genres on Amazon and on Goodreads lists to see if there are words and title styles you should consider.

Sum up a feeling – how memorable is it?
The least successful titles I see are when the author is trying to sum up a feeling in the book. These often become generalised and vague. Finding The Answer. The Past Returns. All My Tomorrows. Husband Dave came up with clever suggestion here. If you think of a possible title, tell it to your friends. Then, a week later, ask them if they can remember it. (Try to pick the friends who don’t have superhuman powers of recall.)
The Mountains Novel (now Ever Rest) might have been christened Comeback. This certainly fitted in some ways with the story. It was pithy. However, when I googled, I found reams of novels called Comeback, many of them in the crime genre – a rather misleading flavour.
Not only that, I couldn’t remember Comeback. I simply couldn’t. In my mind, it became Countdown, though lord knows why. If it couldn’t stick for me, it certainly wouldn’t for a reader. Anyway, Ever Rest suits its mood far better.
On the show, Peter Snell added the bookseller’s perspective on commonly used titles. It’s a right royal pain to find the book the customer actually wants.
Tip: Once you’ve identified a feeling or theme you might highlight in a title, you can brainstorm strong, striking and emotive words for it.

Again, how memorable?
If your name is well known, you don’t have to try that hard with the title. Readers know to look for the next book by you. They’re more likely to find you by searching for your name, not your book title. On the show we discussed how the fantasy author Jack Vance (whose work I love) has many titles that are little more than labels (The Planet of Adventure, Trullion).
Daphne Du Maurier, Jane Austen and Charlotte Bronte all got away with name-titles (Rebecca, Emma, Jane Eyre). But they were writing in less competitive times. Would Lewis Carroll have got very far if he’d published Alice’s Adventures In Wonderland today?

Thanks for the pic Lisby

Oh, and speaking of titles with a number…

Have you any tips to share on coming up with titles? Do you find it difficult? If you have decided on a title, what others did you consider? How did you make the choice and why?

How to fix a plot hole

I’ve had this great question:

I have bought your book, Nail Your Novel, and it has been really helpful. I was having a blast. Loving my characters, villains, setting, plot. But after 70.000 words I have a huge abyss in my story, I hit this blank between the middle of act II and the climax. Everything before and after that is just fine, but it seems that no matter what I do, I can’t resolve this blank spot.

Eric Alatza, first-time writer, Brazil. (Oh my: Brazil. I know the web is world wide so this shouldn’t give us pause, not for even a picosecond. Especially as you might be reading this in Brazil too. But it reminds me, in London, how much I appreciate that self-publishing and social media lets us reach …. anywhere. #momentofawe #howmuchdoIlovetechnology)

Okay, here’s how I’d attack Eric’s problem.

1 Does your story climax really fit?

You’re trying to join the end to the rest of the book, but does it fit? Has the story evolved beyond your original plans? Do you believe in this ending?

I had this problem with Lifeform Three. In my first draft I had written a storming finale, planned from the start, and indeed it had a lot of material I was chuffed with. You will never see it because it wasn’t the ending the book needed. As I wrote, the characters had taken on deeper issues, confronted essential questions – and my original ending was logical but disappointing. So I nuked it – yes, the entire final third of the book – and started again.

I’m wondering, Eric, if your spider sense is telling you this, which is why you can’t jump the chasm to the finale you planned. Ask yourself:

• Is the ending unsatisfying in terms of themes explored, questions posed, other threads left dangling?

Also:

• Are you forcing the characters in a direction they don’t want to go?
• Will a character have to be uncharacteristically stupid to bring about this climax?

Is a new ending too painful to contemplate? Well, it costs nothing to brainstorm. Just as an exercise, cut loose and see where else you might go.

2 Check your midpoint

You mention you have problems with the story’s middle. Is that because your ideas so far don’t seem significant enough?

If so, ask why. The middle of act II is traditionally a turning point. Perhaps the story stakes magnify, or an event turns everything on its head. Mr Darcy proposes to Elizabeth, which surprises and appals her. Nothing can be the same after that conversation. Perhaps there are new alliances that change the nature of the conflict – as in The Hunger Games. It might be the point where the character’s flaw, inner problem or true self first emerges as a dominant force – in Fahrenheit 451, the midpoint is where Montag meets a new mentor character. In the film of The Godfather, the midpoint is the scene where Michael Corleone commits murder, setting him on a new path. It might be a transformation that is subtle but deep. In My Memories of a Future Life, it’s where my narrator truly surrenders to the future incarnation. (I tried to write that without giving spoilers…)

So is your midpoint important enough? Have you got that sense of transformation and escalation? If not, brainstorm ways to find this significance. (And allow yourself to think of solutions that might mess up your planned ending.)

3 Get fresh inspiration

As always, you might be running on empty. When I’m stuck, I go to LibraryThing.com and search for novels that tackle similar themes, issues and situations. I also post an appeal for recommendations on Twitter and Facebook. (I’d do it on Goodreads too if I could work out how.)

Dissatisfaction is progress

There is a reason why you’re balking, although you may not consciously know it yet Our instincts are rarely articulate, but they are usually right. You know the rule about inspiration and perspiration? To fill a plot hole, do more digging.

Drafting is more than transcribing your notes

All the stages of novel-writing are creative. We’re constantly triaging our ideas and refining them. Whether we’re outlining, drafting or editing, we might find new insights and directions. Be ready to make the most of them.

The ebook of Writing Plots With Drama, Depth & Heart is now available for pre-order and will be at a special launch price until it goes live on Twelfth Night (5 Jan). Even available in Brazil.

Thanks for the pic Corinnely 

What would you say to Eric?

‘Belle & Sebastian are truly a band made for writers’ – Scott D Southard, The Undercover Soundtrack

My guest this week says his wife has forbidden him to air certain overplayed albums in her presence. Of course, they are the ones that provided the souls of his novels; drew him to the writing desk; catapulted him into the worlds of his characters. Readers here will be well acquainted with the idea that once a song joins your writing repertoire, you never tire of it (although your family might). For his latest novel, he was drawn to songs of desperation, and the finely drawn character vignettes of Belle & Sebastian – a band he says are truly made for writers. When you see that the title of his novel is A Jane Austen Daydream, you might be surprised that its music is so contemporary. But has there ever been a time when Ms Austen didn’t feel bang up to date? Scott D Southard is on The Red Blog with his Undercover Soundtrack.

When to keep your distance: why you don’t always want the reader in the thick of the action

Most of the time we’re trying to put readers in the thick of the characters’ experience. But distance is also an interesting fictional technique with a power all of its own.

In Hitchcock’s film Torn Curtain, there’s a scene where the protagonist kills a taxi driver. Normally you’d expect scenes like this to be presented in close up. We’d see the struggle, the driver’s desperate fight and the hero’s anguish in taking someone’s life. We might wonder what the outcome will be.

But that’s not what Hitchcock does. The scene is shot from a distance, as though it is happening to someone across a road. Almost as if it’s not even happening to the protagonist.

There are no questions about whether the MC will succeed. The driver is killed, and that is that. The MC doesn’t even pay a price by getting hurt. He doesn’t flinch from what he has to do. The distance of the camera plays with our empathy, representing how the characters distanced themselves from the deed. And so we see a normal, married man forced to kill an innocent stranger in cold blood. We see the resources he has in his soul that will ensure he survives. What does it do to the viewer? It makes us complicit in an uncomfortable world. As if we have made that choice too.

In Persuasion, Jane Austen shows the final reunion between the lovers as though she’s filming it at a distance. It’s surprising, but allows the characters privacy in their moment – which is all the more touching.

Of course, you need to use distance carefully. I often see scenes where writers duck out of showing a key event, possibly because they didn’t feel up to writing it. There is a strong likelihood that if you pull the prose camera away, the reader will feel cheated. You have to make a careful judgement call. If there are any questions lingering, the reader needs to see what happened. But if the reader can fill all the blanks and be just as satisfied, it might be powerful indeed.

Every event we share in a story has an effect beyond just showing what happened. And distance can sometimes lend more power than a close-up. Like Hitchcock, you could create an interesting complicit effect, show characters turning a corner. Result? The audience is disturbed in a way that is far more complex and chilling. Jane Austen had spent so long keeping her lovers apart that we wanted them to be together. When they finally were she went one better – she allowed them to be totally alone. Result? Reader satisfied.

That’s just two examples. Give me yours and tell me why you think they work!

Oh, and (spoon tapping glass). My Memories of a Future Life is getting great reviews. Episode 2: Rachmaninov and Ruin, is limbering up for release on Amazon at midnight as 4th September turns into 5th. You can find episode 1 here and you can try the first four chapters on a free audio here

Why writers give the best parties

Party scenes are a gift for a writer – here’s my celebration

I love a good party. Anyone might collide and anything might start. Or finish. A party is fate’s way of throwing a die.

Which makes them perfect for a story.

For some reason, a dinner party scene doesn’t do it for me. Of course it can throw folks together, as randomly as you please. But a dinner party is more difficult to choreograph, as most of the action takes place around one table, and juggling a sixsome or eightsome is tricky on the page. Most of the time I find excuses to split them up, sending them out to the kitchen to flatten the soufflé, or outside to have a smoke.

A party, though, comes alive on the page more naturally. Its loose informality means you can drift through a succession of intimate groups or pull back for a long shot. You can use montage to clip a conversation of everything but the most startling line. Or show that somebody is a crashing bore without boring the reader. You can shuffle strangers around with very little contrivance.

What parties can do in a story

Parties might be a focal point for society, as in Jane Austen’s novels, when they are often the only times that characters might meet.

Jilly Cooper has rounded off a good number of novels with a rousing gathering, letting the characters bash out their differences under the special conditions a party allows.

A party can also kick off a novel rather well. Iain Banks used a party early in The Crow Road to give a sense of reunion among his characters – and ended the sequence on a poignant note as the MC saw the girl he loved with another guy. Writing as his M alter ego, he used a party early on in one of his Culture books to set up his world.

You might start with a celebration and have it end in tragedy or outrage – as in Sleeping Beauty. The contrast will make the tragedy all the stronger.

Most of the plot of Kingsley Amis’s Lucky Jim comes from a party the MC is forced to attend at his new boss’s house. The scrapes he gets into set the rest of the book in motion.

A party can have an internalising function too. I used a party scene in My Memories of a Future Life to show the character trying to keep up with her old world after a personal disaster, pretending everything was all right. We can see it isn’t. Later in the book, she goes to another party, held by the friends of a character she hopes to find out more about. The surreal atmosphere reflects her internal state as her life takes another swerve. (Two parties may seem heavy going for one book but I atoned in Life Form 3 where there were no parties at all.)

My rules for a good party

So we’ve established that parties can give you hours of story fun. But like the real thing, they take a bit of organisation. Here are my rules for making your party go with a swing:

1 A party sequence needs a point of view. It could be one POV character or an omniscient camera, but keep it consistent. Don’t start as one and end as another.

2 When lingering on groups of people, keep to small numbers. It’s extremely hard for the reader to keep track of more than three people foregrounded at a time, and some writers never have more than two. Although you may like that ensemble scene at the start of Quentin Tarantino’s Reservoir Dogs, where all the characters are nattering in a café, it does not translate well to the page.

3 Keep letting the camera look up to take in what others are doing and to demonstrate that there are more people there besides the ones you’re looking at.

4 If you have a tense exchange, don’t hurry away from it too fast because you need to get round to the other people too. Lock the characters in the bathroom together if necessary so that they can take their time.

Thank you, Oddsock, for the picture. And in other news, My Memories of a Future Life will be available on Kindle soon, so that will be an excuse for a party too…

How have you used parties in your fiction? What purpose did they serve in the story? Which writers give the best parties? Share your examples in the comments!

 

Characters: choose their enemies and friends wisely

The magic happens when your characters are together

Your characters don’t exist in a vacuum, but as a complex ensemble. So choose their friends and enemies carefully

There’s a game going round on Facebook – write down as fast as possible 15 fictional characters who have influenced you and will always stick with you.

This is the list I rustled up:

1 Cordelia (surname probably Lear)

2 Catherine Earnshaw (Wuthering Heights)

3 Jill Crewe (from Ruby Ferguson’s Jill pony books)

4 Doctor Who (Jon Pertwee incarnation)

5 Charles Ryder (Brideshead Revisited)

6 James Bond

7 Lucy Snowe (Villette)

8 Bathsheba Everdene (Far From The Madding Crowd)

9 Eva Khatchadourian (We Need to Talk About Kevin)

10 The narrator of Tanith Lee’s Don’t Bite The Sun

11 Alexa (from Andrea Newman’s eponymous novel)

12 The gay vampire in Fearless Vampire Killers

13 Ray (hitman in In Bruges)

14 Robert Downey Junior’s Sherlock Holmes

15 Purdey (The New Avengers)

I thought of the list in a hurry, as per the rules, and as you can see some of them have nothing to tell a serious student of storytelling. But my choices aren’t the point of this post. The point is, I found the exercise surprisingly difficult.

Characters in a story are like an ensemble

Only one character?

In each case, I didn’t feel it was fair to single out one character – because their memorable, influencing journeys relied on other characters too.

A character makes a lasting impression because of the other characters they spark off.

To look at my list, who is Cordelia without peevish Lear, scheming Goneril and viperous Regan? Who is Eva Khatchadourian without the terrifying Kevin, sweet Celia and straightforward Franklin? Who is Charles Ryder without his dreary father the divine Flytes?

Characters in a story are like a choir. It takes the whole ensemble to bring out what is in the MC and they deserve the credit too.

What about Lizzie Bennett?

Some characters are so iconic that you could argue they deserve the spotlight to themselves. Lizzie Bennett, for instance – where was my head when I left out her? She’s good value wherever she goes. But we see that only because her sparring partners are so well chosen. Indeed in that respect, Mr Collins and Lady Catherine de Bourgh are even more delightful than the essential Mr Darcy.

No character operates alone

No character goes through a story alone. Part of the writer’s fun is putting characters with others who will bring out the best, worst, be their opposites, nemesis, thwart them, push them to the edge and put their arms around them.

Who makes your main character most interesting? Who makes them do things? Who gets under their skin? Who completes them – or might destroy them?

So let’s play this game my way. You’ve seen who some of my favourite character combinations would be, and why – tell me some of yours.