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Scene Shuffle

11/5/2012

 
Imagine the power you writers have.  You can shuffle the scenes you have created like a deck of cards. In fact, you HAVE to shuffle your scenes.  Why?

We tend to be linear human beings.  If we write a memoir, we begin at what we think is the beginning of our lives. Or we start explaining who is who in a family. Then, in my long experience teaching and editing memoirs and fiction, writers often go into details about the family. Often endless details.  How much better it is to weave those family details into the body of your novel or memoir.

Around the 6th chapter, or so, more or less, of the manuscript the story starts to take off.  We are in media res - in the middle of the action.  It is in the middle of the action that our story should begin.

So take your scenes, lay them out on the floor, on a long table and shuffle them around.  See what happens.  Will you have to rewrite some transitions and some scenes? Sure.  But it will be so exciting to do it...because your work will be electric and you will feel the excitement rise within you as you see your wonderful words sparkle.

So shuffle those scenes, have some fun and your work will be even more terrific than it already is.

MEMOIR WRITING

10/19/2012

 
Last night we finished the fifth of our five sessions of Memoir 1 at the Writers' Barn in Shelburne, VT.  Seven writers unpacking their memories, finding scenes, characters, delight, sorrow, joy, laughing out loud moments in their lives that they want to share with others.

Our classes are experiential, we write/I teach and we are amazed how scenes emerge from the exercises we do.  Scenes hidden in our unconscious, filed away under "do not disturb" or "don't go there." As time goes on we learn the craft of writing, what works and more wonderful writing emerges.

It is in those tender, sometimes difficult moments, when our true voice is heard.  Sure, we want to tell others about our achievements, but it is in those tiny moments we write about that our readers resonate with our writing.  They are, what I call, universal moments. 

Universal moments when  everyone around the globe can identify with a writer's feeling expressed in a scene: the car door closing as a 12 year old child is left at a boarding school, a day in a garden then everything changes, someone uprooted from their homeland, the shock of winning something you thought was unreachable (no matter how small), war changing everything, a house holding its family close over 40 years, children of survivors who endured unimaginable terror and so much more.

As humans united through our stories, we need to hear these stories.  We need to be there in scene with the writer on that boat, in that building, in that family.  It is the writer's original voice we yearn to hear. Those stories not only unite us as part of this global experience, it gives us hope we can go on, while validating our own experience as part of our cultural story.


Elmore Leonard on Writing

7/4/2011

 
WRITERS ON WRITING; Easy on the Adverbs, Exclamation Points and Especially HooptedoodleBy ELMORE LEONARD


Published: July 16, 2001These are rules I've picked up along the way to help me remain invisible when I'm writing a book, to help me show rather than tell what's taking place in the story. If you have a facility for language and imagery and the sound of your voice pleases you, invisibility is not what you are after, and you can skip the rules. Still, you might look them over.

1. Never open a book with weather.

If it's only to create atmosphere, and not a character's reaction to the weather, you don't want to go on too long. The reader is apt to leaf ahead looking for people. There are exceptions. If you happen to be Barry Lopez, who has more ways to describe ice and snow than an Eskimo, you can do all the weather reporting you want.

2. Avoid prologues.

They can be annoying, especially a prologue following an introduction that comes after a foreword. But these are ordinarily found in nonfiction. A prologue in a novel is backstory, and you can drop it in anywhere you want.

There is a prologue in John Steinbeck's ''Sweet Thursday,'' but it's O.K. because a character in the book makes the point of what my rules are all about. He says: ''I like a lot of talk in a book and I don't like to have nobody tell me what the guy that's talking looks like. I want to figure out what he looks like from the way he talks. . . . figure out what the guy's thinking from what he says. I like some description but not too much of that. . . . Sometimes I want a book to break loose with a bunch of hooptedoodle. . . . Spin up some pretty words maybe or sing a little song with language. That's nice. But I wish it was set aside so I don't have to read it. I don't want hooptedoodle to get mixed up with the story.''

3. Never use a verb other than ''said'' to carry dialogue.

The line of dialogue belongs to the character; the verb is the writer sticking his nose in. But said is far less intrusive than grumbled, gasped, cautioned, lied. I once noticed Mary McCarthy ending a line of dialogue with ''she asseverated,'' and had to stop reading to get the dictionary.

4. Never use an adverb to modify the verb ''said'' . . .

. . . he admonished gravely. To use an adverb this way (or almost any way) is a mortal sin. The writer is now exposing himself in earnest, using a word that distracts and can interrupt the rhythm of the exchange. I have a character in one of my books tell how she used to write historical romances ''full of rape and adverbs.''

5. Keep your exclamation points under control.

You are allowed no more than two or three per 100,000 words of prose. If you have the knack of playing with exclaimers the way Tom Wolfe does, you can throw them in by the handful.

6. Never use the words ''suddenly'' or ''all hell broke loose.''

This rule doesn't require an explanation. I have noticed that writers who use ''suddenly'' tend to exercise less control in the application of exclamation points.

7. Use regional dialect, patois, sparingly.

Once you start spelling words in dialogue phonetically and loading the page with apostrophes, you won't be able to stop. Notice the way Annie Proulx captures the flavor of Wyoming voices in her book of short stories ''Close Range.''

8. Avoid detailed descriptions of characters.

Which Steinbeck covered. In Ernest Hemingway's ''Hills Like White Elephants'' what do the ''American and the girl with him'' look like? ''She had taken off her hat and put it on the table.'' That's the only reference to a physical description in the story, and yet we see the couple and know them by their tones of voice, with not one adverb in sight.

9. Don't go into great detail describing places and things.

Unless you're Margaret Atwood and can paint scenes with language or write landscapes in the style of Jim Harrison. But even if you're good at it, you don't want descriptions that bring the action, the flow of the story, to a standstill.

And finally:

10. Try to leave out the part that readers tend to skip.

A rule that came to mind in 1983. Think of what you skip reading a novel: thick paragraphs of prose you can see have too many words in them. What the writer is doing, he's writing, perpetrating hooptedoodle, perhaps taking another shot at the weather, or has gone into the character's head, and the reader either knows what the guy's thinking or doesn't care. I'll bet you don't skip dialogue.

My most important rule is one that sums up the 10.

If it sounds like writing, I rewrite it.

Or, if proper usage gets in the way, it may have to go. I can't allow what we learned in English composition to disrupt the sound and rhythm of the narrative. It's my attempt to remain invisible, not distract the reader from the story with obvious writing. (Joseph Conrad said something about words getting in the way of what you want to say.)

If I write in scenes and always from the point of view of a particular character -- the one whose view best brings the scene to life -- I'm able to concentrate on the voices of the characters telling you who they are and how they feel about what they see and what's going on, and I'm nowhere in sight.

What Steinbeck did in ''Sweet Thursday'' was title his chapters as an indication, though obscure, of what they cover. ''Whom the Gods Love They Drive Nuts'' is one, ''Lousy Wednesday'' another. The third chapter is titled ''Hooptedoodle 1'' and the 38th chapter ''Hooptedoodle 2'' as warnings to the reader, as if Steinbeck is saying: ''Here's where you'll see me taking flights of fancy with my writing, and it won't get in the way of the story. Skip them if you want.''

''Sweet Thursday'' came out in 1954, when I was just beginning to be published, and I've never forgotten that prologue.

Did I read the hooptedoodle chapters? Every word.

Writers on Writing

This article is part of a series in which writers explore literary themes. Previous contributions, including essays by John Updike, E. L. Doctorow, Ed McBain, Annie Proulx, Jamaica Kincaid, Saul Bellow and others, can be found with this article at The New York Times on the Web:

www.nytimes.com/arts





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