William Noble’s “‘Shut Up!’ He explained”

Make every word your characters speak count

I reviewed William Noble’s Make That Scene on both Goodreads and in a bit more detail on my blog. That book was a gem, so I picked up Noble’s Shut Up! He explained and settled in for some good learnings.

Truth is, I’ve read the book twice in two years and will easily read it twice if not thrice more in the next few years. It’s that good.

Truly amusing to me is how little I retained from my first read. Of all that’s in the book, I locked on the gem about having characters ask each other questions to keep dialogue interesting, engaging and moving. Probably because I was writing lots of dialogue for a work-in-progress, Ritchie and Phyl (A Celebration of Life). That wonderful piece of advice became my big hammer for several dialogues in several works-in-progress. It’s an incredible tool all by itself and worth the price of admission.

But that, as noted, was what stuck with me from my first read. My second read had me dog-earing pages starting at 5 and several pages in each chapter thereafter.

For authors working on realistic, believable character exchanges – the book covers more than dialogue but dialogue is the main focus – it’s a must.
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Tension

Like a tightrope. Around your neck. Cutting off your air. Your eyes popping out. Your brain screaming for oxygen? That’s what you want your readers to feel.

What is “tension”?

Noun: tension
1. (psychology) a state of mental or emotional strain or suspense
2. The physical condition of being stretched or strained
3. (literature) a balance between and interplay of opposing elements or tendencies (especially in art or literature)
4. (physics) a stress that produces an elongation of an elastic physical body
5. Feelings of hostility that are not manifest
6. The action of stretching something tight

Verb: tension
1. Put an object in tension; pull or place strain on

(from WordWeb.info)

 
Have you ever read James Blish’s short story Surface Tension (originally published in the August 1952 Galaxy Magazine and muchly anthologized)? It deals with people striving to break through the surface of water. Any liquid creates a surface where it meets something other than itself. This surface creation is why two drops of water meeting bond into a larger drop rather than staying separate. The permeability of the surface is called “surface tension”. Doesn’t seem like much of a story, does it? People? Water?
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Heartbeats

Characters come to life when we give them reasons to live

I demonstrated creating memorable character names in Naming Names with Lucky Jones, the one-eared wonder. If creating memorable character names were enough to make characters memorable I wouldn’t be writing this post as a follow up.

Lucky Jones became the memorable”Lucky Jones” because I gave you a reason to remember him; I placed him in a dangerous situation with obvious conflict and obvious threats:
Lucky Jones backed away from The Swede as soon as the knife came out. It didn’t matter that The Swede was as big as any Viking Jones could imagine, it mattered that the knife looked as long as a battleaxe. The Swede swung but Jones was already making for the door and the only thing The Swede caught was Jones’ ear, which the police found the next day under The Swede’s body. Albert Swanson Jones became Lucky Jones and a wanted man that same day.
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An Analysis of Richard Panek’s “Climbed a Mountain, Saw a Comet, Defined the Far Parameters of the Visible Universe”

Powerful Writing is Powerful Magic

Have you (speaking to the authors in the audience) ever encountered a piece of writing so beautiful, so evocative that it shuts down your internal editor and draws you in? So well written that it’s only after you’re deep in the middle of it you realize the effect it’s having on you and say to yourself, “I’ve got to analyze how s/he did this. This is incredible.”

So it is for me with Richard Panek‘s Climbed a Mountain, Saw a Comet, Defined the Far Parameters of the Visible Universe. I was going through old files on my computer and saw a file listed as “Example 22KB 10/21/1998 9:08:20AM”. No extension, not even a full eight character name (that indicated I probably saved it when there was an 8.3 constraint on file names (ask your grandparents if you don’t know what 8.3 means)).

this is an example of excellent writing, I think

 
I opened the file and read the first line, “this is an example of excellent writing, I think”.

Okay, the me of some twenty years ago liked this piece. Enough to save it for personal posterity.

Sometimes I amaze myself with my presaging ability.

But What Makes It So Good?
A worthy question, that.

For me, it starts with the title, “Climbed a Mountain, Saw a Comet, Defined the Far Parameters of the Visible Universe”. This is a wonderful transition from the sensory into the mythic; Climbed a Mountain, something many people have experienced first-hand or via mass media. In all cases, the familiar. Except that climbing a mountain has mythic connotations in all societies/cultures (with which I’m familiar, anyway). We climb Olympus, Asgard, Kailash, Etna, Hara Berezaiti, Taranaki, … the list is quite long, thus in the first three words the reader is given an invitation.

Saw a Comet, fewer people have first hand experience. Plus we’ve leapt from the earth to the sky, continuing our mythic journey not to mention that comets also have their place in world mythologies.

The final part, Defined the Far Parameters of the Visible Universe, combines the mythic with the sensory. We’re still going into the mythic and we’re going to get there with science, the ultimate in sensory systems because everything is measured, everything is certain, everything is explained.

Now go on to the subtitle: Just another day of the extreme science at Mauna Kea, the most breathtaking observatory in the world. The first part presents the mythic (Mauna Kea) as mundane (Just another day) with “extreme science” as the bridge, the equals sign. Imagine

mundane = mythic

and you have it, except such a concept is confusing to most people so the brain goes into acquisition mode to get rid of the confusion, your brain opens you up to the information presented in the hope that the confusion will disappear. This confusion is continued with the second part, “the most breathtaking observatory in the world”.

Consider the first paragraph, “The dormant volcano of Mauna Kea on the Big Island of Hawaii rises 13,796 feet above sea level, and then it rises a little bit more: the domes and dishes of the nine telescopes that crowd the several acres at the summit, as if straining for a better view of what’s out there. Individually, even an observatory six or eight stories tall isn’t necessarily impressive, at least not here. Each one may come as a fresh surprise as it ranges into view, a blaze of white against the deep blue of the thin atmosphere or the rich lunar gray of the volcanic soil. But in this queer landscape, where the only scale of comparison is an immense and indifferent sky, it’s in the aggregate that these structures begin to assume gargantuan proportions. Two here, three more up the road, a couple others on a distant ridge: It’s the behemoth-after-behemoth audacity that lends the observatories atop Mauna Kea their lunatic grace. They’re like an elephant graveyard: It must mean something that so many of them are here.”

  • “dormant volcano”, alias a sleeping giant.
  • “Big Island”, nice juxtaposition; volcano and big island.
  • “13,796 feet above sea level”, nice, concrete fact, something our left brains can grasp.
  • “and then it rises a little bit more”, engage the right brain again.
  • “the domes and dishes of the nine telescopes”, back to the left.
  • “crowd”, anthropomorphizing. Nice.
  • “as if straining for a better view of what’s out there”, more anthropomorphizing.

The paragraph continues blending mythic with sensory imagery and validates our confusion with the last line, “It must mean something that so many of them are here.” Panek’s writing has worked hard (albeit beautifully) to get us here, to this point, and now he’s externalizing the question we’ve been building up since we first read the title.

I’ve read through the whole article at least once recently and obviously at least once in the past. What I pick up now I may have felt but not recognized twenty years ago when I put this piece in my “Good Writing Examples” collection.

Slow down. Pay attention.

 
My immediate takeaway?

Slow down. Pay attention.

This piece (to me) gets its power because it mixes lots of sensory (what you see, what you hear, what you feel) details with lots of responses to the experiences described (the height of Mauna Kea, the domes crowding…straining to get a better view. I have no idea if Panek wrote this in one burst or it went through twenty-five rewrites before he handed it in.

I do know that right now, where I am in my writing, to write something like this I would need to slow down (I’ve slowed my typing even now, paying more attention to my intention than just getting the words down), to savor the experience I want to communicate in order to share it more fully, more completely, and that means paying attention to every detail.

Macauley and Lanning’s “Technique in Fiction”

A worthwhile read to get you to the next level regardless of what level you’re on

Nuance. Technique in Fiction is a must read because it teaches nuance.

It teaches much more. Just when I thought my brain had filled with as much technique and suggestion as possible, there’d be another bit that I had to write down and practice so I could remember it.

The basic takeaway is that authors should read this book after they’ve finished something big (novella, novel, novelette, noveletta, novina…okay, maybe not a novina) so they can figure out how to improve their writing during the rewrite/editing process. Story writers will also benefit provided they give themselves some down time between writing and editing so their minds can absorb what’s in these pages.

Great stuff!
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