Showing posts with label Writing Quote. Show all posts
Showing posts with label Writing Quote. Show all posts
Wednesday, April 27, 2016
The Writer's Blessing
I'm not religious, but this seemed so very fitting for this week. I hope you have a wonderful writing week and feel free to spread the Writer's Blessing around!
Photo credit: https://www.pinterest.com/pin/476326098069733776/
Thursday, March 3, 2016
I Believe, I Believe, I Believe! (AKA Weak Words You Need To Cut Now)
You may think that your editing ceases with punctuation and passive voice. Think again. There are many writer pitfalls that are acceptable in the real world, but not so in fiction. Take a look at my compilation of weak words and phrases you need to cut from your writing right NOW to take it to the next level.
(P.S. don't know what I mean when I say passive voice? Check out this previous post.)
#1: I feel/ I believe/ I think
Reason: It Kills Tension
These are extraneous words we use in dialogue so we don't sound too arrogant on a day to day basis. Women especially have problems over using these words in writing because we're taught not to be "bossy" by our society. However, the best and most tense fiction is bossy. The reader picked up your book because they want you to be the boss of your story and to share that story with them.
Solution:
If you had: "I believe that's an excellent point"
Change it to: "That's an excellent point."
Note: The only acceptable reason I feel/ I believe/ I think should enter your word count is if it's in dialogue and it is used for characterization. So, if you're making an insecure character who is unsure about sharing her thoughts, having her constantly say I feel/ I believe/ I think would make sense. Just make sure it's done enough that it doesn't seem like a sloppy mistake.
#2: Very
Reason: Useless
Prolific author Florence King once said, "“Very” is the most useless word in the English language and can always come out. More than useless, it is treacherous because it invariably weakens what it is intended to strengthen. For example, would you rather hear the mincing shallowness of “I love you very much” or the heart-slamming intensity of “I love you”?" (http://www.goodreads.com/quotes/341956-very-is-the-most-useless-word-in-the-english-language) That sums it up nicely. "Very" not only is completely unnecessary for your fiction, but it may even lower its quality.
Solution:
You can simply cut "very" from your piece entirely like Ms. King suggests or pull out your thesaurus. Did you write "very afraid"? Switch it to "terrified". How about "very large"? Change it to "enormous".
#3: Really
Reason: Useless
So there might not be a quote with this one, but "really" falls under the same trap. It's vague and, quite frankly, doesn't serve a purpose.
Solution:
Rather than writing: "Amanda really did well in the spelling bee."
Write: "Amanda did well in the spelling bee."
Same impact, better execution.
#4: People
Reason: Vague
Could anything be more unspecific than "people"? With all the shapes, sizes, genders, races, ethnicities, and smells we come in, why confine yourself to the vaguest of vague pronouns? You can do better.
Solution:
See your scene and your characters. Rather than writing, "A person walked past the window" say "A squat man walked past the window" or "A weeping child that smelled of porridge walked past the window".
I can hear you protesting already, "I used the word 'people' because that person isn't a main or supporting character, they're just passing through." After I ask you to seriously consider why you even have this tidbit of info in your scene if that's the case (seriously. Think...), I would still implore that "people" is unacceptable. Write, "a girl walked past the window." Or "a shadow passed the window." Resorting to "people" is like saying "Shakespeare had a thing on his desk." A thing? A THING? What thing? It's distracting in its vagueness. Your readers deserve more.
Now that you're armed with the tools to cut out tension killers, as well as vague and useless words, get back to it. After you're confident seeking them out in finished work to destroy them, it'll become second nature not to use them in your first drafts as well.
(P.S. don't know what I mean when I say passive voice? Check out this previous post.)
#1: I feel/ I believe/ I think
Reason: It Kills Tension
These are extraneous words we use in dialogue so we don't sound too arrogant on a day to day basis. Women especially have problems over using these words in writing because we're taught not to be "bossy" by our society. However, the best and most tense fiction is bossy. The reader picked up your book because they want you to be the boss of your story and to share that story with them.
Solution:
If you had: "I believe that's an excellent point"
Change it to: "That's an excellent point."
Note: The only acceptable reason I feel/ I believe/ I think should enter your word count is if it's in dialogue and it is used for characterization. So, if you're making an insecure character who is unsure about sharing her thoughts, having her constantly say I feel/ I believe/ I think would make sense. Just make sure it's done enough that it doesn't seem like a sloppy mistake.
#2: Very
Reason: Useless
Prolific author Florence King once said, "“Very” is the most useless word in the English language and can always come out. More than useless, it is treacherous because it invariably weakens what it is intended to strengthen. For example, would you rather hear the mincing shallowness of “I love you very much” or the heart-slamming intensity of “I love you”?" (http://www.goodreads.com/quotes/341956-very-is-the-most-useless-word-in-the-english-language) That sums it up nicely. "Very" not only is completely unnecessary for your fiction, but it may even lower its quality.
Solution:
You can simply cut "very" from your piece entirely like Ms. King suggests or pull out your thesaurus. Did you write "very afraid"? Switch it to "terrified". How about "very large"? Change it to "enormous".
#3: Really
Reason: Useless
So there might not be a quote with this one, but "really" falls under the same trap. It's vague and, quite frankly, doesn't serve a purpose.
Solution:
Rather than writing: "Amanda really did well in the spelling bee."
Write: "Amanda did well in the spelling bee."
Same impact, better execution.
#4: People
Reason: Vague
Could anything be more unspecific than "people"? With all the shapes, sizes, genders, races, ethnicities, and smells we come in, why confine yourself to the vaguest of vague pronouns? You can do better.
Solution:
See your scene and your characters. Rather than writing, "A person walked past the window" say "A squat man walked past the window" or "A weeping child that smelled of porridge walked past the window".
I can hear you protesting already, "I used the word 'people' because that person isn't a main or supporting character, they're just passing through." After I ask you to seriously consider why you even have this tidbit of info in your scene if that's the case (seriously. Think...), I would still implore that "people" is unacceptable. Write, "a girl walked past the window." Or "a shadow passed the window." Resorting to "people" is like saying "Shakespeare had a thing on his desk." A thing? A THING? What thing? It's distracting in its vagueness. Your readers deserve more.
Now that you're armed with the tools to cut out tension killers, as well as vague and useless words, get back to it. After you're confident seeking them out in finished work to destroy them, it'll become second nature not to use them in your first drafts as well.
Wednesday, December 2, 2015
An Addition to the Books On Writing Series: BIG MAGIC
As you know from my Books On Writing post series, I read a fair share of books by famous writers talking about writing. So, when I visited my local library last week and saw Elizabeth Gilbert's new book BIG MAGIC: CREATIVE LIVING BEYOND FEAR, I just had to check it out.
Image From Amazon (Book also purchasable there): http://www.amazon.com/Big-Magic-Creative-Living-Beyond/dp/1594634718/ref=sr_1_1?ie=UTF8&qid=1449074141&sr=8-1&keywords=big+magic
However, this book wasn't the ABC XYZ step by step book on the craft that I was used to. Instead, Ms. Gilbert focuses on the most basic of building blocks upon which writing is founded - creative living. At first I though, well I don't need this, I already write and paint and draw and craft - I'm creative, dang it! I live it! But as I've read through (I'm about halfway now), I've found some helpful insight into the creative life that I've never thought of before or that I simply skipped over with tightly closed eyes.
In the "Permission" section of the book that I read last night, I found a delightfully put phrasing that applies so readily to writing and other writers.
To paraphrase the overall idea: Ms. Gilbert says that we need to defend our creative lifestyles (mostly to ourselves and our own egos) by first defining ourselves. "I'm a writer." Actually say it, out loud, to the universe. It is your proclamation of intent.
She then goes on to say:
"This proclamation of intent...is not something you can do just once and then expect miracles; it's something you must do daily, forever. I've had to keep defining and defending myself as a writer every single day of my adult life - constantly reminding and re-reminding my soul and the cosmos that I'm very serious about the business of creative living, and that I will never stop creating, no matter what the outcome, and no matter how deep my anxieties and insecurities may be." (Gilbert, pg. 95)
This paragraph is so inspiring to me because it reveals that even an extremely well known and successful author across nonfiction and fiction genres still has doubts. She still feels unsure of herself and her work. It's a feeling I'm not unfamiliar with myself.
So, whether you're just starting out as a writer and unsure you have anything new to bring to the table, or whether you're a seasoned pro unsure whether anyone wants what you've brought to the table all this time - know that your belief in yourself is enough. If you write, then you are a writer, and you deserve to be one. Your voice and your viewpoints deserve to be heard.
And just as you must dutifully work on your craft everyday, you must also affirm to yourself that you are enough in your creative life.
Go on, say it with me now:
Believe it.
PS> I highly recommend checking out BIG MAGIC by Elizabeth Gilbert when you have some time. It's definitely going into my Books On Writing category. Both newbies and vets can relate to the primal info contained in this book.
However, this book wasn't the ABC XYZ step by step book on the craft that I was used to. Instead, Ms. Gilbert focuses on the most basic of building blocks upon which writing is founded - creative living. At first I though, well I don't need this, I already write and paint and draw and craft - I'm creative, dang it! I live it! But as I've read through (I'm about halfway now), I've found some helpful insight into the creative life that I've never thought of before or that I simply skipped over with tightly closed eyes.
In the "Permission" section of the book that I read last night, I found a delightfully put phrasing that applies so readily to writing and other writers.
To paraphrase the overall idea: Ms. Gilbert says that we need to defend our creative lifestyles (mostly to ourselves and our own egos) by first defining ourselves. "I'm a writer." Actually say it, out loud, to the universe. It is your proclamation of intent.
She then goes on to say:
"This proclamation of intent...is not something you can do just once and then expect miracles; it's something you must do daily, forever. I've had to keep defining and defending myself as a writer every single day of my adult life - constantly reminding and re-reminding my soul and the cosmos that I'm very serious about the business of creative living, and that I will never stop creating, no matter what the outcome, and no matter how deep my anxieties and insecurities may be." (Gilbert, pg. 95)
This paragraph is so inspiring to me because it reveals that even an extremely well known and successful author across nonfiction and fiction genres still has doubts. She still feels unsure of herself and her work. It's a feeling I'm not unfamiliar with myself.
So, whether you're just starting out as a writer and unsure you have anything new to bring to the table, or whether you're a seasoned pro unsure whether anyone wants what you've brought to the table all this time - know that your belief in yourself is enough. If you write, then you are a writer, and you deserve to be one. Your voice and your viewpoints deserve to be heard.
And just as you must dutifully work on your craft everyday, you must also affirm to yourself that you are enough in your creative life.
Go on, say it with me now:
I AM A WRITER
Believe it.
PS> I highly recommend checking out BIG MAGIC by Elizabeth Gilbert when you have some time. It's definitely going into my Books On Writing category. Both newbies and vets can relate to the primal info contained in this book.
Tuesday, August 18, 2015
Get Up, Get Motivated, and Write
It's no secret that I am in love with Asheville, North Carolina. If you've ever checked out my Pinterest page, you know that I have an extensive board dedicated entirely to Asheville. I first visited Asheville in March of 2014, when I wrote you this post about my Southeastern vacation. And then there was this post a little over a month ago referring to my move to North Carolina.
What you may not know is that I fell so completely in love with Asheville during my 2014 trip that I (with the help of my mom) convinced my entire family to move to North Carolina with me. My grandparents went first, then finally my parents' house sold and my mom, dad, brother and I moved. However, there was one little kink in my plan: no one else loved Asheville like I did.
So, instead of moving straight to my utopia, I landed an hour and a half away in a suburb of Charlotte. It's great here, don't get me wrong - the weather is blisteringly awesome, and I'm having a lot of fun decorating my new room and taking evening trips to Charlotte - but it isn't Asheville.
When I heard that the HGTV Urban Oasis 2015 was located in Asheville, NC - my Asheville, NC! - I set a countdown widget and waited for the first day I could begin entering. Since that day, I've logged on to the Urban Oasis site everyday and entered to win my perfect dream home in my perfect dream location.
As soon as I turn my computer on - before I begin writing or blogging or searching Pinterest - I go to the site and enter myself into the drawing for the Urban Oasis.
And that routine got me thinking...what if we applied this sort of routine to writing life? If you're truly dedicated to writing, if it's what you long for and desire above everything else is to write, then why not make it the start of your day, every day?
Before you check your email - write a sentence.
Before you heat your tea - write a paragraph.
Before you walk out the door for your commute - write a phrase, a period, a word - anything!
If it's your dream, if it's something you want with all your heart, then why shouldn't you make it happen in any way that you can?
John McPhee once did an interview with The Paris Review where he said,
"put a drop in a bucket every day, after three hundred and sixty-five days, the bucket's going to have some water in it."
Writing takes dedication and motivation. It takes getting up early and staying up way too late. Sometimes, it takes sneaking a sentence in here and there whenever you can, just so you can move that story farther along.
But the more you do it, the more it repays you. In the end you could have a wonderful piece that's ready for publication. You could have a whole novel or an epic poem. You could be walking away with your own dream house.
What you may not know is that I fell so completely in love with Asheville during my 2014 trip that I (with the help of my mom) convinced my entire family to move to North Carolina with me. My grandparents went first, then finally my parents' house sold and my mom, dad, brother and I moved. However, there was one little kink in my plan: no one else loved Asheville like I did.
So, instead of moving straight to my utopia, I landed an hour and a half away in a suburb of Charlotte. It's great here, don't get me wrong - the weather is blisteringly awesome, and I'm having a lot of fun decorating my new room and taking evening trips to Charlotte - but it isn't Asheville.
When I heard that the HGTV Urban Oasis 2015 was located in Asheville, NC - my Asheville, NC! - I set a countdown widget and waited for the first day I could begin entering. Since that day, I've logged on to the Urban Oasis site everyday and entered to win my perfect dream home in my perfect dream location.
As soon as I turn my computer on - before I begin writing or blogging or searching Pinterest - I go to the site and enter myself into the drawing for the Urban Oasis.
And that routine got me thinking...what if we applied this sort of routine to writing life? If you're truly dedicated to writing, if it's what you long for and desire above everything else is to write, then why not make it the start of your day, every day?
Before you check your email - write a sentence.
Before you heat your tea - write a paragraph.
Before you walk out the door for your commute - write a phrase, a period, a word - anything!
If it's your dream, if it's something you want with all your heart, then why shouldn't you make it happen in any way that you can?
John McPhee once did an interview with The Paris Review where he said,
"put a drop in a bucket every day, after three hundred and sixty-five days, the bucket's going to have some water in it."
Writing takes dedication and motivation. It takes getting up early and staying up way too late. Sometimes, it takes sneaking a sentence in here and there whenever you can, just so you can move that story farther along.
But the more you do it, the more it repays you. In the end you could have a wonderful piece that's ready for publication. You could have a whole novel or an epic poem. You could be walking away with your own dream house.
Tuesday, May 26, 2015
Inspiration Knocking
I hope you participated in the Challenge Post from last week and submitted a new piece of writing for publication. If you did (heck, even if you didn't), you probably need some new inspiration right about now.
Struggling to find a topic for your next poem? Don't have enough tension to sustain your short story? Stuck in the middle of your novel-in-progress?
Calling inspiration!
Image from: https://www.pinterest.com/pin/476326098064397728/
Really, just as Oscar Wilde said, inspiration isn't as illusive as our writer brain makes us think.
There are poems about cats like Christopher Smart's "For I Will Consider My Cat Jeoffry". Poems about jobs (like pet sitting) in Cristin O'Keefe Aptowicz's "things that happen during pet sitting...". Poems about standing in line like Robert Funge's "A Starbucks Romance". Poems about catalogs like Philip A. Waterhouse's "Castlekeep".
Really, anything in our daily lives, when seen through an artistic eye, can be made into something extraordinary.
Did you once have hiccups for three days straight? Write an essay about it.
Did you watch grazing deer out your window while washing dishes? Make it into a poem.
Did you hear a strange conversation while sitting in your cafe booth during breakfast? Use it in a novel chapter.
Anything - literally anything - can be the inspiration for your next writing project. Take it from Orson Scott Card...
Image From: https://www.pinterest.com/pin/476326098064894077/
Struggling to find a topic for your next poem? Don't have enough tension to sustain your short story? Stuck in the middle of your novel-in-progress?
Calling inspiration!
Really, just as Oscar Wilde said, inspiration isn't as illusive as our writer brain makes us think.
There are poems about cats like Christopher Smart's "For I Will Consider My Cat Jeoffry". Poems about jobs (like pet sitting) in Cristin O'Keefe Aptowicz's "things that happen during pet sitting...". Poems about standing in line like Robert Funge's "A Starbucks Romance". Poems about catalogs like Philip A. Waterhouse's "Castlekeep".
Really, anything in our daily lives, when seen through an artistic eye, can be made into something extraordinary.
Did you once have hiccups for three days straight? Write an essay about it.
Did you watch grazing deer out your window while washing dishes? Make it into a poem.
Did you hear a strange conversation while sitting in your cafe booth during breakfast? Use it in a novel chapter.
Anything - literally anything - can be the inspiration for your next writing project. Take it from Orson Scott Card...
Tuesday, April 14, 2015
Pins Around!
Have you been following the Writing board on my Pinterest? This one. Have you? No? Really?
Here's what you're missing out on.
1. Reasons why writers are ninjas-
Here's what you're missing out on.
1. Reasons why writers are ninjas-
2. Practical snippets on character development-
3. Amazingly insightful rewriting tips-
4. Analogies, similes, and metaphors-
5. And the all important writer-funnies-
So what are you waiting for? Go check it out!
And if you ever find a great image or pin or quote I need to know about, don't be afraid to share it with me either directly on Pinterest or through the comments of this blog.
Tuesday, March 3, 2015
New Writing Inspiration Board
Have you guys been on Pinterest lately? As you know, I'm a self-professed Pinterest junkie. I have the app on my phone which only enables me to use it more often.
Because of this I've started a new Writing Board.
I'll have a plethora of different images and links there. From inspirational quotes, to photos of people writing *in the wild*, to writing prompts, and word charts. If it inspires, motivates, or makes me laugh, and relates to writing, it'll be on there.
So what are you waiting for? Go check it out: https://www.pinterest.com/alyssanedbal/writing/
If you haven't clicked the link above, and still need some convincing, here's a few examples of pins on my Writing Board. I promise there are more where these came from.
Because of this I've started a new Writing Board.
I'll have a plethora of different images and links there. From inspirational quotes, to photos of people writing *in the wild*, to writing prompts, and word charts. If it inspires, motivates, or makes me laugh, and relates to writing, it'll be on there.
So what are you waiting for? Go check it out: https://www.pinterest.com/alyssanedbal/writing/
If you haven't clicked the link above, and still need some convincing, here's a few examples of pins on my Writing Board. I promise there are more where these came from.
Happy Pinning ..... ahem...... I mean, Writing. :)
Tuesday, February 17, 2015
Books That Inspired Me To Write: The Amazing, The Terrible, and The Oh Hell No
Throughout the years I've read many books that are amazing and great for countless reasons. Books that I adore. Ones that force me to start devoted Pinterest boards, draw the main characters, or collect their overpriced action figures.
I've also run into a grand number of books that are terrible. These can be just as inspiring as the great books - some even more so. By reading the terrible books - even when I wanted to stop - I learned what NOT to do in my writing. I learned exactly what I didn't want readers to think while they read my stories. I understood how important amazing writing needs to be before a book is published.
For example: passive language needs to be eliminated whenever possible, but when the writer doesn't know this and the editor lets it go, rampant passive language is excruciating to deal with.
Also, description can bring the reader into the story in great depth. The correct type of detail in the correct way can make a story magical and transcend the page. However, overly excessive detail or a lack of description all together both make the reader confused and frustrate that reader to no end.
So, I've found that it's important to read both the good, the bad, and the those books you grip so tightly in your hands, you think you're going to tear the binding because they're so painfully horrible.
This brings me to the next book that inspired me to write. Mrs. Dalloway by Virginia Woolf.
I started Mrs. Dalloway with high hopes. I knew that this book was revered amongst the literary community for having some of the best writing and language around. It was known not only as a great book but as a true work of art. These praises got me so excited and ramped up to read that by the time the book arrived in the mail, I had convinced myself I loved it.
Unfortunately, that was not the case.
I found the stream of consciousness narration to be confusing at best. The descriptions were muddled by interjecting thoughts - most of them half unfinished - the punctuation was weird, and the story jumped around between the points of view of Clarissa Dalloway, Peter Walsh, and Septimus Warren Smith. When more than one character was in the same room, it was difficult to decipher who was thinking what.
I ended the novel in a state of slightly angry confusion. How was this book supposed to make any sense at all? If it didn't make sense, why was it called beautiful - a work of art?
I would have dropped the book then, giving it a lower than low score in my mind if not for one roadblock: Mrs. Dalloway was a book assigned by my AP English class. I had a 25% grade weighted essay to write about it. I couldn't give up now or risk something lower than an A in English class.
So I read it again.
And it still didn't make any more sense.
I was nearly in tears over this book because it was so terrible and I needed to understand it so badly.
But then I found another book:
Mrs. Dalloway: Mapping Streams of Consciousness by David Dowling was published in 1991. I found it in 2012, but it had such an impact on me that I can't sing its praises enough. Suddenly, through his even and steady breakdowns and comparisons, I was able to understand the events of Mrs. Dalloway. I was able to literally "map the streams of consciousness" from Woolf's many characters. I understood their motivations and their desires. I understood what made them tick.
I read through Mrs. Dalloway again and saw it for what it truly was: one of the best books I've ever read. A true masterpiece of twentieth century art.
Mrs. Dalloway (accompanied by Dowling's amazing analysis) was the first book I learned to love slowly. It was the first time my opinion on a literary work changed over time. Unlike The Stranger, which I viewed as a favorite from my first read-through, Mrs. Dalloway grew out of an understanding of the author, her art, and her experimentation with form.
Above all, Mrs. Dalloway taught me that literature could be thought-provoking as well as entertaining. It taught me that not all novels are meant to be gobbled down in one bite. It taught me that sometimes I needed to slow my pace and truly savor a great work of art.
Mrs. Dalloway also taught me one of my most important literary lessons: Metaphors.
Prior to reading Woolf, I had mastered the simile and thought that I was pretty great at metaphor too. But after reading, I knew I hadn't even scratched the surface of metaphor's potential.
One of my favorite Mrs. Dalloway metaphors (and one that hit me with so much impact, I'm surprised I missed it the first ten times I read through the novel) comes near the end of the novel.
NOTE****passage below contains plot spoilers****
After Septimus commits suicide, Clarissa Dalloway looks out her window. She has been contemplating death throughout the novel and hearing of Septimus' suicide she thinks, "...the sky. It will be a solemn sky, she had thought, it will be a dusky sky, turning away its cheek in beauty. But there it was - ashen pale, raced over quickly by tapering vast clouds."
In Clarissa's moment of illumination she stops constantly worrying about death. She is able to let go of her fears and live in the present once again.
Then, on the last page, Clarissa's former lover Peter sees her at her party. He thinks, "It is Clarissa, he said. For there she was."
This is the last line of the novel. Until truly understanding Woolf's mastery of metaphor, I thought the piece unfinished. But now, I see it as it truly is, a wonder of craft and emotion. In just four simple words, Woolf conveys to the audience that Clarissa is a changed woman. From her view of the sky to Peter's finally seeing her for the woman she is now, "For there she was" and "But there it was" is so powerful and wonderfully complete, it catapulted Mrs. Dalloway into a spot of love in my heart.
****spoilers over****
After already deciding that I was going to be a writer in every sense of the word and action, it was Mrs. Dalloway that was my first literary breakthrough. I understood the benefits of experimental fiction. I fully grasped the importance of metaphor, and I learned that not everything I saw at first light is going to stay that way.
I guess, in a roundabout way, it was comprehending Mrs. Dalloway that gave me the courage to start major revisions on works that truly needed it. Woolf was the one who showed me my work could and should be better if I only lost my fear of making it worse.
Photo Credits are both from Amazon.com
Mrs. Dalloway: http://www.amazon.com/Mrs-Dalloway-Virginia-Woolf/dp/0156628708/ref=sr_1_1?ie=UTF8&qid=1424192309&sr=8-1&keywords=mrs+dalloway+virginia+woolf
Mrs. Dalloway: Mapping Streams of Consciousness: http://www.amazon.com/Mrs-Dalloway-Mapping-Streams-Consciousness/dp/080579414X/ref=sr_1_1?ie=UTF8&qid=1424193628&sr=8-1&keywords=mapping+streams+of+consciousness
I've also run into a grand number of books that are terrible. These can be just as inspiring as the great books - some even more so. By reading the terrible books - even when I wanted to stop - I learned what NOT to do in my writing. I learned exactly what I didn't want readers to think while they read my stories. I understood how important amazing writing needs to be before a book is published.
For example: passive language needs to be eliminated whenever possible, but when the writer doesn't know this and the editor lets it go, rampant passive language is excruciating to deal with.
Also, description can bring the reader into the story in great depth. The correct type of detail in the correct way can make a story magical and transcend the page. However, overly excessive detail or a lack of description all together both make the reader confused and frustrate that reader to no end.
So, I've found that it's important to read both the good, the bad, and the those books you grip so tightly in your hands, you think you're going to tear the binding because they're so painfully horrible.
This brings me to the next book that inspired me to write. Mrs. Dalloway by Virginia Woolf.
I started Mrs. Dalloway with high hopes. I knew that this book was revered amongst the literary community for having some of the best writing and language around. It was known not only as a great book but as a true work of art. These praises got me so excited and ramped up to read that by the time the book arrived in the mail, I had convinced myself I loved it.
Unfortunately, that was not the case.
I found the stream of consciousness narration to be confusing at best. The descriptions were muddled by interjecting thoughts - most of them half unfinished - the punctuation was weird, and the story jumped around between the points of view of Clarissa Dalloway, Peter Walsh, and Septimus Warren Smith. When more than one character was in the same room, it was difficult to decipher who was thinking what.
I ended the novel in a state of slightly angry confusion. How was this book supposed to make any sense at all? If it didn't make sense, why was it called beautiful - a work of art?
I would have dropped the book then, giving it a lower than low score in my mind if not for one roadblock: Mrs. Dalloway was a book assigned by my AP English class. I had a 25% grade weighted essay to write about it. I couldn't give up now or risk something lower than an A in English class.
So I read it again.
And it still didn't make any more sense.
I was nearly in tears over this book because it was so terrible and I needed to understand it so badly.
But then I found another book:
Mrs. Dalloway: Mapping Streams of Consciousness by David Dowling was published in 1991. I found it in 2012, but it had such an impact on me that I can't sing its praises enough. Suddenly, through his even and steady breakdowns and comparisons, I was able to understand the events of Mrs. Dalloway. I was able to literally "map the streams of consciousness" from Woolf's many characters. I understood their motivations and their desires. I understood what made them tick.
I read through Mrs. Dalloway again and saw it for what it truly was: one of the best books I've ever read. A true masterpiece of twentieth century art.
Mrs. Dalloway (accompanied by Dowling's amazing analysis) was the first book I learned to love slowly. It was the first time my opinion on a literary work changed over time. Unlike The Stranger, which I viewed as a favorite from my first read-through, Mrs. Dalloway grew out of an understanding of the author, her art, and her experimentation with form.
Above all, Mrs. Dalloway taught me that literature could be thought-provoking as well as entertaining. It taught me that not all novels are meant to be gobbled down in one bite. It taught me that sometimes I needed to slow my pace and truly savor a great work of art.
Mrs. Dalloway also taught me one of my most important literary lessons: Metaphors.
Prior to reading Woolf, I had mastered the simile and thought that I was pretty great at metaphor too. But after reading, I knew I hadn't even scratched the surface of metaphor's potential.
One of my favorite Mrs. Dalloway metaphors (and one that hit me with so much impact, I'm surprised I missed it the first ten times I read through the novel) comes near the end of the novel.
NOTE****passage below contains plot spoilers****
After Septimus commits suicide, Clarissa Dalloway looks out her window. She has been contemplating death throughout the novel and hearing of Septimus' suicide she thinks, "...the sky. It will be a solemn sky, she had thought, it will be a dusky sky, turning away its cheek in beauty. But there it was - ashen pale, raced over quickly by tapering vast clouds."
In Clarissa's moment of illumination she stops constantly worrying about death. She is able to let go of her fears and live in the present once again.
Then, on the last page, Clarissa's former lover Peter sees her at her party. He thinks, "It is Clarissa, he said. For there she was."
This is the last line of the novel. Until truly understanding Woolf's mastery of metaphor, I thought the piece unfinished. But now, I see it as it truly is, a wonder of craft and emotion. In just four simple words, Woolf conveys to the audience that Clarissa is a changed woman. From her view of the sky to Peter's finally seeing her for the woman she is now, "For there she was" and "But there it was" is so powerful and wonderfully complete, it catapulted Mrs. Dalloway into a spot of love in my heart.
****spoilers over****
After already deciding that I was going to be a writer in every sense of the word and action, it was Mrs. Dalloway that was my first literary breakthrough. I understood the benefits of experimental fiction. I fully grasped the importance of metaphor, and I learned that not everything I saw at first light is going to stay that way.
I guess, in a roundabout way, it was comprehending Mrs. Dalloway that gave me the courage to start major revisions on works that truly needed it. Woolf was the one who showed me my work could and should be better if I only lost my fear of making it worse.
Photo Credits are both from Amazon.com
Mrs. Dalloway: http://www.amazon.com/Mrs-Dalloway-Virginia-Woolf/dp/0156628708/ref=sr_1_1?ie=UTF8&qid=1424192309&sr=8-1&keywords=mrs+dalloway+virginia+woolf
Mrs. Dalloway: Mapping Streams of Consciousness: http://www.amazon.com/Mrs-Dalloway-Mapping-Streams-Consciousness/dp/080579414X/ref=sr_1_1?ie=UTF8&qid=1424193628&sr=8-1&keywords=mapping+streams+of+consciousness
Tuesday, February 10, 2015
Books That Inspired Me To Write: The Exact Moment I Became a Writer
Since childhood is so fundamentally important to a person (and a writer's) later life, I'm going to detail one more book series that inspired me during my fundamental years.
Junie B. Jones by Barbara Park were the first books I loved that not only had a female author, but a female protagonist. Junie B. didn't have magic powers, wasn't orphaned, and went to regular 8-3 school. In short, she was a lot like me. Plus, she was hilarious.
Junie B. Jones taught me that my life could be funny and fascinating and captivating too, even without magic wands or monsters. She taught me that I was strong enough to create a story (and a series of them!) using only the tools I had within my grasp. It was the first time I liked to "write what I knew".
She also taught me that my point of view mattered. She was the one who taught me that if I saw the world a little differently, I wasn't weird, I was creative. Being unique was a good thing, no matter what my peers said. Finally, I was confident enough not to react to every situation the way everyone else did. I could have my own opinion and my own way to problem solve, and it was perfectly alright.
So, in a way, Junie B. not only became an inspiration for my writing, but for me as a person.
Wow, this series is getting deep.....
While we're on a roll, let's not stop there. The next book that inspired me to be a writer was one I read, ensue dramatic music, in school.
From the moment I entered high school, I was in the advanced English program. I tested immediately out of all grammar classes and was thrown into class with the sophomores. I only went on from there, taking Advanced English 10, Advanced English 11, and then the final class, AP English 12.
Within those classes, I found some books I was surprised I loved: Frankenstein by Mary Shelley, Catch 22 by Joseph Heller, and The Catcher in the Rye by J.D. Salinger, and The Merchant of Venice by William Shakespeare. However, above and beyond them all, my favorite find was The Stranger by Albert Camus.
Camus was my first introduction into true literary fiction. To this day, if you were to ask me, The Stranger would land in my top 3 favorite books of all time. And Camus would be up there with JK in my favorite author category.
Here's why it inspired me so:
First, this was the book that I truly realized the perfect beginning and ending mattered more than perhaps anything else in between. We've talked about how hard it is to begin a story on this blog before. We've talked about the need for perfect beginnings. Ends are just as, if not more, important than that.
But I never truly understood that until I read The Stranger.
The first two sentences of this novel read as follows:
"Mother died today. Or maybe yesterday; I can't be sure."
It's a simple beginning, but one that holds infinite amount of information. In one moment we're aware of just who the protagonist is. We understand what he thinks and feels. The characterization is breathtaking. We also know the setting of the first scene (a funeral). But perhaps the most important piece of information from the beginning is the reader's understanding that the protagonist is going to give what information he likes in the way he sees fit. He's unreliable for a complete, unbiased picture.
The end, I can't possibly do justice with a single quote. You must read it.
Seriously.
Read it.
Find it now.
I'll wait.
Go to the library if you must.
Okay. Back?
The end of The Stranger is so amazingly fitting for the protagonist that it takes my breath away. It was the first time in my life that I read a story and didn't long for less or more. As a reader, I was fulfilled. The catharsis was PERFECT. As a writer, I was inspired to do that much justice to the books I wrote.
Second, The Stranger by Camus was very much in line with what Junie B. and Barbara Park had taught me earlier in life. In The Stranger, the reader literally follows the protagonist around his daily routine for much of the first half of the book before the murder. Like Junie B., I learned that the mundane events of life could be captivating to an audience when written correctly.
But most importantly, these books taught me I could steal.
Yes, steal.
As in theft.
You've heard that all good writers steal, right? It's common knowledge and a famous quote. But I didn't know it until reading The Stranger. Perhaps it was the combination of mundane events with truly superb writing, but The Stranger taught me that I needn't come up with every snippet of dialogue or every metaphor, simile, and descriptive passage on a whim. I could steal the words of my family and friends, or the beautiful things I heard others talking about in coffee shops. My everyday life was lifted and used in my writing.
I started surrounding myself only with those people I truly connected with. My time went into friends who were funny, poignant, or had interesting POV's on the world.
Suddenly, my everyday life wasn't just lived to get me through - you know, eating, reading, sleeping, repeat - but as a true writer. Everything I did could be applied to my writing. Every conversation I had was free game. Every event I went to or new experience I acquired was cataloged for future use. It was after reading The Stranger that I definitively remember deciding my whole life was to be used for writing. Not just scribbling down stories but the true writing process. Every molecule and atom within me was charged.
It was that moment I became and could seriously claim myself a writer.
It wasn't by chance or grace. It was a decision.
And I've never looked back.
Photo credits both come from Amazon.com today. You can buy these books there, too.
Junie B. Jones: http://www.amazon.com/Junie-First-Grader-Last-Jones/dp/0375815163/ref=sr_1_1?ie=UTF8&qid=1423587946&sr=8-1&keywords=junie+b+jones+first+grader
The Stranger: http://www.amazon.com/Stranger-Albert-Camus/dp/0679720200/ref=sr_1_1?ie=UTF8&qid=1423588541&sr=8-1&keywords=the+stranger+albert+camus
Junie B. Jones by Barbara Park were the first books I loved that not only had a female author, but a female protagonist. Junie B. didn't have magic powers, wasn't orphaned, and went to regular 8-3 school. In short, she was a lot like me. Plus, she was hilarious.
Junie B. Jones taught me that my life could be funny and fascinating and captivating too, even without magic wands or monsters. She taught me that I was strong enough to create a story (and a series of them!) using only the tools I had within my grasp. It was the first time I liked to "write what I knew".
She also taught me that my point of view mattered. She was the one who taught me that if I saw the world a little differently, I wasn't weird, I was creative. Being unique was a good thing, no matter what my peers said. Finally, I was confident enough not to react to every situation the way everyone else did. I could have my own opinion and my own way to problem solve, and it was perfectly alright.
So, in a way, Junie B. not only became an inspiration for my writing, but for me as a person.
Wow, this series is getting deep.....
While we're on a roll, let's not stop there. The next book that inspired me to be a writer was one I read, ensue dramatic music, in school.
From the moment I entered high school, I was in the advanced English program. I tested immediately out of all grammar classes and was thrown into class with the sophomores. I only went on from there, taking Advanced English 10, Advanced English 11, and then the final class, AP English 12.
Within those classes, I found some books I was surprised I loved: Frankenstein by Mary Shelley, Catch 22 by Joseph Heller, and The Catcher in the Rye by J.D. Salinger, and The Merchant of Venice by William Shakespeare. However, above and beyond them all, my favorite find was The Stranger by Albert Camus.
Camus was my first introduction into true literary fiction. To this day, if you were to ask me, The Stranger would land in my top 3 favorite books of all time. And Camus would be up there with JK in my favorite author category.
Here's why it inspired me so:
First, this was the book that I truly realized the perfect beginning and ending mattered more than perhaps anything else in between. We've talked about how hard it is to begin a story on this blog before. We've talked about the need for perfect beginnings. Ends are just as, if not more, important than that.
But I never truly understood that until I read The Stranger.
The first two sentences of this novel read as follows:
"Mother died today. Or maybe yesterday; I can't be sure."
It's a simple beginning, but one that holds infinite amount of information. In one moment we're aware of just who the protagonist is. We understand what he thinks and feels. The characterization is breathtaking. We also know the setting of the first scene (a funeral). But perhaps the most important piece of information from the beginning is the reader's understanding that the protagonist is going to give what information he likes in the way he sees fit. He's unreliable for a complete, unbiased picture.
The end, I can't possibly do justice with a single quote. You must read it.
Seriously.
Read it.
Find it now.
I'll wait.
Go to the library if you must.
Okay. Back?
The end of The Stranger is so amazingly fitting for the protagonist that it takes my breath away. It was the first time in my life that I read a story and didn't long for less or more. As a reader, I was fulfilled. The catharsis was PERFECT. As a writer, I was inspired to do that much justice to the books I wrote.
Second, The Stranger by Camus was very much in line with what Junie B. and Barbara Park had taught me earlier in life. In The Stranger, the reader literally follows the protagonist around his daily routine for much of the first half of the book before the murder. Like Junie B., I learned that the mundane events of life could be captivating to an audience when written correctly.
But most importantly, these books taught me I could steal.
Yes, steal.
As in theft.
You've heard that all good writers steal, right? It's common knowledge and a famous quote. But I didn't know it until reading The Stranger. Perhaps it was the combination of mundane events with truly superb writing, but The Stranger taught me that I needn't come up with every snippet of dialogue or every metaphor, simile, and descriptive passage on a whim. I could steal the words of my family and friends, or the beautiful things I heard others talking about in coffee shops. My everyday life was lifted and used in my writing.
I started surrounding myself only with those people I truly connected with. My time went into friends who were funny, poignant, or had interesting POV's on the world.
Suddenly, my everyday life wasn't just lived to get me through - you know, eating, reading, sleeping, repeat - but as a true writer. Everything I did could be applied to my writing. Every conversation I had was free game. Every event I went to or new experience I acquired was cataloged for future use. It was after reading The Stranger that I definitively remember deciding my whole life was to be used for writing. Not just scribbling down stories but the true writing process. Every molecule and atom within me was charged.
It was that moment I became and could seriously claim myself a writer.
It wasn't by chance or grace. It was a decision.
And I've never looked back.
Photo credits both come from Amazon.com today. You can buy these books there, too.
Junie B. Jones: http://www.amazon.com/Junie-First-Grader-Last-Jones/dp/0375815163/ref=sr_1_1?ie=UTF8&qid=1423587946&sr=8-1&keywords=junie+b+jones+first+grader
The Stranger: http://www.amazon.com/Stranger-Albert-Camus/dp/0679720200/ref=sr_1_1?ie=UTF8&qid=1423588541&sr=8-1&keywords=the+stranger+albert+camus
Tuesday, September 23, 2014
An Important Blog Update
Hi All!
You know that recently I've had my share of time being under the weather. What you might not have known is that this has been an ongoing issue in my life for the past 8 years.
Next week, I will be traveling to a larger city and better hospital to hopefully get a diagnosis and treatment plan so I can go back to my regular writing schedule and happy-go-lucky self. I am sharing this information with you because it may impact my ability to garner new posts every Tuesday for an indeterminate amount of time. Next Tuesday, especially, is the first day of my appointments. While the hotel I am staying at has Wi-Fi, I'm not sure if I'll remember or be up to blogging.
Know this, I will try my hardest to stay on schedule for you guys. I have made this commitment to myself and to you and I will not break it without a fight. But life doesn't always go smoothly, so I wanted to warn you all in advance that posting may be sporadic for the coming weeks, or sometimes, nonexistent.
But don't fret! In the meantime, let me share with you a few of my favorite writer-geared email subscriptions that you can check out.
First, Dictionary.com's Word of the Day. I chose this subscription because we've recently been talking about diction. It is also a fun way to learn archaic or quirky words to share with your friends.
What happens: Every day, Dictionary.com emails you a new word with a definition, the origin, and that word used in context. If you're not up to subscribing to the free email subscription, you can also check out the Word of the Day on their website. To discover the Word of the Day, go here.
Next, The Ripples Project is something I learned about two years ago when Paul (the founder) spoke at my college orientation. His emails filled with inspiration and quotes come out every Monday morning (when you need the push to get through your week). The quotes are awesome for writers to know and most often make you leave feeling all warm and fuzzy inside.
What happens: Every Monday, a new Ripple appears in your inbox. They all have themes that then include a short quote, long quote, and inspirational message from Paul the Ripples Guy himself. To sign up for Ripples, go here.
Hopefully these email subscriptions will keep you inspired to write, even if I fail to offer a new post every week until my health is back on track.
And remember: Write Every Day: even if it's simply a sentence, a word, or a punctuation mark. You are the only one who can write your book. You are the only one who will.
You know that recently I've had my share of time being under the weather. What you might not have known is that this has been an ongoing issue in my life for the past 8 years.
Next week, I will be traveling to a larger city and better hospital to hopefully get a diagnosis and treatment plan so I can go back to my regular writing schedule and happy-go-lucky self. I am sharing this information with you because it may impact my ability to garner new posts every Tuesday for an indeterminate amount of time. Next Tuesday, especially, is the first day of my appointments. While the hotel I am staying at has Wi-Fi, I'm not sure if I'll remember or be up to blogging.
Know this, I will try my hardest to stay on schedule for you guys. I have made this commitment to myself and to you and I will not break it without a fight. But life doesn't always go smoothly, so I wanted to warn you all in advance that posting may be sporadic for the coming weeks, or sometimes, nonexistent.
But don't fret! In the meantime, let me share with you a few of my favorite writer-geared email subscriptions that you can check out.
First, Dictionary.com's Word of the Day. I chose this subscription because we've recently been talking about diction. It is also a fun way to learn archaic or quirky words to share with your friends.
What happens: Every day, Dictionary.com emails you a new word with a definition, the origin, and that word used in context. If you're not up to subscribing to the free email subscription, you can also check out the Word of the Day on their website. To discover the Word of the Day, go here.
Next, The Ripples Project is something I learned about two years ago when Paul (the founder) spoke at my college orientation. His emails filled with inspiration and quotes come out every Monday morning (when you need the push to get through your week). The quotes are awesome for writers to know and most often make you leave feeling all warm and fuzzy inside.
What happens: Every Monday, a new Ripple appears in your inbox. They all have themes that then include a short quote, long quote, and inspirational message from Paul the Ripples Guy himself. To sign up for Ripples, go here.
Hopefully these email subscriptions will keep you inspired to write, even if I fail to offer a new post every week until my health is back on track.
And remember: Write Every Day: even if it's simply a sentence, a word, or a punctuation mark. You are the only one who can write your book. You are the only one who will.
Tuesday, September 9, 2014
Pinterest Will Heal Me...Right?
I've been a little under the weather these past few days, and so this week's blog post is going to be short and sweet (like my writing time lately). To keep you going, even when you can't type or sit up straight, here's a quote.
I found it, where else? Pinterest. http://www.pinterest.com/pin/476326098062726632/
Happy Writing!
Happy Writing!
Tuesday, June 24, 2014
A Bird Just Hit My Window -- Is That My Hogwarts Letter?!?
I'm still getting ready to shop my YA novel around, and have subsequently used my (non-existent) free time to start another YA novel that I'm obsessed with writing, but can donate only about 20 minutes to per day. So frustrating. This time has been shortened by extra work hours, summer, and the fact that Harry Potter Diagon Alley just opened in Universal Orlando and I've been fan girling hard.
So, here's a quote I found on Pinterest from one of the greatest thinkers and the owner of the most popular theme park in this country: Walk Disney.
So, here's a quote I found on Pinterest from one of the greatest thinkers and the owner of the most popular theme park in this country: Walk Disney.
Now, please excuse me while I read all 7 Harry Potter books (again), marathon watch all 8 movies (again), and then skip my happy butt all the way to Florida (eventually). No worries, man.
Tuesday, March 18, 2014
The Art of the Short Story vs. The Art of the Novel
I have safely returned to my frozen Wisconsin wasteland. It was a balmy -30 when I landed and now is slightly warmer - warm enough to produce a 5-8" snowstorm over the next two days. If nothing, the cold weather forces me to be dormant and work on my writing.
It also forces me to have extended Facebook or text conversations with old friends. Yesterday, I was speaking with a friend of mine who was just accepted into an MFA program for fiction writing. I asked if she was excited and she said yes, but no. Throughout her undergrad experience, she wrote short stories, then created a portfolio of short stories to get into the MFA program. Now, she learned that the extent of her MFA program would be writing, critiquing, and perfecting even more short stories.
"Don't get me wrong, I want to write fiction, but I want to write a novel. Short stories aren't my calling," she told me via technology. "I read this article that said writing a short story is like making a row boat, whereas writing a novel is like building a yacht. You can't build a yacht by building thousands of rowboats."
She didn't remember who wrote the article or where she read it, but the quote stuck with us both. Writing a short story - from the plot to the character development - is a completely different world from writing a novel. That's why I enjoy the "novel writing" seminars I attend over the "short story seminars". Though both can help you tame your craft, you have to pursue what you love. You don't see poets in forestry class, or painters spinning at the ceramics wheel. You have to follow your calling. If you want to write short stories, take the MFA classes and become a short story master. If you want to write novels, then find a writing group and novel writing seminars that most often take place over a span of weekends or at a month-long retreat.
Just as we understand the difference in craft between clay and oil paint, it's about time we start realizing that not all fiction is identical. It takes different abilities and techniques to write short stories than it does to write novels.
My advice to my friend as well as to you, blog reader and fellow scribe, is to follow your heart. Don't worry about the professors telling you you won't go anywhere without an MFA. Don't worry if everyone else is singing up for the Carver-esque class. If you want to be the next Grisham or Patterson, write your novel. Read more novels and find the correct classes for you.
It also forces me to have extended Facebook or text conversations with old friends. Yesterday, I was speaking with a friend of mine who was just accepted into an MFA program for fiction writing. I asked if she was excited and she said yes, but no. Throughout her undergrad experience, she wrote short stories, then created a portfolio of short stories to get into the MFA program. Now, she learned that the extent of her MFA program would be writing, critiquing, and perfecting even more short stories.
"Don't get me wrong, I want to write fiction, but I want to write a novel. Short stories aren't my calling," she told me via technology. "I read this article that said writing a short story is like making a row boat, whereas writing a novel is like building a yacht. You can't build a yacht by building thousands of rowboats."
She didn't remember who wrote the article or where she read it, but the quote stuck with us both. Writing a short story - from the plot to the character development - is a completely different world from writing a novel. That's why I enjoy the "novel writing" seminars I attend over the "short story seminars". Though both can help you tame your craft, you have to pursue what you love. You don't see poets in forestry class, or painters spinning at the ceramics wheel. You have to follow your calling. If you want to write short stories, take the MFA classes and become a short story master. If you want to write novels, then find a writing group and novel writing seminars that most often take place over a span of weekends or at a month-long retreat.
Just as we understand the difference in craft between clay and oil paint, it's about time we start realizing that not all fiction is identical. It takes different abilities and techniques to write short stories than it does to write novels.
My advice to my friend as well as to you, blog reader and fellow scribe, is to follow your heart. Don't worry about the professors telling you you won't go anywhere without an MFA. Don't worry if everyone else is singing up for the Carver-esque class. If you want to be the next Grisham or Patterson, write your novel. Read more novels and find the correct classes for you.
Tuesday, February 18, 2014
Books on Writing Part 4
This week's book on writing comes from current literary agent Donald Maass. It gives a unique look at writing from a commercial aspect. Donald Maass is still a working literary agent (who is also seeking clients at his agency, Donald Maass Literary Agency).
Today, I'm talking specifically about one of his many books, The Fire in Fiction by Donald Maass.
The Fire in Fiction talks about writing specifically for publication. So, if you're not looking to be commercially published, this may not be the book for you. Donald Maass offers a unique agent perspective that is coveted by writers racking up rejections. He delves deeply into many issues including character, tension, voice and the story world. What I really loved about this book was Maass' ability to talk about all aspects of an issue. For example, he doesn't merely bottle character into a single quote of knowledge, he gives the writer options like Special Characters (ex. Superman), Ordinary Characters (ex. Average Joe), and the Antagonist (ex. inner antagonist, or outter do-badder). Maass is also the master of offering examples. He uses excerpts from many different novels to show his concepts.
Some sections from The Fire in Fiction:
"Exposition is an opportunity not to enhance the dangers of the plot (exposition doesn't do that) but to put your characters' hearts and minds in peril. Remember, though, that true tension in exposition comes not from circular worry or repetitive turmoil; it springs from emotions in conflict and ideas at war."
"Does it matter what is the last line of your scene, or the first? Apparently, many authors do not think it does. Most last and first lines in manuscript scenes are quite forgettable. That's a shame. Like a handshake, an opening and closing line can create impressions and expectations. They can set a tone. They can signal where we're going, or what we've done, or serve any number of other useful story purposes."
"Even worse [than cardboard villains] can be stories in which there is no villain as such. Literary fiction, women's fiction, romances, and coming-of-age tales are just a few types of story that do not necessarily call for a classic wrongdoer. In such manuscripts, even so, those who oppose the protagonist are often poorly developed and inactive. Lacking strong resistance, one wonders why the protagonist is having a hard time. It is possible to build conflict out of interal obstacles, of course, but over the long haul it's wearisome and hard to maintain readers' interest that way."
You'll enjoy this book if: you learn best through examples, you are seeking an agent and don't know why you can't get one, you write many stories with different types of characters, styles, or voices.
I'm currently reading Donald Maass' other book Writing the Breakout Novel Workbook, which is less instructional and has more examples and worksheets. It's nice if you've finished a few drafts and are working on serious revision.
One final note on The Fire in Fiction: as I perused the book (I read it last a little over two years ago), I found that I had earmarked nearly every exercise at the end of each chapter. So not only does Maass offer the exercises, but they are truly good, and they might even work!
Today, I'm talking specifically about one of his many books, The Fire in Fiction by Donald Maass.
The Fire in Fiction talks about writing specifically for publication. So, if you're not looking to be commercially published, this may not be the book for you. Donald Maass offers a unique agent perspective that is coveted by writers racking up rejections. He delves deeply into many issues including character, tension, voice and the story world. What I really loved about this book was Maass' ability to talk about all aspects of an issue. For example, he doesn't merely bottle character into a single quote of knowledge, he gives the writer options like Special Characters (ex. Superman), Ordinary Characters (ex. Average Joe), and the Antagonist (ex. inner antagonist, or outter do-badder). Maass is also the master of offering examples. He uses excerpts from many different novels to show his concepts.
Some sections from The Fire in Fiction:
"Exposition is an opportunity not to enhance the dangers of the plot (exposition doesn't do that) but to put your characters' hearts and minds in peril. Remember, though, that true tension in exposition comes not from circular worry or repetitive turmoil; it springs from emotions in conflict and ideas at war."
"Does it matter what is the last line of your scene, or the first? Apparently, many authors do not think it does. Most last and first lines in manuscript scenes are quite forgettable. That's a shame. Like a handshake, an opening and closing line can create impressions and expectations. They can set a tone. They can signal where we're going, or what we've done, or serve any number of other useful story purposes."
"Even worse [than cardboard villains] can be stories in which there is no villain as such. Literary fiction, women's fiction, romances, and coming-of-age tales are just a few types of story that do not necessarily call for a classic wrongdoer. In such manuscripts, even so, those who oppose the protagonist are often poorly developed and inactive. Lacking strong resistance, one wonders why the protagonist is having a hard time. It is possible to build conflict out of interal obstacles, of course, but over the long haul it's wearisome and hard to maintain readers' interest that way."
You'll enjoy this book if: you learn best through examples, you are seeking an agent and don't know why you can't get one, you write many stories with different types of characters, styles, or voices.
I'm currently reading Donald Maass' other book Writing the Breakout Novel Workbook, which is less instructional and has more examples and worksheets. It's nice if you've finished a few drafts and are working on serious revision.
One final note on The Fire in Fiction: as I perused the book (I read it last a little over two years ago), I found that I had earmarked nearly every exercise at the end of each chapter. So not only does Maass offer the exercises, but they are truly good, and they might even work!
Tuesday, February 11, 2014
Books on Writing Part 3
I'm veering slightly off the path of instructional writing books to bring you a slightly different option. I'm very conscious of the fact that not everyone learns the same way. That being said, I'm offering a different style of book on writing this week.
It's called The Story and Its Writer: An Introduction to Short Fiction by Ann Charters (I've read both the 7th and 8th editions, but offered the 8th edition's cover for you to view).
The Story and Its Writer differs from the other two writing books I've offered thus far because it does not go step-by-step through the process of writing or publishing. Instead, the book is a collection of fantastic short stories written by the greats (like Raymond Carver, James Baldwin, and John Updike) followed by commentaries written or spoken by the authors themselves on the craft, the story, the industry (basically, all the interesting things you'd need to know going into fiction writing).
Some great quotes from the commentaries section:
"Urgency does not mean frenzy. The story can be a quiet story...but it must be urgently told. It must be told with as much intentness as if the teller's life depended on it. And if you are a writer, so it does, because your life as the writer of each particular story is only as long, and as good, as the story itself. Most of those who hear it or read it will never know you, but they will know the story. Their act of listening is its reincarnation...From listening to the stories of others, we learn to tell out own." (Margaret Atwood "Reading Blind" 1989)
"A story really isn't any good unless it successfully resists paraphrase, unless it hangs on and expands in the mind. Properly, you analyze with any discrimination, you have to have enjoyed already, and I think that the best reason to hear a story read is that it should stimulate that primary enjoyment." (Flannery O'Connor "A Reasonable Use of the Unreasonable" 1969)
"My attention span had gone out on me; I no longer had the patience to try to write novels. It's an involved story, too tedious to talk about here. But I know it has much to do now with why I write poems and short stories. Get in, get out. Don't linger. Go on. It could be that I lost any great ambitions at about the same time, in my late twenties. If I did, I think it was good it happened. Ambition and a little luck are good things for a writer to have going for him. Too much ambition and bad luck, or no luck at all, can be killing. There has to be talent." (Raymond Carver "On Writing" 1981)
You'll enjoy this book if: you particularly like writing short fiction or short nonfiction, you like large books, you like a variety of viewpoints on the same topic, or the lives of past writers intrigue you.
The Story and Its Writer not only features short stories and commentary, but also spouts of graphic novel and photography. What I also found helpful in this book was an appendix that defined common terms like setting, first-person narration, style and theme.
It's called The Story and Its Writer: An Introduction to Short Fiction by Ann Charters (I've read both the 7th and 8th editions, but offered the 8th edition's cover for you to view).
The Story and Its Writer differs from the other two writing books I've offered thus far because it does not go step-by-step through the process of writing or publishing. Instead, the book is a collection of fantastic short stories written by the greats (like Raymond Carver, James Baldwin, and John Updike) followed by commentaries written or spoken by the authors themselves on the craft, the story, the industry (basically, all the interesting things you'd need to know going into fiction writing).
Some great quotes from the commentaries section:
"Urgency does not mean frenzy. The story can be a quiet story...but it must be urgently told. It must be told with as much intentness as if the teller's life depended on it. And if you are a writer, so it does, because your life as the writer of each particular story is only as long, and as good, as the story itself. Most of those who hear it or read it will never know you, but they will know the story. Their act of listening is its reincarnation...From listening to the stories of others, we learn to tell out own." (Margaret Atwood "Reading Blind" 1989)
"A story really isn't any good unless it successfully resists paraphrase, unless it hangs on and expands in the mind. Properly, you analyze with any discrimination, you have to have enjoyed already, and I think that the best reason to hear a story read is that it should stimulate that primary enjoyment." (Flannery O'Connor "A Reasonable Use of the Unreasonable" 1969)
"My attention span had gone out on me; I no longer had the patience to try to write novels. It's an involved story, too tedious to talk about here. But I know it has much to do now with why I write poems and short stories. Get in, get out. Don't linger. Go on. It could be that I lost any great ambitions at about the same time, in my late twenties. If I did, I think it was good it happened. Ambition and a little luck are good things for a writer to have going for him. Too much ambition and bad luck, or no luck at all, can be killing. There has to be talent." (Raymond Carver "On Writing" 1981)
You'll enjoy this book if: you particularly like writing short fiction or short nonfiction, you like large books, you like a variety of viewpoints on the same topic, or the lives of past writers intrigue you.
The Story and Its Writer not only features short stories and commentary, but also spouts of graphic novel and photography. What I also found helpful in this book was an appendix that defined common terms like setting, first-person narration, style and theme.
Tuesday, February 4, 2014
Books on Writing Part 2
This week's instructional book on writing was one I did not find myself. It was a pleasant surprise to find a required reading book in my creative writing class that was actually fun and helpful.
Anne Lamott's Bird by Bird: Some Instructions on Writing and Life
Much like King's On Writing, Bird by Bird is part autobiography, part instructional manual. Lamott is open about everything - her former drug addiction, her family and her son, as well as her writing process. With eye-catching chapter titles like: "Shitty First Drafts," "How Do You Know When You're Done?" and "Broccoli" - it was welcome to me amidst the stale, "if you do this, you get this," writing books of my past. Lamott covers everything from starting your first draft (ever) to seeking publication.
Some fantastic snippets:
"You sit down, I say. You try to sit down at approximately the same time every day. This is how you train your unconscious to kick in for you creatively. So you sit down at, say, nine every morning, or ten every night. You put a piece of paper in the typewriter, or you turn on the computer and bring up the right file, and then you stare at it for an hour or so. You begin rocking, just a little at first, and then like a huge autistic child. You look at the ceiling, and over at the clock, yawn, and stare at the paper again. Then, with your fingers poised on the keyboard, you squint at an image that is forming in your mind -- a scene, a locale, a character, whatever -- and you try to quiet your mind so you can hear what that landscape or character has to say above the other voices in your mind."
"Perfectionism is the voice of the oppressor, the enemy of the people. It will keep you cramped and insane your whole life, and it is the main obstacle between you and a shitty first draft. I think perfectionism is based on the obsessive belief that if you run carefully enough, hitting each stepping-stone just right, you won't have to die. The truth is that you will die anyway and that a lot of people who aren't even looking at their feet are going to do a whole lot better than you, and have a lot more fun while they're doing it."
"E.L. Doctorow once said that 'Writing a novel is like driving a car at night. You can see only as far as your headlights, but you can make the whole trip that way.' You don't have to see where you're going, you don't have to see your destination or everything you will pass along the way. You just have to see two or three feet ahead of you."
You'll enjoy this book if: you've always wanted to write but never could get through that first draft, you like a personal connection with the author giving you advice, and/or you want a book on writing to take you on the journey from first draft to publication all under one cover.
Anne Lamott's Bird by Bird: Some Instructions on Writing and Life
Much like King's On Writing, Bird by Bird is part autobiography, part instructional manual. Lamott is open about everything - her former drug addiction, her family and her son, as well as her writing process. With eye-catching chapter titles like: "Shitty First Drafts," "How Do You Know When You're Done?" and "Broccoli" - it was welcome to me amidst the stale, "if you do this, you get this," writing books of my past. Lamott covers everything from starting your first draft (ever) to seeking publication.
Some fantastic snippets:
"You sit down, I say. You try to sit down at approximately the same time every day. This is how you train your unconscious to kick in for you creatively. So you sit down at, say, nine every morning, or ten every night. You put a piece of paper in the typewriter, or you turn on the computer and bring up the right file, and then you stare at it for an hour or so. You begin rocking, just a little at first, and then like a huge autistic child. You look at the ceiling, and over at the clock, yawn, and stare at the paper again. Then, with your fingers poised on the keyboard, you squint at an image that is forming in your mind -- a scene, a locale, a character, whatever -- and you try to quiet your mind so you can hear what that landscape or character has to say above the other voices in your mind."
"Perfectionism is the voice of the oppressor, the enemy of the people. It will keep you cramped and insane your whole life, and it is the main obstacle between you and a shitty first draft. I think perfectionism is based on the obsessive belief that if you run carefully enough, hitting each stepping-stone just right, you won't have to die. The truth is that you will die anyway and that a lot of people who aren't even looking at their feet are going to do a whole lot better than you, and have a lot more fun while they're doing it."
"E.L. Doctorow once said that 'Writing a novel is like driving a car at night. You can see only as far as your headlights, but you can make the whole trip that way.' You don't have to see where you're going, you don't have to see your destination or everything you will pass along the way. You just have to see two or three feet ahead of you."
You'll enjoy this book if: you've always wanted to write but never could get through that first draft, you like a personal connection with the author giving you advice, and/or you want a book on writing to take you on the journey from first draft to publication all under one cover.
Tuesday, January 28, 2014
Books on Writing Part 1
Since I had so much fun writing the previous post series, I decided to tackle another. This time around, I'll be sharing my favorite books that instruct about writing.
To start, I'll share a common one you have probably heard of, thought of reading, or already have read.
Stephen King's On Writing: A Memoir of the Craft
Part autobiography spanning King's life, part writing bible, King's book is one of my favorite writing books of all time. Probably because I'm a fan of his novels, I found his memoir enticing. It moved at a snappy pace, never bogging down like many memoirs can. Then, when he's imparting his wisdom on the craft, he feels much like a personal mentor sitting you down in a private room and telling you all he knows before he retires to Boca and leaves you to write alone.
Some fantastic snippets:
"I believe the first draft of a book - even a long one - should take no more than three months...Any longer and - for me, at least - the story begins to take on an odd foreign feel, like a dispatch from the Romanian Department of Public Affairs, or something broadcast on high-band shortwave during a period of severe sunspot activity."
"I've found that any day's routine interruptions and distractions don't much hurt a work in progress and may actually help it in some ways. It is, after all, the dab of grit that seeps into an oyster's shell that makes the pearl, not pearl-making seminars with other oysters."
You'll enjoy this book if: you're serious about writing for publication, you're a fan of King, you like to feel a personal connection to the author giving you advice, and/or you need a knowledgeable mentor to help your tools for the craft move up a level.
The book pictured (my personal copy) is the 10th Anniversary Edition, which features (though the original may also, I have no idea) a section at the back of the book where King revises (by hand!) a segment of 1408 so you can see that the pros rework too, and gives you his list of must-reads.
To start, I'll share a common one you have probably heard of, thought of reading, or already have read.
Stephen King's On Writing: A Memoir of the Craft
Part autobiography spanning King's life, part writing bible, King's book is one of my favorite writing books of all time. Probably because I'm a fan of his novels, I found his memoir enticing. It moved at a snappy pace, never bogging down like many memoirs can. Then, when he's imparting his wisdom on the craft, he feels much like a personal mentor sitting you down in a private room and telling you all he knows before he retires to Boca and leaves you to write alone.
Some fantastic snippets:
"I believe the first draft of a book - even a long one - should take no more than three months...Any longer and - for me, at least - the story begins to take on an odd foreign feel, like a dispatch from the Romanian Department of Public Affairs, or something broadcast on high-band shortwave during a period of severe sunspot activity."
"I've found that any day's routine interruptions and distractions don't much hurt a work in progress and may actually help it in some ways. It is, after all, the dab of grit that seeps into an oyster's shell that makes the pearl, not pearl-making seminars with other oysters."
You'll enjoy this book if: you're serious about writing for publication, you're a fan of King, you like to feel a personal connection to the author giving you advice, and/or you need a knowledgeable mentor to help your tools for the craft move up a level.
The book pictured (my personal copy) is the 10th Anniversary Edition, which features (though the original may also, I have no idea) a section at the back of the book where King revises (by hand!) a segment of 1408 so you can see that the pros rework too, and gives you his list of must-reads.
Monday, August 5, 2013
Invention of the Spnife
When my brother was young, he thought he'd revolutionize the cutlery business. He was sick of having to remember the names of and use so many different utensils. He didn't like washing them afterward, either. So, in a genius plea to save himself all the trouble, he did what it seems only children can do efficiently, and created a new piece of silverware.
It's name? The Spnife!
(Pronunciation: spe-knife)
The Spnife eliminated all other utensils because it combined everything into one. Here is a very, very rough diagram (sorry for the hideousness in advance) of what the Spnife would look like;
The new utensil consisted of the already lunch-pail-popular spork (fork on the top, spoon in the middle) with sharp knives on the sides for easy slicing. Then, instead of three utensils per person, you'd only have to wash one.
The Spnife posed a few safety hazards, though. First, if you were trying to eat a chicken breast or steak with the Spnife, there'd be no way to hold down the meat while you sawed at it. In essence, you'd still need two Spnives which equals more dishes. Also, and perhaps most alarming, if you were using the Spnife in its spoon function (say, with soup), you'd put the Spnife in your mouth and then slide it out to get the soup off the spoon part. This would result in the knife ends slicing your cheeks open like the Joker.
Recently, my brother and I were reminiscing about his childhood invention, and he said, "Yeah, I think I'm going to have to abandon the Spnife idea."
This admission (though it is 10 years in the making) turned out to be a fantastic piece of advice for my writing. I'm sure you've been here too: You write something you think is stunning and fantastic (first draft) and then you reread it and realize that it doesn't work. What went wrong? Sometimes it's a matter of revise, rewrite, and revise again until the piece works. Other times, you have to abandon the Spnife. This is true not only for fictional inventions found in fantasy and sci-fi, but also for faulty characters, extraneous scenes, and over-explained metaphors.
It may take 10 years (though let's hope not), but in the end, you have to abandon the Spnife. As William Faulkner said, "In writing, you must kill all your darlings." Stephen King then took it a step further, "kill your darlings, kill your darlings, even when it breaks your egocentric little scribbler's heart, kill your darlings."
It's name? The Spnife!
(Pronunciation: spe-knife)
The Spnife eliminated all other utensils because it combined everything into one. Here is a very, very rough diagram (sorry for the hideousness in advance) of what the Spnife would look like;
The Spnife posed a few safety hazards, though. First, if you were trying to eat a chicken breast or steak with the Spnife, there'd be no way to hold down the meat while you sawed at it. In essence, you'd still need two Spnives which equals more dishes. Also, and perhaps most alarming, if you were using the Spnife in its spoon function (say, with soup), you'd put the Spnife in your mouth and then slide it out to get the soup off the spoon part. This would result in the knife ends slicing your cheeks open like the Joker.
Recently, my brother and I were reminiscing about his childhood invention, and he said, "Yeah, I think I'm going to have to abandon the Spnife idea."
This admission (though it is 10 years in the making) turned out to be a fantastic piece of advice for my writing. I'm sure you've been here too: You write something you think is stunning and fantastic (first draft) and then you reread it and realize that it doesn't work. What went wrong? Sometimes it's a matter of revise, rewrite, and revise again until the piece works. Other times, you have to abandon the Spnife. This is true not only for fictional inventions found in fantasy and sci-fi, but also for faulty characters, extraneous scenes, and over-explained metaphors.
It may take 10 years (though let's hope not), but in the end, you have to abandon the Spnife. As William Faulkner said, "In writing, you must kill all your darlings." Stephen King then took it a step further, "kill your darlings, kill your darlings, even when it breaks your egocentric little scribbler's heart, kill your darlings."
Monday, July 29, 2013
Reality vs. Fiction
Let's start off with a fool-proof method of interest; a picture and a famous quote.
(I found this wonderful image on QuoteSpr's Pinterest page here)
When you think about it, you realize Clancy has a great point. Many people read fiction to escape reality. They read it for a story, the characters, or to learn more about your topic. They also want to be kept in suspense, they want to turn those pages! When a book like this is discovered, most describe the experience as, "feeling real". The characters "feel real" the setting "feels real" the dialogue "feels real".
They do not mean what they say.
If you're going to be a writer, you need to know the difference between fiction and reality. Reality not only doesn't make sense, but it is very tedious. It takes us days or weeks to get to know someone, and then the dialogue is often chunky and filled with extraneous words and pleasantries. If fiction followed this format, the reader would put the book down in ten pages.
To keep the reader engaged in fiction, dialogue has to be snappy. As a rule, keep each character's dialogue to 4 lines or less. Yes, this means no monologues. If you're now saying, "But I really need that five page monologue in chapter 6!" tell yourself that any dialogue over 4 lines costs $50,000. Now, do you really need it that bad? Can you summarize, cut, or make the exchange into a dialogue rather than a monologue?
Also, unlike reality, fiction only gives the reader the information she needs when she needs it. Reality can be an overload of information and sensory detail. New writers often interpret this "reality" in their fiction by forcing an info dump in the first few chapters. You know all about the character's past, their likes and dislikes and their thoughts on everything. Though this is technically "realistic", it makes for a terrible reading experience. Space out your background info and only give what the readers NEEDS. (Note: this is easier said than done. Find a writing partner for help.) And sensory details should be included, but sparingly. We don't need to know what it tastes, smells, looks, feels, and sounds like unless it is quintessentially important as foreshadow or a clue in mystery novels. Otherwise, pick, say, two. Give the reader enough to feel engaged and immersed, but not too much to be overwhelmed.
In short, be like Clancy. Take the dizzying reality of the characters in your head and the life experiences you've gathered and turn them into fiction. Cut your dialogue or pay. Keep the senses in check, and keep suspense high by avoiding the ever-traveled road to the info dump. If you do these, you may end up with a beautiful work of fiction.
When you think about it, you realize Clancy has a great point. Many people read fiction to escape reality. They read it for a story, the characters, or to learn more about your topic. They also want to be kept in suspense, they want to turn those pages! When a book like this is discovered, most describe the experience as, "feeling real". The characters "feel real" the setting "feels real" the dialogue "feels real".
They do not mean what they say.
If you're going to be a writer, you need to know the difference between fiction and reality. Reality not only doesn't make sense, but it is very tedious. It takes us days or weeks to get to know someone, and then the dialogue is often chunky and filled with extraneous words and pleasantries. If fiction followed this format, the reader would put the book down in ten pages.
To keep the reader engaged in fiction, dialogue has to be snappy. As a rule, keep each character's dialogue to 4 lines or less. Yes, this means no monologues. If you're now saying, "But I really need that five page monologue in chapter 6!" tell yourself that any dialogue over 4 lines costs $50,000. Now, do you really need it that bad? Can you summarize, cut, or make the exchange into a dialogue rather than a monologue?
Also, unlike reality, fiction only gives the reader the information she needs when she needs it. Reality can be an overload of information and sensory detail. New writers often interpret this "reality" in their fiction by forcing an info dump in the first few chapters. You know all about the character's past, their likes and dislikes and their thoughts on everything. Though this is technically "realistic", it makes for a terrible reading experience. Space out your background info and only give what the readers NEEDS. (Note: this is easier said than done. Find a writing partner for help.) And sensory details should be included, but sparingly. We don't need to know what it tastes, smells, looks, feels, and sounds like unless it is quintessentially important as foreshadow or a clue in mystery novels. Otherwise, pick, say, two. Give the reader enough to feel engaged and immersed, but not too much to be overwhelmed.
In short, be like Clancy. Take the dizzying reality of the characters in your head and the life experiences you've gathered and turn them into fiction. Cut your dialogue or pay. Keep the senses in check, and keep suspense high by avoiding the ever-traveled road to the info dump. If you do these, you may end up with a beautiful work of fiction.
Monday, June 17, 2013
Live Condiments? Beards Made of Fog? Underwater Birds? Sure!
Is that too weird?
That is the question I asked myself while writing my most recent short story. It's a fantasy story, and though I grew up on magic wands and talking animals, I always wonder whether the reader will come along with me on a story where the setting or characters are impossible in our modern world (depending on who you ask, of course). And while you need to make sure your characters are consistent - see this post - and the rules of your world are just as concrete (ex. if dogs can fly in chapter 1, they need to also fly in chapter 12), it's just as important that you're creative. One of the biggest complaints of people who read sci fi and fantasy is that it can easily be cliché, old, or stale. To avoid this, you need to remember to be original.
This advice applies to all genres. Originality is why we read. We want to hear a new point of view, meet a new character, or experience a new world. It helps us grow our own imagination, which, to me, is the mot important part of a human being. Without imagination, we wouldn't come up with creative ways to solve problems. We wouldn't have artists or dancers or writers outside of technical purposes.
Napoleon Bonaparte once said: "the default of our modern institutions is that they do not speak to the imagination".
That's why artists are so important. So if you're asking yourself if the story, character, or setting you're writing is too weird, don't worry. Write it as crazy as you want. You can always go back and tweak, revise, and reimagine if it truly doesn't work. But we all need originality - we need to feed our imagination. Who knows, your story may not only help exercise your imagination but it may help a reader solve a problem in his square cubicle or fix his relationship by seeing things in a new light.
That is the question I asked myself while writing my most recent short story. It's a fantasy story, and though I grew up on magic wands and talking animals, I always wonder whether the reader will come along with me on a story where the setting or characters are impossible in our modern world (depending on who you ask, of course). And while you need to make sure your characters are consistent - see this post - and the rules of your world are just as concrete (ex. if dogs can fly in chapter 1, they need to also fly in chapter 12), it's just as important that you're creative. One of the biggest complaints of people who read sci fi and fantasy is that it can easily be cliché, old, or stale. To avoid this, you need to remember to be original.
This advice applies to all genres. Originality is why we read. We want to hear a new point of view, meet a new character, or experience a new world. It helps us grow our own imagination, which, to me, is the mot important part of a human being. Without imagination, we wouldn't come up with creative ways to solve problems. We wouldn't have artists or dancers or writers outside of technical purposes.
Napoleon Bonaparte once said: "the default of our modern institutions is that they do not speak to the imagination".
That's why artists are so important. So if you're asking yourself if the story, character, or setting you're writing is too weird, don't worry. Write it as crazy as you want. You can always go back and tweak, revise, and reimagine if it truly doesn't work. But we all need originality - we need to feed our imagination. Who knows, your story may not only help exercise your imagination but it may help a reader solve a problem in his square cubicle or fix his relationship by seeing things in a new light.
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