Posts Tagged Stephen King
Last weekend I was teaching a workshop at Writecon Zurich and one of the issues we discussed was killing your darlings. I used the example of a very precious scene I deleted from My Memories of a Future Life. The full story, including the scene, is here, but briefly, it was inspired by a family heirloom and I was keen to include it. But at each revision round I sensed it repeated an emotional beat, tripped the reader up and made the story stall. When, finally, I swallowed my vanity and removed it, the story ran more smoothly.
I found myself using that same instinct the other day with Ever Rest, which I’m revising. I’m recutting the rough first draft in a more dynamic order, now I know the characters more deeply. I’d planned a funky new use for a scene and was pleased with the possibilities – especially as there were some good lines about the characters’ histories. So I improvised a fill-in scene to prepare the way – then realised that had already done the job. Those nice moments weren’t even needed.
I have to admit, this was annoying. If I get excited about an idea, I want to use it, not discard it. But it was surplus to requirements and would spoil the flow. Rather like the dress scene. I liked it for itself, but it didn’t serve the book.
I sighed and parked the sequence back in the rushes file. It might be useful later.
Back to the dress scene. I’ve also used it as an illustration in my Guardian masterclass – and quite often, a funny thing happens. One of the students will argue, quite strenuously, that I should have included it. Why? Because it was nice, they reply. And no matter how I argue about the overall good of the book, they lament that I took it out.
No matter that I tell them readers can find it on my website if they’re that curious; or that I acknowledge the narrator probably had that moment around the corners of the story. That there would have been plenty of moments of the characters’ lives I didn’t show. Real life contains a lot of monotony and repetition, but a storyteller needs to select what to include and what to omit. You get more artistry from discipline, coherence and elegance than you do from sprawl.
The reason I tell the anecdote is to illustrate the kinds of battles we might have as we edit. We have to recognise when we’re trying to include a scene, character or description simply because we like it, and instead search for a more substantial reason.
Now obviously we are not building machines. We are creating works of art and entertainment. A scene, character or description might earn its place for many reasons aside from advancing the plot – thematic resonance, comic relief, helping the reader to understand a tricky situation. And our style is an individual organism that arises from our interests, gut feeling, personality and reading tastes, so the rules for my novels won’t be the same as the rules for yours.
But mature writers have this level of awareness and discipline that helps them edit wisely. I now find I’m catching myself far more often than I used to, examining my personal feelings about a scene, and it’s saved me from stitching in a passage that I’m sure I would have quarreled with later.
Or, in the words of Stephen King: Kill your darlings, kill your darlings, even when it breaks your egocentric little scribbler’s heart, kill your darlings.’
There’s a lot more about honing your story’s pace in Writing Plots With Drama, Depth & Heart: Nail Your Novel.
Have you struggled over a cherished passage in one of your books? Have you had feedback where you were urged to delete something, but found it difficult? What made you want to keep it? If you’ve been writing for a while, do you notice yourself becoming more aware of your reasons for keeping scenes? Let’s discuss!
The other night I was watching The Rewrite, in which a Hollywood scriptwriter reluctantly becomes a writing teacher. In the early part of the film he asserts that writing can’t be taught.
In some ways, I agree.
But wait, you might say. And you might brandish a kettle at me, or a pot as black as night. What, Ms Morris, are you doing here? On your blogs, in your seminars, with your nifty tips and nailing books?
Well, I hope I’m being useful, but it’s interesting to consider how much of a writer is made by what is taught, and how much is … something else.
You do the work
No matter how many courses you take or books you read, they won’t build your facility for you. You’re the one playing the instrument, and you need years of practice and exploration. The fabled 10,000 hours to achieve mastery, if we’re to believe Malcolm Gladwell.
Actually, at two hours every day, that’s 13 and a half years – which may not be encouraging to know. But this figure does perhaps explain why some characters doubt the use of teaching when it comes to making writers. Indeed Stephen King says in On Writing: ‘to be a writer, you must do two things above all others: read a lot and write a lot’. And: ‘the most valuable lessons of all are the ones you teach yourself’.
Time for T
Dare we mention the T-word? Talent? There, it’s said. What might talent be?
I guess we could call it the qualities that can’t be taught. Imagination, a grace with the written word, the tuning of mind and soul that sees unique significance and connections.
We should add the disposition to persist for 10,000 hours (or however much it might actually be) – because talent will only last so far. Before Picasso could have a blue period, he learned to draw properly so he knew what he was doing to his audience. Then he could mess around all he wanted.
So what am I doing here?
A writing teacher can’t make a silk purse out of a sow’s ear. We can’t do the work for you. In that case, what am I teaching?
1 Awareness – of how stories work on the intellect and heart, the invisible tricks that writers use, some of which they’re probably not aware of.
2 Methodology – ways to cope with the difficulties when we’re out of ideas, disappointed with our work. And how to organise the tons of material we have, changes of heart, brainwaves for new directions.
3 Critical thinking in ways that are helpful rather than destructive.
4 Ways to discover what we should be writing, and how to fulfil our distinctive potential.
5 The joy of creativity, of the pursuit of craftsmanship, the respect and wonder of what we can do with printed marks or pixels. I will always be amazed how prose seems infinitely richer than photographs or film. A great piece of writing is worth a thousand pictures.
6 We’re also sharing our own curiosity. I’m first a writer, then a teacher. I’m on my own odyssey with another ornery book and it’s nice to talk to those who understand.
If you liked this post, you might like this episode of So You Want To Be A Writer, where bookseller Peter Snell and I discuss a tricky question – what, exactly is writing talent?
Over to you. Can writing be taught? What aspects of writing can’t be? What do you learn from writing teachers? If you’re a writing teacher, what do you teach?
Sometimes writers have to state the obvious or
put in a scene everybody is expecting. But that’s
not a licence to coast. Here’s how Stephen King’s
The Green Mile makes an obligatory scene into
Some writers might coast here – surely the material is startling enough that you don’t have to do anything else with it, right?
Here’s what The Green Mile does.
It shows two execution scenes, in stark contrast.
The first isn’t real, it’s a rehearsal. One guard plays the ‘condemned’ man. He gibbers like a loon and makes lewd last requests. When the other guards throw the switch he writhes and screams with glee. The prison governor allows them to lark about, knowing he is seeing nervous men struggling with a difficult job. He also tries to keep the joking to a minimum because there is a newcomer who needs to be trained. This allows us a way in – in several ways: the prison governor trying not to let the hi-jinks get out of hand, yet realizing the men need to let off steam. The guards themselves, coping with the stress the best way they can. And the new guard, seeing all this for the first time. It also gives the author a licence to dump in as much exposition as he wants. Masterful.
And then he goes one better by showing an actual execution. And how different it is. The prisoner is frightened. The governor handles him with great sensitivity. The guards who were roaring with laughter before are nervous and gentle.
The Green Mile could have gone straight to this scene, relying on the content to speak for itself. But because he put the other one before it, the real one becomes much more appalling. We see how strange and difficult a thing it is to extinguish life.
I often see manuscripts in which the writer assumes there are some things they don’t have to explain. Execution is a nasty business – who’d have thought? Surely you don’t have to spell that out.
Wrong. For two reasons.
1 One of the things audiences have paid their money for is details of the grisly process. They need to get it somehow. What they don’t realize they want is for you to make it way more powerful than they were expecting. So you can’t just cruise with scenes like this.
2 In the world of your story, anything is possible. You could have, if you wanted, a bunch of prison guards who were completely blase, and no more affected by executing a man than if they were squashing a fly. You set the rules of the story, what is right, what is wrong, what is difficult and what is easy. And you have to demonstrate them.
So, an execution must be shown and it must be shown to be a difficult job. But The Green Mile turns this into storytelling gold.
Have you got any favourite examples of exposition and obligatory scenes that have been handled with panache? Have you solved similar problems?